Tgrain Reviews

My Hustler (1965)

Part one goes somewhere. Part two doesn't.

[6/10 · 10 May 2021]

This is one of those 'let's make a movie on the weekend and see what happens' experiments. The results, as one may expect in such situations, are mixed: part one where the hustler is pursued while his client watches on has suspense and the unconventional camera treatment is interesting. The improved dialog led by Ed Hood is funny and inventive. Once Ed Hood leaves the scene, it gets way more boring as two hustlers just jabber about aimlessly half naked, until he returns.

But hey, it's Andy Warhol and he had a name, plus lots of gay men wanted to see other gay men (this was the mid sixties after all), so that was enough to get people interested. You need to have more than that these days. Still, as a time capsule it's also amusing to watch. Morrissey used the film to get his technical chops together, in preparation for his directing projects.

Heat (1972)

When flaws are fun

[8/10 · 10 May 2021]

Morrissey took the lose, improved nature of his earlier films and made something with a tighter narrative and a great actress, with a brilliant use of non-professionals. Unfortunately, countless indie filmmakers have tried to rip him off with disastrous results. There are very few directors who can treat things with such amazing cinematic simplicity, creating crazy characters you want to follow. It's almost an impossible formula to get right, and very difficult to reproduce.

Zabriskie Point (1970)

Only for die hard leftists

[2/10 · 13 June 2018]

The highlight of this film for fanatical leftists is the appearance of Kathleen Cleaver at the beginning of the film. For normal people there are no highlights, just an example of self indulgence by a filmmaker who's success at making non-plot driven films got to his head. Even die hard fans of Pink Floyd will be disappointed at how the music is used for plotless meander.

Naked (1993)

Nothing 'real' about this film at all

[3/10 · 21 May 2018]

Maybe in 90's London women slept with random abusive stinky men who talk gibberish at them, and security guards let them into buildings at night cheerfully, but in the world I live in this sort of stuff never happens 99.9% of the time. I remember when I was at film school most of my classmates were in awe of this film. I was one of the few who had the guts to stand up and say "What the heck is so damned special about 'Naked'?" People looked at me like I was from Mars. But when I saw what kind of scripts my classmates wrote I understood everything: nobody wants to be concerned with plot and character development, they just want to rant and rave and philosophize and do cool shots (which Naked has none of, btw). That said I do enjoy some of Thewlis's performances, as well as that of the rest of the cast, but there really is no overarching point to the film other than "life sucks and then it ends". I don't care to be treated to such a 'stinking omelette' despite however good the cast might be.

Shadows (1958)

There are many imitations, but only one Shadows...

[9/10 · 1 May 2018]

This film is an early blueprint of American independent cinema, as well as a lovely time capsule of late 50's New York City. Back when Cassavetes made this innovative essay of New York City life, he was breaking new ground in the States. Shadows follows three characters from a black family - two brothers and a sister - who each have their challenges. One is a struggling singer, the other a lothario and troublemaker, and the third is a young lady who is innocent yet adventurous. The film is not primarily about race relations, contrary to what some critics prefer to emphasize, nor is it a 'black film'. It is instead a 'slice of life' that Cassavetes would go on to develop further in 'Faces'. Performances are effectively delivered by an ensemble of budding professional actors and complete amateurs. Much of the film was shot 'run and gun' style by handheld Arriflex 16mm film cameras, something independent filmmakers adopted with a frenzy a decade later. Scorsese's fans will note that his premiere 'Who's that Knocking' - filmed 6 years after Shadows' release - seems to borrow heavily from Cassavetes' debut film, as do many other independent films. But this is the film that started it all. Even though it has its flaws, 'Shadows' is not only a groundbreaker but a delightful journey across a swath of characters that Cassavetes has such a talent for portraying.

