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Reviews
Live and Let Die (1973)
Bond meets "Shaft" in Hazzard County
Since I recently enjoyed watching the latest 007 film (Die Another Day), I thought it would be fun to check out some of the older Bond films that I hadn't yet seen. I've always enjoyed "From Russia With Love," "Dr. No," "Thunderball..."
What I've discovered is that the 1970s were not very kind to Mr. Bond nor to any of his fans over the age of 9. True, this film isn't as mundane as the previous one in the series, "Diamonds Are Forever," but it's still pretty damn awful.
"Live and Let Die" begins promisingly enough with three sinister murders and an exciting '70s-style car chase on the streets of the Big Apple. From there the film abruptly descends into a silly "Shaft"-like rip-off where apparently all black people in New York City are working together to bring about the demise of 007. When the villains in Bond films are white men with British, German or Russian accents, they are usually scheming to take over the world. In this film, the villains are black. Do they want to take over the world? Of course not. They just want to sell drugs!
When the action moves to Louisiana and the bumbling, slobbering local sheriff joins the chase, the film you've been watching for the past hour is suddenly interrupted by what seems to be a mediocre segment from a "Dukes of Hazzard" episode. Any remaining hope for the classy sophistication usually associated with James Bond films sinks into the bayou like a dead crocodile.
Speaking of crocodiles, when James Bond is stranded on the tiny island surrounded by them, did anyone else notice the ravenous, man-hungry beasts lining up like stepping stones in the background so that the death-defying Mr. Bond could tiptoe calmly to safety without so much as getting his feet wet? What adventure! And I'm all for a gruesome demise for the primary villain in these films, but when Yaphet Kotto blew up like a balloon, floated to the ceiling and then exploded, I burst out laughing! I had to rewind and watch it again because I couldn't believe my eyes. It is truly one of the stupidest things I have ever seen on film.
As James Bond, Roger Moore is so light-hearted and care-free, he gives the impression of being on a guided tour at a 007 theme-park. He is probably trying to make us believe that his Bond is brave and always in control. Instead, he seems either naive about the dangers that surround him - or aware that he is James Bond and that James Bond just doesn't die. When Moore's Bond is tied to a platform that's about to be lowered into a pool filled with man-eating sharks who are already hungrily lapping at his dripping blood, he is able to carry on a conversation as calmly as if he were waiting in line at the Department of Motorized Vehicles. This is not the sort of performance that good action films are made of.
The Truth About Charlie (2002)
"Charade" gets a French New Wave make-over
Jonathan Demme is smart enough to know that he can't create a remake of "Charade" that would stand up to the original, and that isn't what he is trying to do. Instead, he takes the bare bones storyline from "Charade," then he shakes it and stirs it with a large dose of French New Wave style and silliness. What you end up with is a zany, off-balance, lightweight, fun little film that nobody who regularly goes to see Mark Wahlberg films is going to like.
Films of the French New Wave often exposed the falseness of the film medium to the audience in a playful way - and Demme does that here again and again with camera tricks, silly dialogue and, of course, Charles Aznavour (from Truffaut's New Wave classic, "Shoot the Piano Player") even gets caught crooning the film's romantic soundtrack from the hotel balcony as the film's stars play the love scene! Other clues to Demme's sylistic intentions are found in his casting of French New Wave leading lady, Anna Karina - as well as New Wave director Agnes Varda - in small roles in the film.
I haven't actually seen "Shoot the Piano Player," but I know it's about a piano player who accidently becomes mixed up with gangsters, so I'd bet that a more favorable comparison could be made between "The Truth About Charlie" and that film than between "Charlie" and "Charade."
It's true that both Mark Wahlberg and Tim Robbins are uncharacteristically dim here, but who cares. The film does not ask to be taken very seriously. I would recommend "The Truth About Charlie" to those who enjoy movies from the French New Wave and who are interested in watching a silly romp.
Giant (1956)
This beautiful, giant epic was years ahead of its time.
Since I hadn't yet seen this classic film, I rented the DVD and invited some friends over to watch it with me. The film's scope was not only bigger and broader than we thought it would be, but it was also more genuine and thoughtful. We were astonished! It is clearly one of the best American films of the 1950s.
The film begins in Maryland when Bick (Rock Husdon) visits a wealthy family that owns a horse he is planning to buy. When he returns to Texas, he not only has the family's horse, but also their beautiful, bright, out-spoken daughter, Leslie (Elizabeth Taylor). The flat, barren Texas landscape is a shocking contrast from the rolling green hills of Leslie's Maryland home, but she settles in and they begin to face the changes that the next thirty years will bring to their family, friends, land and each other.
I loved how this film would seem to be leading you down a familiar path, then suddenly turn in unexpected directions--even in small ways. For example, Bick's stern sister, Luz (perfectly played by the underrated Mercedes McCambridge), is set up to be an antagonist throughout the film, but because of her lack of adaptability, she self-destructs early on. It also seems clear that Leslie will fall into the idealistic and compassionate arms of the introspective Jett (James Dean) when she realizes that her husband is both sexist and racist. Here, too, the story takes an unexpected turn as both Jett and Bick change in ways that seem natural and rich with human complexity. This sort of character development is uncommon in works of fiction where so often people go from point A to point B like cardboard cutouts.
