by Dean | May 25, 2019 | General
An English gangster, Jack Carter (Michael Caine), seeks to learn the truth about his brother’s death by investigating a rival mob.
Long before there was the British film Croupier, there was the British film Get Carter (1971), directed with flair by Mike Hodges. Both films are harsh and violent, the Hodges concoction being rather uglier because it is mildly sexist. I say this not because three female characters in the movie are plainly corrupt, but due to its suggestion that all that is needed to pacify a woman outraged by shady behavior in her home is an offer of copulation.
Caine is disturbingly spot-on, cooly potent. Get Carter‘s acting is excellent. Though it’s a movie hard to love, it is easy to respect in many of its particulars. It even seems to tell us that if you’re a gangster, somehow you’re going to get it in the neck.
by Dean | May 21, 2019 | General
Siren of the Tropics (1927) is an interesting but rather silly silent film, from France, which is the first full-length picture to star an African American performer: the dancer Josephine Baker.
Baker’s dancing is admirably confident, her body strong and agile, in what is strictly a vehicle for her. Like the Baker talkie, Princess Tam Tam, Siren depends too much on a black woman’s persistent love for a white man (Pierre Batcheff), a man she’ll never win. This is in spite of her sexiness. In this somewhat uncensored item, Baker bares her comely breasts, but this is in keeping with the lowbred island character she is playing. Not that this lowbred “siren of the tropics” is unlikable, though; she isn’t. She’s a gem, and the whole picture.
by Dean | May 18, 2019 | General
As the International Movie Database on the internet describes it, “A news reporter looks into who has been anonymously leaving large cash gifts on random doorsteps in New York.” These are accurate words about the premise of the new picture, Good Sam (2019), in which the news reporter is enacted, solidly, by good-looking Tiya Sircar (who has numerous lines).
Conventionally directed by Kate Melville, this is middlebrow semi-drama, but what Netflix original film is not middlebrow? At least it’s appreciably smart in its feel-goodism. Too, it is very good-natured and free of coarse language as it raises the theme of kindly giving when nothing is expected in return.
by Dean | May 16, 2019 | General
Ivan Szabo’s Sunshine is a film I criticized, but not because of its deeply Jewish content. In today’s America there are foolish people who would object to this content, as we are led to believe after reading such articles as David Marcus‘s “Skyrocketing Attacks on NYC Jews Ignored Because of Race” (from the Federalist website). The information is all in the title. Anti-Semitic violence (against Orthodox Jews) has increased primarily in Brooklyn, and many of the culprits are black and Hispanic men. The ones ignoring it are, of course, members of a left-leaning media.
For the record, reality is darker than most leftists realize. It’s only a matter of time before Hollywood refuses to make a film like Sunshine.
by Dean | May 13, 2019 | General
Ray Enright‘s Albuquerque (1948), a Western, shows us the capitalist building of a town, as well as the selfishness of a business tycoon who does evil. When his nephew, Cole Armin (Randolph Scott), witnesses this evil, he goes to work for the tycoon’s competitor, who is drawn to the same kind of ore-hauling enterprise the tycoon has founded. Cole is a good man, which doesn’t matter to Mr. Big, who manages to get Cole arrested on a phony arson charge. It doesn’t stick, though, after which the tycoon (nicely played, by the way, by George Cleveland) wants blood. But a business venture must go on.
There was some fine material in this movie to work with, and Enright and his cast were essentially up to it. Why, it even has its own Charlotte Corday—she who killed the French Revolution’s Marat—in the person of Letty Tyler (Barbara Britten), an associate of the tycoon who, by and by, loves his rival. Albuquerque is in color (it works) and usually pleasurable in its action. It’s modest but involving.
by Dean | May 11, 2019 | General
I have not read any of Arthur C. Clarke‘s novels, but I am familiar with the reasonable mind behind such short stories as “Into the Comet,” “The Star,” “The Sentinel” and “Death and the Senator.” It is a probing mind too, an instrument for meaningful science fiction.
“Into the Comet” (1960) proves how entertainingly Clarke could write. Here, a spaceship is in peril within the very long tail of a comet. The crew rescues itself by turning to something primitive—or “primitive”—when something technologically intricate, a computer, fails it. How likely such a failure would be I don’t know, but it’s an agreeable story.