Husbands (1970)

Cassavetes jumps the shark

[4/10 · 1 May 2018]

Let me start by saying that Cassavetes is a brilliant director. Only sometimes, brilliance coupled with a bold desire to take risks can end up landing on its derriere, especially if it happens after a success such as 'Faces'. And that is exactly what 'Husbands' does. The story is quite weak, the resolution is obscure, and all we're left with is watching three guys get drunk and being nasty. Who cares? I certainly don't. There's nothing to root for here, nobody to sympathize with. Some will argue that this is simply Cassavetes' style and a pseudo-sequel to 'Faces'. But the lower budget 'Faces', as stretched out and not plot driven as it was, was considerably more effective in how it put across interesting characters and showed a slice of life. 'Husbands' by comparison shows a bunch of aimless characters with dialog that stretches the realms of how most people talk and act.

That's not to say that Husbands doesn't have some interesting moments. For students of Cassavetes technique there are a few good scenes worth attention on their own (one of my favorite is when Cassavetes orders room service). But individual scenes, no matter how well executed, do not a film make. It's very unfortunate because this film had everything going for it: a phenomenal cast, a talented director, great cinematography, and even a suitable dramatic premise. But the desire to get cute with dialog and getting overly absorbed in character psychology comes at cost to saying something substantive. What a shame, this could have been such a great film.

Bumer (2003)

An effective crime story with a soul

[9/10 · 28 June 2017]

It is unusual that a first time director knocks it out of the park for their first feature film, especially below the age of 30 and fresh out of film school, but Buslov did it with "Boomer" (that is the correct way to pronounce it, not Bummer or Bimmer).

The story is pretty strong, it has substance and body unlike many other crime films. There is no attempt at comedy here, no desire to laugh at the expense of victims or the bad guys, nor is there action just for the sake of action. Boomer reaches into the criminal dilemma, as said by one of the criminals in rebuke to a woman who accuses him of being a bad person: It's life that's this way. The characters are real and their journeys are credible. Their environment is also effectively put across: Russia's confused 90's landscape with the criminal world on the one side, and the "suckers", the populace on the other which is suffering from poverty and alcoholism.

The cinematography by Daniel Gurevich is excellent: sadly he was to die before the film was released, together with talented Russian actor Sergei Bodrov (Brother, Brother 2) who had also seen rough cuts of Boomer and had been supportive. The music is likewise effective, blending Russian folk themes with pop music. The cell phone ringtone ended up being such a hit that composer Sergei Shnurov ended up netting $1MM in royalties from it alone (comparable to the film's initial box office performance).

To me, this is how crime films should be done - more focus on the human condition, with action as an accompaniment, not the goal.

Bumer: Film vtoroy (2006)

A worthy sequel to Boomer

[8/10 · 28 June 2017]

Sequels are always a dilemma for directors, it's very easy to miss and Buslov gets a lot of credit for moving straight into a sequel as his next feature project.

Instead of returning to the same old story twice, Buslov wisely chose to make the story about redemption and effectively introduced a new lead in the form of Dasha, a girl that seems fated to repeat the footsteps of Kostya's gang and played masterfully by Svetlana Ustinova.

The story is sufficiently realistic, though he takes a few more chances than with the original there are no holes or dilemmas that would irritate. Casting is very high caliber and the music doesn't fail to deliver again. Cinematographically Buslov evolved to a slightly faster paced style, there is less moving camera than with the original Boomer (something I personally enjoyed), but close ups are very effectively utilized. On the other end, one or two sequences are overextended time wise, but not to the point of irritation.

Note: unlike with the Brother films of Balabanov, it does help to see Boomer 1 prior to watching this film.

Blind Man's Bluff (2005)

A crime film without the originality of Brother

[6/10 · 24 June 2017]

Balabanov's Brother 1 and 2 were hailed as one of the most innovative Russian thrillers ever. Unfortunately, "Zhmurki" (Blind Man's Bluff) fails to live up to that same level of achievement despite its talented, visible cast and some colorful characters - always a Balabanov strength.

The two main leads are interesting, with Dyuzhev's character being an effective blend of Travis Bickle from Taxi Driver and Dim from Clockwork Orange, while Panin is the classical Balabanov thriller hero (Bodrov, Chadov), here in a more sinister incarnation.

