This was the most popular Canadian made movie in 1994, and it was made and shown completely to a French audience. Dubbed into English for later showing on television, it is still charming and entirely watchable, if no great work of cinema. Moreover, at least two major Hollywood productions on the exact same theme, "The Truman Show" and "Ed TV" were made well after this movie was released. But the real shame of Louis 19th is that almost all of the most popular and successful Canadian films of the past decade were made in Quebec in French for a Quebec audience. In addition to that, they proudly show off their Canadianness (in this case, by the main character talking about local children's TV shows, like the fondly remembered "Razzle Dazzle"). Meanwhile, this is the only year in a long time where there has been any really watchable films made in English Canada that are distinctly Canadian - "Duct Tape Forever" and "Men With Brooms". Meanwhile, Quebec continues year after year to turn out distinctively Canadian films like "Les Boys" (about hockey, you can't get more Canadian than that). Its not about money or talent - there are lots of great Australian films to choose from, and their industry thrives while English Canada's continues to die on the vine making cheap imitations of Hollywood movies.
Reviews
18 Reviews
Father Ted
(1995–1998)
Incredibly funny
4 June 2002
One new year's eve while changing video tapes this show was playing on the channel the VCR was tuned to. Even watching a short snippet of this show you can't help but laugh out loud at some of the gags, and the outright outrageousness of it all kept you watching.
In the meantime, I've had the chance to watch full episodes which are more brilliant than most comedy series I've ever seen. Unlike previous series featuring priests which often focus on their religious beliefs to come to some poignant point, "Ted" focuses in on the humanity of the priests. As a group, they are ultra-competitive to the point of obsession, whether it be a look-alike contest or a soccer match.
The viewer identifies with Father Ted, who is the sanest of the bunch, but his basic competence is tested by those around him; the younger Father Dougal, who combines naivety with stupidity; the elder Father Jack who seems to be on a permanent bender, and their dotty but well meaning housekeeper. Like most of us, Ted feels he is surrounded by incompetence and longs for escape to a more cosmopolitan environment, but always fails to achieve it.
In the meantime, I've had the chance to watch full episodes which are more brilliant than most comedy series I've ever seen. Unlike previous series featuring priests which often focus on their religious beliefs to come to some poignant point, "Ted" focuses in on the humanity of the priests. As a group, they are ultra-competitive to the point of obsession, whether it be a look-alike contest or a soccer match.
The viewer identifies with Father Ted, who is the sanest of the bunch, but his basic competence is tested by those around him; the younger Father Dougal, who combines naivety with stupidity; the elder Father Jack who seems to be on a permanent bender, and their dotty but well meaning housekeeper. Like most of us, Ted feels he is surrounded by incompetence and longs for escape to a more cosmopolitan environment, but always fails to achieve it.
Greed
(1924)
Lost classic
14 September 2001
The original cut of this film ran to nine hours, but was cut to death for its premiere to about three, and later to its current length of about two and a half. At this length it's plot, which covers decades, whips by like a fighter jet, with character development taking second place. It is easy to see how the longer running time would help us understand how the female lead, played without a trace of sympathetic intent by Zasu Pitts, slowly developed from a generous and loving young woman to a miserly divorcee. As it is, we only get to see glimpses of the process, and they pass by far too quickly.
The full nine hour version lasted until about 1960, when it was sold for scrap.
One particularly good cinematic device is the metaphor using a pair of lovebirds to represent the couple. The birds are allowed the free range of the emotions the characters feel, while the characters themselves are remarkably restrained - rare in a film of this era.
Put aside 2 1/2 hours to watch it someday. It will go by like half an hour.
The full nine hour version lasted until about 1960, when it was sold for scrap.
One particularly good cinematic device is the metaphor using a pair of lovebirds to represent the couple. The birds are allowed the free range of the emotions the characters feel, while the characters themselves are remarkably restrained - rare in a film of this era.
Put aside 2 1/2 hours to watch it someday. It will go by like half an hour.
Airplane!
(1980)
A superior comedy
11 August 2001
The movie is full of bad gags and jokes that may be in poor taste, but no parody of a genre made before it was better and no copy of this film made after it came close. Truly the zenith of the genre.
The film comes off so funny because at no point do the actors let themselves in on the joke. It takes the plot of "Flight Into Danger" and plays it straight for laughs, punching holes in all of the plot gaps and cliched dialogue that have plagued the suspense movie and the disaster movie for decades before it. It probably killed the "Airport" series outright, a feat that had only been accomplished by "Blazing Saddles" (which killed the Western) before it. However, where "Saddles" went for the laughs big time and suffers from overacting, all the gags of "Airplane!" are throwaways and the actors, although caught in a melodrama of epic proportions, keep their emotions tightly in check. Those who don't got slapped silly. Perfectly cast is Julie Haggerty whose anxious manner and tiny voice keep a check on lines that any other actress would play to the hilt ("By the way, does anyone back there know how to fly a plane?").