The issues of feminism and racism are major issues in `Giant' and are dealt with seriously, rather than only lightly touched on as in so many other `modern' American films of the 1950s. Not only does Bick learn from his young wife that he should treat his Mexican ranch hands with human dignity (this is only as far as most American 50s films would go), but his son marries a Mexican girl, providing Bick with a half-Mexican heir. Bick, being a realistic, multi-layered character, is still troubled by this at the film's end, but he has certainly come a long way. He (and the audience) has had to consider what role race and skin-color will play when choosing people with whom to have close relationships and how far he will go to defend those he loves, whatever their nationality. Bick's `showdown' against racial injustice in Sarge's Café perfectly illustrates his transformation and does, indeed, make him a hero. It is a beautiful and moving scene.
Feminism, too, presents itself as a major theme in the film without being overstated. When Leslie first arrives in Texas, she is outspoken and headstrong, insisting on helping on the ranch as an equal. She faints in public at the sight of cooked cow brains, but quickly recovers and vows never to faint again, no matter what life on the ranch might bring and she doesn't. Her scolding of the local men for their backward attitudes towards women seems neither hysterical nor delicate even by today's standards. It's spot on. She later apologizes to Bick for having been rude, yet she doesn't back down, insisting that, in principle, she was right.
It was a genuine pleasure to watch an American film (from ANY era) that doesn't undermine its characters' integrity and that gives great actors roles in which they could really shine. I highly recommend `Giant' to anyone looking for intelligent classic American cinema that explores issues of the era while remaining surprisingly relevant to these same issues today.
Bully (2001)
A disturbingly frank look at teenage amorality in Suburbia, USA
Although a bit exploitative, "Bully" - based on real events that took place in 1993 - is an intriguing look at a set of "normal" suburban teenagers for whom life has developed no real meaning.
Marty (Brad Renfro) and Bobby (Nick Stahl) are childhood best friends living in Hollywood, Florida--a sun-drenched Miami suburb. When they aren't working in a fast-food sandwich shop, they spend their time surfing, driving around and picking up girls. Bobby, the smarter of the pair (which isn't saying much), sees Marty as his physical, mental and social punching bag, abusing him in front of their friends or attractive girls.
Bobby is shown to be equally abusive to everyone in their small circle of friends, culminating in an extremely unpleasant rape scene as Bobby forces his victim to "Say I'm the best you've ever had!" while he grabs her by her hair.
When Marty begins dating the equally aimless Lisa (Rachel Miner), she begins to fantasize with him about what their lives would be like if Bobby no longer existed, how it would really be best for everyone. She suggests they murder him, and they casually mention their plans to the other members of their social circle. Not wanting to seem prudish, their friends smile and say things like, "Wow, are you serious?" and "Cool..." and they begin planning their attack.
These aimless, dim-witted teenagers finally find a common sense of purpose as they plot to kill the monstrous Bobby. They set up meetings at Pizza Hut and plan the murder as if they were a 4-H club arranging a surprise birthday party for one of their fellow members. These meetings are led by the unbalanced Lisa, whose new-found determination gradually transforms her from a disheveled mouse of a girl into a trashy/glamorous femme-fatale. Miner's captivating, surprising performance is full of nuance and rage, recalling a young Piper Laurie.
The young actors all do a remarkable job of realizing these characters that are troubled and sympathetic even as they willfully head toward becoming monsters themselves. They all want so much to fit in that none has the courage to speak up and say, "Wait a minute...what the HELL do we think we're doing?"
Even Bobby is shown to be a product of a domineering father, repressed homosexual desires and self-loathing. Unfortunately, after being convincingly depicted as a horribly confused teen, he disappears from the film only to resurface when his friends' plan is set into motion. Here, any further character-development is abandoned as he occasionally grabs someone's crotch or tells them to give him a blow-job, indicating that no, he has not had a change of heart and yes, he still deserves to die.
The acting by the adults in the film is less convincing, even wooden. This doesn't hurt the film, really, and may have even been intentional. It creates a sense that the parents are completely out of touch with the lives their children are leading. They are awkward when addressing their kids, don't relate to them emotionally and can only offer advice like, "Ok...you kids have fun now and stay out of trouble."
Aside from one obtrusive, dizzying camera swirl and some close-up crotch shots that seem randomly inserted into the film, "Bully" is a disturbing, thought-provoking look at how some basically good kids are drawn into committing a gruesome, unimaginable act for which none of them are emotionally or psychologically equipped.
Ghost World (2001)
This quick-witted film takes a thoughtful look at the changing nature of friendship.
I'm not familiar with the comic strip that this film is based on, but that hardly seems necessary in order to enjoy this very funny, very smart film.