The first half of the film moves effectively and is interesting, with Mikhailkov providing some good laughs. The second half gets heavily bogged down in one scenario where we begin to see certain thematic and character nods to Pulp Fiction and Reservoir Dogs (i.e. psychopathic behavior set to a pop soundtrack, the lodged bullet, the 'wolf'/accidental medic, and the suitcase belonging to the big boss), with Balabanov's stylistic spin on them. Unlike Tarantino or Scorsese, Balabanov's static use of the camera adds to the boredom in the second half, and it's only thanks to the music that we get some movement.

As with other Balabanov films, there is social commentary, esp. the way Stalin's figure is tied into the criminal world. However, it is not as effective as with some of his other films, e.g. Brother 2, War, It Doesn't Hurt Me, and Stoker.

Overall, when compared to the Brother films, this is a disappointment, though it will entertain if you don't come to it with the same elevated expectations.

Mne ne bolno (2006)

Good character based view of modern Russian life

[7/10 · 23 June 2017]

This is a Balabanov film with an independent spirit but featuring some loud names (Nikita Mikhailkov and Renata Litvinova). It also includes the talented Balabanov regular Sergei Makhovetski.

This film does a great job of portraying a slice of modern Russian life, in the more stable 2000s, when the economy had begun to normalize under Putin as opposed to the wild-wild west 90's where the Brother films were set. We have the oligarch figure in the face of Nikita Mikhailkov, we have a Russian blue beret veteran who appears to have seen action in Chechnya, and we have a team of self made entrepreneurs trying to break into the bigtime legitimately, without needing a mob cover. It's almost as if you took both of the Brother films, cut back on the violence, and slowed them down.

The casting and music is excellent, as it usually is in Balabanov's films. The minus is that this film narratively throws its balance heavily in one direction in the first half, then plays some counterbalancing catchup in the latter half to give the other characters room. To me this feels as if the movie was either not written in a balanced way or the film was edited in a lopsided manner. There is one character who disappears without any further followup, which technically passes (it introduces no gaps) but is not satisfying. The credibility of the love story is also slightly questionable.

The key attraction of it to me is the anthropological slice of life it presents, and the excellent casting of types. In that, it is more enjoyable for the characters rather than the plot which is acceptable and touching, but not the main reason to be watching.

Of Freaks and Men (1998)

When self confidence morphs into self indulgence

[5/10 · 19 June 2017]

This film was made in between the two Brother films, and Balabanov cited it as one of his personal favorites, together with Morphine and Cargo 200.

Unquestionably the film features a talented cast, including veteran Viktor Sukhorukov and would be Brother 2 stars Sergei Makovetskiy and Darya Yurgens (Lesnikova). Unfortunately, while the plot is comprehensible, lovers of traditional narrative will find holes here and there that will annoy. If Balabanov wanted to play it loose, he did not go far enough. As a result, we're in the middle of a traditional story and something bordering on the 'mood and symbolism' zone.

The tone of the story is dark, as is traditional for Balabanov, but unlike some of his other films it doesn't really give you anything to take home that is redeeming - it leaves the viewer with a sense of depression. Even in the darker and more gruesome Cargo 200 this is not exactly the case.

The only reason I give this five stars and not less is that on top of the talented cast Balabanov was blessed to work with, the cinematography and art direction are pretty solid, as is the music. But that alone cannot save a film with a script that is good on characters but weak on the genuineness and commitment of plot.

Cargo 200 (2007)

Effective, but very dark

[6/10 · 17 June 2017]

Balabanov considered this to be one of his best films.

Cinematically Cargo 200 is pretty solidly made, it is an effective period piece horror film laden with social commentary on the disintegrating Soviet system, just prior to its collapse a few years later. It discusses police corruption, alcoholism, the black market, the nepotism of the communist party, the Afghanistan war, and the party enforced 'scientific atheism'. It is likely not a coincidence that the key antagonist, played skillfully by Alexei Poluyan, resembles Stalin's head of secret police, Nikolai Yezhov (Poluyan had previously played the role of a ruthless Soviet secret police officer in Rogozhkin's "Chekist"), and that Felix Derzhinsky's bust figures prominently in one shot.