Unfortunately, the sequel deliberately went for laughs and fell a little flat. Moreover, the remainder of the Abrhams Abrhams Zucker films, although great in their way, forgot the formula that made the first such a classic. The only thing that comes close is the original "Police Squad" television series with Peter Lupus in the role O.J. Simpson practiced his acting skills on.
The film comes off so funny because at no point do the actors let themselves in on the joke. It takes the plot of "Flight Into Danger" and plays it straight for laughs, punching holes in all of the plot gaps and cliched dialogue that have plagued the suspense movie and the disaster movie for decades before it. It probably killed the "Airport" series outright, a feat that had only been accomplished by "Blazing Saddles" (which killed the Western) before it. However, where "Saddles" went for the laughs big time and suffers from overacting, all the gags of "Airplane!" are throwaways and the actors, although caught in a melodrama of epic proportions, keep their emotions tightly in check. Those who don't got slapped silly. Perfectly cast is Julie Haggerty whose anxious manner and tiny voice keep a check on lines that any other actress would play to the hilt ("By the way, does anyone back there know how to fly a plane?").
Unfortunately, the sequel deliberately went for laughs and fell a little flat. Moreover, the remainder of the Abrhams Abrhams Zucker films, although great in their way, forgot the formula that made the first such a classic. The only thing that comes close is the original "Police Squad" television series with Peter Lupus in the role O.J. Simpson practiced his acting skills on.
Gone with the Wind
(1939)
Just one heck of a good film
19 June 2001
OK, ignore the happy slaves and the lies about reconstruction and the dedication of southerners to the war. If you ignore the historical blunders, this is one heck of a good movie. The plot of the beautiful but headstrong Scarlett O'Hara lusting after the handsome young Ashley Wilkes, even after he marries, would be interesting on its own. Throw in the chaos caused by the war and you have one rip-roaring story. Turn Scarlett's real personal tragedy into a justification for treating everyone else like dirt and you have one of the best movies of all time, with the famous ending just being the coup de grace for Scarlett ignoring her own feelings all along in favour of avarice. If you've never seen this film, do yourself a favour and put aside the three and a half hours - you won't regret it. Maybe a double feature with "Judgment at Nuremberg" the next time you have to stay up all night.
Goin' Down the Road
(1970)
Rite of Passage
28 April 2001
Most Canadians have seen this film and any Canadian who hasn't should. It is probably the equal of any other low budget film of this era (think Five Easy Pieces) and thirty years later, no film has come near to it in touching the alienation of the Maritimes from the rest of Canada. It has been ruthlessly parodied (by SCTV) and I can still remember the first time I saw it, in a high school showing during a slow day in 1976-1977.
While several other films have covered the plot line of men seeking a better life elsewhere (The Grapes of Wrath?), once again we find our two protagonists moving west for a better life. For a while, it seems they have found it - a job at the then princely sum of $80 per week (the minimum wage for the time by the way). However, their new found consumer lifestyle can't save them from the fact that they have left their family behind. When trouble inevitably comes, they find no-one to turn to and get increasingly more desperate. The acting is dead on and the story moves slowly. Had low budget continued to rule the way it did until 1977, there may have been many more like these. Regrettably, only Australia has managed to maintain a film industry, and it ain't just because of Mel Gibson.
While several other films have covered the plot line of men seeking a better life elsewhere (The Grapes of Wrath?), once again we find our two protagonists moving west for a better life. For a while, it seems they have found it - a job at the then princely sum of $80 per week (the minimum wage for the time by the way). However, their new found consumer lifestyle can't save them from the fact that they have left their family behind. When trouble inevitably comes, they find no-one to turn to and get increasingly more desperate. The acting is dead on and the story moves slowly. Had low budget continued to rule the way it did until 1977, there may have been many more like these. Regrettably, only Australia has managed to maintain a film industry, and it ain't just because of Mel Gibson.
Fleur bleue
(1971)
A great Canadian film, but that's not saying much
24 April 2001
Before the censors got a hold of it, this one was on late night Canadian TV a number of times. As Canadian late night pushed the bounds of nudity, this half-decent effort got a lot of airplay to help with the then fledgling Global network get its start.
PLOT POINTS TO FOLLOW - WARNING
Mind you, there wasn't a lot of nudity in this film. Moreover, the story is a good one. A French Canadian young man without a direction lives a life of crime with his girlfriend's brother. On a temporary job on a commercial shoot, he meets a beautiful young English Canadian woman (Susan Sarandon in a very early role) and they enter into a relationship. He tries to break it off with his old girlfriend, but she won't let him go. When he then tries to turn away his new girlfriend, he can't bring himself to do it. There is a tragic end to this love triangle as his life finally catches up to him. Don't expect a happy ending. Come to think of it, this is one of the few films in Canada to explore the difficulty of being a French Canadian from a political and economic standpoint, but how we all wind up getting along in the end.