Thora Birch is mesmerizing as Enid - the central character in the film. I couldn't tear my eyes away from her whenever she was on the screen. Not only did I admire her nifty sense of style and her calm, quick wit, but every time she put on a new pair of glasses, it added another dimension to her character, showing that she is still changing, growing, learning...still unsure of who she is going to become.
Enid is a stubborn non-conformist who has just graduated from high school with her best friend, Rebecca. (The hilarious graduation scene opens the film and sets the tone for its sly sense of humor.) Their close relationship cools as Rebecca settles into a more traditional lifestyle that alienates the individualistic Enid.
Enid befriends the older, equally eccentric Seymour (the excellent Steve Buscemi) who sparks in her a passion for classic jazz and blues. Outwardly sarcastic and judgmental, Seymour secretly longs for intimacy. In fact, he and Enid first meet when she and Rebecca jokingly respond to his pathetic personals ad. As Enid begins playing matchmaker for Seymour, they develop a unique relationship that helps them both through a difficult time in their lives.
"Ghost World" pokes fun not only at the mindless conformity of the Big Mac and Nike set, but also the deliberate and absurd attempts at non-conformity of pseudo '50s diners, political art, over-zealous sales people and all those young white boys who are suddenly into Raggae music. Many people (including myself) who watch this film will see their 'type' being made fun of. If you are able to laugh at yourself, you will enjoy this film that much more.
But "Ghost World" is much more than a smug yuk-fest. It takes a thoughtful look at the compromises one must make in order to form meaningful relationships with others that may not share the same ideas, interests and styles. At one point, Seymour appears wearing uncharacteristically bright blue jeans, sheepishly admitting to Enid that his current date bought them for him.
The film also looks at the compromises necessary for Enid to maintain individualism and a sense of self, even if it means the ending of a close relationship that has been outgrown. It suggests that this ending opens the door for self re-invention, for the beginning of a whole new chapter to life.
Lost and Delirious (2001)
Lost and Delirious. That pretty much says it all.
Having seen Léa Pool's wonderful 1998 coming-of-age film, "Set Me Free," I was excited to check out this new film of hers. How disappointing to find that the charm, character and sincerity of that film is completely missing here.
The plot: It doesn't take Mary, the mousy new girl at an all girl's school, very long to figure out that her two roommates (Pauline, rebellious and tough, and Victoria, more traditional) are lovers. But when some other girls discover them in bed together, Victoria starts pretending to be straight. This makes the rebellious Pauline go nuts, so she takes up bird training and pretending that she's living in the 14th Century while the mousy girl runs around looking distressed.
When the film begins, the three female leads are ridiculously bouncy and hyper, causing me to wonder if they might be the same actors I saw on "Barney" about six years ago. Then, when the girls turn "serious," they sound like they're reading their lines from a drugstore romance novel: "Have you ever been really thirsty, so you take a big drink of milk right out of the carton - only it's gone sour? That's what's happening to me. Inside. Forever." How can this line be taken seriously?
One of the few things worse than the film's dialogue is the overbearing grab-bag of a soundtrack. The music leaps from "inspirational" Native American Rain Forest Muzak for the bird training scenes to mid-'80s horror film synthesizers for the "dramatic" moments (like the shattering mirror) and then on to the "gut-wrenching" love ballad that plays during a 5-minute close-up of Pauline's twisted face as she writhes in pain from suffering and despair. Good grief.
Jackie Burroughs, the incredible actress who plays the school's elderly headmistress, is more beautiful, sexy, dynamic, exciting, genuine and fascinating than all of the other characters in the film combined. She delivers the film's only genuinely moving scenes, but her outstanding (and brief) performance only makes the rest of the film seem that much more banal.
This film may have been revolutionary had it been made in 1961, but it's set in 2001, so the girls' self-hatred and repression seem outdated and unnecessarily melodramatic. I just wanted to slap them.
If you're interested in cinema that deals intelligently and realistically with the difficulties and confusion - as well as the pleasure and joy - of young women coming to terms with their attraction to each other, I would recommend "The Incredibly True Adventure of Two Girls In Love" and "Show Me Love."
Drôle de Félix (2000)
The French know how to make a good gay film!
The jazzy opening-credits number (a beautiful Blossom Dearie tune) we hear as Felix glides across the screen on a bicycle perfectly sets the tone for this wonderfully clever and creative gay-themed film from France.
In so many gay films, the acceptance of homosexuality is the central struggle in the film - or the horrors of the dating scene, the devestation of being HIV positive etc. etc. etc. I really enjoyed the way these issues were handled in this film. Felix is gay and HIV-positive - that is established from the beginning - and the rest of the film is spent getting to know this man as he gets to know the people on his path to visit his estranged father.
Issues of race, age, monogamy, relationships, family, marriage, sexuality, homosexuality and HIV are presented in such a natural way that they do not become "issues" as in most other gay films, but only various parts of Felix's experiences that make life interesting. The characters in the film are refreshingly realistic; some have tempers, some are sometimes rude and they don't always say or do the right thing.
Overall, this is a beautiful, breezy film that has freed itself from the constricting influence of "gay culture" - a film that helps you realize that life really has very few limitations.