The characters are very real, performances are effective, the cinematic treatment is Balabanov's traditional medium to wide shot (with a more static camera than usual), accompanied by period pop tunes carrying the soundtrack. The drama is suspenseful, and what is implied off screen adds to it.

Personally I would have preferred if the story didn't enter horror territory (something Brother 1 and 2, and even War didn't do), that would make the social commentary more effective and broaden its audience (though Balabanov was a typical Russian director in that he didn't much care for public opinion). Having both combined in one is overload, although if you're a bonafide horror fan (which I'm not) your opinion may differ and feel free to add some more stars to my assessment.

Me Too (2012)

A personal film about mankind's search for happiness

[8/10 · 16 June 2017]

This film (best translated as "Me Too") was Balabanov's farewell to the world - he knew he hadn't long to live, and as such it has deeply spiritual and introspective elements to it (the director himself makes an effective cameo).

The subject bears some similarity to Tarkovsky's Stalker (the idea of people entering a walled off zone in search for a one stop solution to their life problems), including its focus on spiritual questions, but keeping the dialog more natural and accessible as opposed to delving deep into philosophical discussions as in Stalker. Like Tarkovsky it also features long takes - though Balabanov maintains his traditional Scorecese like preference for popular music leading the soundtrack, a more upbeat rhythm to the shots, and affinity for montage.

The film features mostly non-professional actors, all of whom are directed to perfection. The story is easy to follow, the characters have color and authenticity. I would have preferred a little more economy with some sequences, it seems Balabanov slowed his pace a bit compared to his earlier films, but being that this is a film of spiritual contemplation that is not a bad direction to err in. At the same time, Balabanov keeps his sense of humor and that makes the story more fun to absorb. This is definitely a fitting end to a career of a lively director who's body of work is not as known in the west as it should be, and a great invitation to contemplate, in a non-pretentious manner, the question of what 'happiness' is.

Nostalghia (1983)

An artistic statement of high caliber, but not for an unsophisticated audience

[7/10 · 22 May 2017]

Tarkovsky: you either love him or hate him. It's imperative to understand that Tarkovsky is more about mood and imagery than strong driving narrative, although it's untrue that this film lacks narrative (unlike Mirror which is simply a collection of scenes). The story is there in Nostalgia: the characters are all real and fight for their needs and wants - there is conflict. But Tarkovsky is more interested in the feeling of the story rather than clearly communicating plot information and keeping you locked into classical narrative structure.

VERY few filmmakers can do this well, and countless filmmakers try to imitate Tarkovsky and miserably fail, partly because they don't understand that there is a real story happening here - it's just presented in a way that is highly allegorical. This is definitely not 'lazy' filmmaking, or style covering for a lack of technique (Tarkovsky was a highly literate man who could run circles around most Hollywood scriptwriters, and he had the services of Antonioni's screenwriter for Nostalgia). He is simply one of the very few filmmakers who can make a good film without adhering to classical narrative film structure.

As is traditional for Tarkovsky, the actors are all top notch, the cinematography is divine, the sound design is intentional and the music is very judiciously chosen. Nothing is left to chance. And yes, of course there is plenty of water, as with his other films! Would I have enjoyed a more traditional narrative format for a film like this? Yes, which is why I gave this film only seven stars. Tarkovsky could have done a bit more to keep us involved in the story without compromising the mood he was building. But I still gladly accept this film for what it is - it has some absolutely magical, brilliant moments that forever stay in your mind.

If you're new to Tarkovsky, it's probably a better idea to start with some of his more accessible films, such as Ivan's Childhood and Solaris.

Kon Belyy (1993)

An undeniably groundbreaking view of the Russian revolution

[9/10 · 20 November 2011]

This unique dramatic miniseries about the tragic events of the 1917 communist revolution and its aftermath was made in 1993, two years after the Soviet regime had crumbled along with state censorship. It is the first Russian made miniseries about the Russian civil war to have depicted the Bolshevik revolution in a candid, brutally honest light. In this regard it was only paralleled 15 years later with the release of the "Admiral" film and miniseries.