The 1955 “The Star” concerns a Jesuit astrophysicist afflicted with doubt about the existence of God after a world civilization is annihilated by a supernova. Clarke assumes there is intelligent life on other planets. There may not be. A pleasantly cerebral piece, it is nevertheless philosophically unremarkable enough to dissatisfy. It means little that Clarke found Belief either difficult or impossible. He did better when probing in other directions, as in his other stories.
by Dean | May 8, 2019 | General
The planet Metaluna will perish under the weapon blows of an alien race, but its inhabitants intend to get abundant help from unsuspecting Earth, especially its scientists. This Island Earth (1955) is, then, a tale of two planets, with all the sinister action emanating from Metaluna. Spoken here is a deceptive promise of peace between peoples, but, no, there is no peace, albeit a single alien (Jeff Morrow‘s Exeter) is decent enough to want to help the Earthlings.
Directed by Joseph Newman, this is standard apocalyptic sci-fi, and it’s not bad. No doubt like the story it’s based on, it is considerably unpredictable and it holds one’s attention from start to finish. I question why the Earth scientists are so naive, though.
by Dean | May 5, 2019 | General
The judge in Ted Bundy’s trial pronounced the serial murderer’s deeds Extremely Wicked, Shockingly Evil, and Vile, which is an inspired title for Joe Berlinger‘s new movie (2019) on Netflix.
As Bundy Zac Ephron is compelling, never phony, never trying for sympathy. Lily Collins is just right and just fine in a good role here: that of Bundy’s anguished girlfriend, Liz. The film partly deals with Liz’s love relationship with a morally worthless man. She herself is far from morally worthless, for, early on, she submits Bundy’s name to the police, afterward suffering long-lived guilt because she doesn’t know whether Bundy is, in truth, culpable for what he is being accused of.
Needless to say, the public-record information in this well-made film is appallingly ugly. I wonder about the pain and shock of all the parents (and other family members) of the daughters whose bodies Bundy treated as though they were foul manure. Again, morally worthless.
Extremely Wicked is recommendable. There are critics who dismissed it. I disagree with them.
by Dean | May 3, 2019 | General
The title character in the D.W. Griffith film, True Heart Susie (1919), is a gentle country girl who is supposedly plain, except that Lillian Gish, who plays her, is not at all plain. In love with a boy named William (Robert Harron), she sacrifices a great deal for him without his knowing it, but it is not Susie who receives William’s devotion. It is a flighty, self-seeking girl, Bettina (Clarine Seymour), whom William marries. . . Although obvious in its moral meaning, the film is terrific, especially if its story (as claimed) is thoroughly true.
Marian Fremont purveyed a sensitive, un-sanctimonious script, wisely directed by Griffith. Susie is a movie not a novel, but, with its rural setting, it is a purely American piece on the order of Tom Sawyer, Huckleberry Finn, Little Women (save for the motorcars in the film) and something like Edith Wharton’s 1917 book, Summer. It partakes of a tradition. And it pleases to see the subtle and touching performance of Gish and the trenchant acting of Seymour, who sadly died many, many years ago, at age 21, in 1920.
by Dean | May 1, 2019 | General
Cover of Gone with the Wind
Does the experience of war ever change people for the better? In Gone with the Wind, it seems to do so for Rhett Butler (Clark Gable), but not for Scarlett O’Hara (Vivien Leigh), who retains her rotten soul. . . After a war’s catastrophe, it is often the quality of determination (such as Scarlett’s)—not, alas, morality—that springs up and creates a person’s destiny.
The 1939 Selznick-produced blockbuster has many weaknesses, but it certainly has its strengths as well. One can’t help admiring its scope, its epic reach, but it is also rich and insidiously seductive enough to be a thoroughgoing crowd-pleaser. Though its last hour is too episodic, GWTW ambles on until it becomes what one might expect it never to become: a properly transporting period piece, however fantastic.
Further, Vivien Leigh, whose high-pitched speech might be an irritant to some, is rightly and fascinatingly vivid as Scarlett.
Cropped screenshot of Vivien Leigh from the trailer for the film Gone with the Wind (Photo credit: Wikipedia)