Kon' Beliy (White Horse, named after one of the horsemen in the Apocalypse) follows several characters: the last Tsar and his family, an officer who had once served the last Tsar, two sisters torn between the communist Reds and the anti-communist Whites, the leader of the Russian Siberian anti-communist movement Admiral Kolchak, and a one time White counterintelligence officer who manages to survive in Russia through World War II.

Throughout the film, we see numerous themes: God and country versus revolution, loyalty versus treason, revenge and brutality versus mercy and humanity, love versus separation, and monarchy versus democracy, all on the backdrop of highly tumultuous, historically significant times.

Performances are excellent overall, featuring a number of emerging as well as veteran actors of the Russian screen. The occasional dream sequences can come off as somewhat indulgent, but do not seriously distract from the core of the story. The last 3 episodes which occur in the 1940's require some focus and patience to piece together, but is well worth the payoff.

While the film was shot on a relatively tight budget for a historical project of this scope as compared to "Admiral", it features excellent historical detail, costume, crowd scenes, and sets. Russians, Russophiles, history buffs, and cinema buffs who love a good foreign TV serial will not be disappointed.

Admiral (2009– )

The television miniseries version of the feature film 'Admiral'

[10/10 · 20 August 2011]

This TV miniseries (10 series in total) is the extended version of the two hour long feature film 'Admiral'. While the shorter theatrical version of 'Admiral' centers primarily on the love story between Admiral Kolchak and Anna Timireva, the miniseries is a much more expanded look at the Russian leader's life and struggles during the Russian civil war. Indeed, the theatrical version of this film suffers from being almost too fast paced, because of the need to condense the storyline. Seeing the miniseries puts everything in balance.

'Admiral' is a first in that it moves counter to the trend of Soviet era films, which had a clear political agenda especially when discussing revolutionary history. It also doesn't present the events merely from the side, as with Boris Pasternak's 'Doctor Zhivago'. 'Admiral' puts the viewer right into the seat of the anti-bolshevik movement, offering a realistic, historically respectful perspective of the events of the day. Kolchak is portrayed in a balanced manner as a man who was led by vision, honor, and patriotism, and also as one with a complex human side - torn between loyalty to family, and his passion for Timireva.

Excellent performances are accompanied by quality cinematography, well paced editing, tasteful music, realistic costumes, and rich locations from Siberia to Paris. The battle scenes are realistic while being devoid of Hollywoodisms.

Two points of critique: even though this miniseries manages to cover a lot of territory, it lacks the more laid back pacing of the Soviet era miniseries, such as the 17 Moments of Spring, which allowed more time to absorb scenes. The second critique is that Boyarskaya's portrayal of Timireva while satisfactory is somewhat lacking in depth at times; the substance of the relationship is not sufficiently explored despite the screen time allocated to it. Outside of that, quite a milestone for Russian television and a must see for Russian cinema aficionados and history buffs, if you can find a subtitled version of it...

Admiral (2008)

Finally a chance to see through the glass darkly

[9/10 · 12 June 2011]

Soviet cinema provided us with a myriad films on the Russian revolution and Civil War. While many were artistically engaging, all of them had one mission - to portray the Soviet cause as just and right.

Admiral finally gives audiences an opportunity to see the other side of the story in a human way, without the heavy handed political approach of its Soviet counterparts. It gives you a taste of a Russia that was destroyed after the Bolsheviks sealed their grip on the country. A respectable budget and modern technology allows this film to portray a realism that even Soviet cinema at its prime couldn't match. Everything, from battle scenes to tea parties is very much alive. At the same time, cheap Hollywood-isms are avoided, so if you're looking for a steamy sex scene you'll be disappointed.

The 124 minute version of this film suffers from being a bit rushed, with the romantic story taking center stage which obscures other deep elements of the story. The expanded version is considerably more filling, especially those who enjoy the historical content and a more laid back pace that allows you to absorb.

The Island (2006)

A very spiritually moving film, showing a unique world.

[10/10 · 15 February 2007]

Ostrov gives the viewer a rare and deeper than ever before glimpse at a "starets" (elder) and "iurodivy" (fool for Christ), embodied by the main character Fr. Anatoli. These spiritual figures - unique to Eastern Orthodox Christianity - possess a prophetic spiritual insight, and in the case of the iurodivy use odd behavior and humor to spiritually awaken those around them. The film is set in an isolated skete during Soviet times, when Russian society was forcibly steeped into atheism.

The film's actors deliver top notch performances, the cinematography is excellent, and the sound design is thought through. A great film for those who want to get a truly spiritual experience, and encounter a world that few in the west are familiar with.

Stalin (1992 TV Movie)

Sensationalized TV drama with poor attention to details.

[3/10 · 19 September 2006]

"Stalin" is a sensationalized made for TV drama about the Soviet dictator. Much of the film focuses on Stalin's relationship his first wife, Nadezhda Alleluieva, which tends to dilute the more interesting plot elements. The film also tends to humanize Stalin a bit too much, trying to show his 'tender' side, as well as many of the old Bolsheviks without discussing their own crimes.

The filmmakers seem to be quite ignorant of the way many of the main characters looked and acted - strange given the tremendous access to research materials. Robert Duvall's Stalin is highly reminiscent of an Italian gangster. Lenin, played well by Schell, looks like Bozo the Clown. Bukharin is portrayed by a man who looks nothing like him whatsoever, and has more hair than Bukharin ever had. Conversely, Yezhov is depicted as quite balding and wearing a mustache - neither of which is accurate (even though the actor's eyes and height were dead on). Beria and Yagoda, by contrast, are a closer bet to the real thing. Julia Ormond does very well here.

There are various minor historical errors here and there, coupled with dramatic liberties, but this - sadly - is usual fare for a TV production.

Secret Agent (1947)

The beginning of the World War II Soviet spy thriller

[7/10 · 5 January 2006]

Pavel Kadochnikov stars as an agent of Soviet military intelligence during World War II. The film is one of Soviet cinema's first forays into the World War II spy thriller, which was to reach its climax with the "17 Moments of Spring" miniseries made in 1973.

The film is fairly typical of the Stalin era war films, with a a slight cartoonish aspect to the characters, but pleasantly there is lack of blatant communist/Stalinist propaganda.

The director, Barnet (who plays a Nazi general in the film), favors static wide shots which do not always translate well on television, especially if you are watching a mediocre transfer from an old print. The performances are pretty good, particularly Kadochnikov's. The plot does keep you on the edge although the end is a bit rushed, it almost feels as if Stalin commanded the editor to shorten the end by 50%.

Overall the film is enjoyable for those who like old war flicks.

A Night at the Roxbury (1998)

Good talent put to waste with a contrived script.

[3/10 · 29 April 2003]

The SNL skits I found funny, but placing such a short one line joke into a feature narrative isn't easy. The storyline is decent but not too exciting - what is worse is some of the totally excessive and forced dialog of the side characters (a la Kevin Smith's less polished moments). The ending is very uninventive, typical of comedy writers who view the ending as "we just wanna wrap it up fast" as opposed to making a strong comedic punctuation. This film would have been better if Farrel and Katan had a good long schedule and were allowed to sit down with the others (some of whom are pretty solid actors) and improvise some more scenes and situations. However, with the limited cartoony characters they play, it's not an easy task to make it so interesting to begin with. That said, there are some good simple laughs here, but nothing of the level of humor that even a good Laurel and Hardy film can bring.

Mean Streets (1973)

A formula often imitated, but never duplicated with success.

[8/10 · 9 November 2000]

Scorcese's third feature film (after his first independent experiment, and his little stint with Roger Corman) is the true beginning of his film career. The New York City middle-lower class Italian-American drama was to become his strongest forte (this film, along with Raging Bull and Goodfellas are arguably his most recongized films - along with Taxi Driver), and in Mean Streets this is proven. The themes of catholicism and catholic guilt, the life of organized crime, the spurts of sudden violence, the 60's rock-n-roll soundtrack, and the overlapping dialogue are all here in fine form. The story rings with truth, the characters are genuine and exciting, yet there is no overacting or in-your-face cinematic gimmickery, nor cheap tricks.

Often imitated but never duplicated, one viewing of "Mean Streets" will make any Tarantino flick look like a pale imitation (and most independent crime flicks an imitation of this imitation). Scorcese understands his subject and characters in a way no one else has so far shown. Keitel and Deniro are in their finest form.

"Mean Streets" was initially supposed to be funded by exploitation meister Roger Corman, who wanted it to conform to the nudity-every-ten-pages rule, but Marty decided to get it made independently, which ultimately dragged out the process. Like Stanley Kubrick, Marty hardly made any money off of his third picture. In Marty's case, this was because the Rolling Stones' royalties ate up most of the box office (and had he tried to do the same today, it's likely he would still be in debt).

Coogan's Bluff (1968)

A good, exciting action picture that mixes the western and the city crime drama.

[27 September 2000]

The film borrows from the older city crime dramas adding a new twist, Eastwood's character, a police lieutenant from Arizona who will use any means to apprehend his prey. This film, shot on a relativley tight budget in New York City, captures the dark side of New York City in the late 60's, amidst the "free love" atmosphere. Particularly notable are the sharp fight sequences, the amazing sequence at the "Pidgeon Toed Orange Peel" dance club, and the chase sequence at the Cloisters. This film inspired the "Dirty Harry" series, and also paved the way for cowboy in the big city flicks such as "Midnight Cowboy" (and there are a few interesting resemblances). An overall exciting picture that should keep your interest.

The Wild Angels (1966)

An interesting, pioneering picture with some fun moments, but lots of boring filler.

[8/10 · 3 April 2000]

Roger Corman, the genius of low budget (no budget) exploitation filmmaking, decided to pioneer the 60's biker genre by making this picture about the Hell's angels. He spent time with writer Chuck Griffith hanging out with the Hell's angels, and hearing their stories. Then Corman hired the Angels, along with Peter Fonda (his first succesful movie), Bruce Dern, Nancy Sinatra (Daddy must have not liked this), and Diane Ladd, along with a few others who knew how to deliver their lines when asked for.

The result is a decently entertaining picture (which most Corman films tend to be), but overall full of filler material that gets boring after a while (such as party sequences that go on for a very long time) as a substitute for character and story development (another Corman trademark as well). As the saying goes, "Good, quick, and cheap - pick two". This film, however, wasn't inexpensive according to Corman standards - it cost almost 1 million to make (and it raked in over 3 million in its first week alone, with many bikers rolling in to drive-in cinemas to see it).

For 1966, the content (people clad in swastikas, partying and drinking their lights out in a protestant church, women scantily clad in their underwear, passing the occasional joint, and 2 inexplicit rape sequences) was obviously a shocker. Today a film like this would have been ten times more disguisting and explicit, and the church scene would be milked for it's offensive potential (and it wouldn't be able to earn the profit this one did, given today's consolidated theater market).

The film's visual style is exciting, with some interesting camera movement and handheld camerawork, lending a documentary feel (complete with soft focus shots). The soundtrack does not feature any exciting 60's music, only the usual film score by a jazzy rock band. The performances are not as bad as the dialogue itself - if the judges at the Venice Film Festival spoke English, it is unlikely this film would have made it in. Peter Fonda does not come off as a great Hell's Angel, and his performance is on the stiff side (probably afraid of how his dad might react). However, this film - and Corman's next film, "The Trip" - inspired Peter Fonda and Dennis Hopper to make Easy Rider (which Corman tried to help finance), a considerably better developed, more meaningful picture than this one - in all departments.

The Deer Hunter (1978)

Frightening, extremely real, and unusual, all the same excellent.

[9/10 · 21 November 1999]

Cimino takes the new wave cinema approach together with his own unique, somewhat Kubrick-like style, and paints a picture that is frighteningly too real for words. The performances are 100% true, the photography of Zigmond is seamless - one senses a camera was planted into real life. The performances are always interesting, and never overdone. The casting is fantastic, each actor works to their extreme.

The lack of the usual Hollywood melodramatic approach and political correctness is extremely welcome here, as it gives the audience a lot of room for it's own judgements. The understanding of the subject matter is profound. The film shows what an American can expect to find fighting a foreign war, and how a man can become a foreigner for a long time after he comes home.