PLOT POINTS TO FOLLOW - WARNING
Mind you, there wasn't a lot of nudity in this film. Moreover, the story is a good one. A French Canadian young man without a direction lives a life of crime with his girlfriend's brother. On a temporary job on a commercial shoot, he meets a beautiful young English Canadian woman (Susan Sarandon in a very early role) and they enter into a relationship. He tries to break it off with his old girlfriend, but she won't let him go. When he then tries to turn away his new girlfriend, he can't bring himself to do it. There is a tragic end to this love triangle as his life finally catches up to him. Don't expect a happy ending. Come to think of it, this is one of the few films in Canada to explore the difficulty of being a French Canadian from a political and economic standpoint, but how we all wind up getting along in the end.
Gambit
(1966)
Plot twist after plot twist
15 April 2001
Note! Minor plot points to be discussed. Proceed at your own risk.
One of my favourite genres - the caper movie! In most caper movies, the plan goes perfectly, at least until the heist is over. However, this one is probably unique as the careful plans of our chief thief, Michael Caine, keep going horribly horribly wrong, and right from the beginning to boot. Shirley MacLaine as his female accomplice and Herbert Lom as the "unwitting" victim are allowed their full range of intelligence and emotion as move follows countermove and bad descends to worse. The final plot twist at the end preserves a happy ending for everyone. Definitely worth a look, if you can find a copy or its playing late night.
One of my favourite genres - the caper movie! In most caper movies, the plan goes perfectly, at least until the heist is over. However, this one is probably unique as the careful plans of our chief thief, Michael Caine, keep going horribly horribly wrong, and right from the beginning to boot. Shirley MacLaine as his female accomplice and Herbert Lom as the "unwitting" victim are allowed their full range of intelligence and emotion as move follows countermove and bad descends to worse. The final plot twist at the end preserves a happy ending for everyone. Definitely worth a look, if you can find a copy or its playing late night.
The Hunt for Red October
(1990)
Fan favourite
13 April 2001
I have avoided the rest of the "Jack Ryan" films that were cast with Harrison Ford in the role, and I will rue the day Alec Baldwin asked for more money to do the sequel after he was cast in this, the first Tom Clancy novel to go to film. Ford is just too old for the part - Baldwin is perfect as the confident about his expertise but limited to book learning Ryan, thrust into a situation seemingly beyond his abilities and straight into his deepest fears.
However, again and again I come back to this film. It is well structured with an excellent supporting cast (among them Tim Curry, Scott Glen and Joss Ackland stand out) and no favouritism to either the protagonist Ryan or the antagonist Ramius (played with understated beauty by Sean Connery, who is the right age for his role). The climax is followed by one of the most exciting denouements in cinema history.
The man to thank for this wonderful piece of work is probably director John McTiernan, most famous for his "Die Hard" movies. As I look back on his work I realize how many of them number among my favourites and how few look like missteps (although the delay in the release of his much anticipated remake of "Rollerball" looks like a cloud on the horizon).
However, again and again I come back to this film. It is well structured with an excellent supporting cast (among them Tim Curry, Scott Glen and Joss Ackland stand out) and no favouritism to either the protagonist Ryan or the antagonist Ramius (played with understated beauty by Sean Connery, who is the right age for his role). The climax is followed by one of the most exciting denouements in cinema history.
The man to thank for this wonderful piece of work is probably director John McTiernan, most famous for his "Die Hard" movies. As I look back on his work I realize how many of them number among my favourites and how few look like missteps (although the delay in the release of his much anticipated remake of "Rollerball" looks like a cloud on the horizon).
Spy Kids
(2001)
Loads of fun for everyone
10 April 2001
One of a few films that can appeal to children and adults - appropriate behaviour, but doesn't talk down to you and totally unsentimental. Add to that an incredibly strong cast (Antonio Banderas, Alan Cumming, Tony Shaloub, Cheech Marin, Teri Hatcher). Also, a comedy where the characters take themselves seriously - don't look for the Burt Reynolds "wink and a nod" school of comedy here. The performances are so restrained in what is, after all, a satire of spy films, that you can forgive the occassional bit of overacting.
The film has at is core a very adult theme, secrets and how they can keep us from getting close to each other. This family is in trouble because they are all keeping secrets from each other - the big secret being that mom and dad are spies, a fact they hide from their kids who are incredulous when they learn the truth. However, that's just the biggest of a web of tiny lies that unravel quickly as the plot unfolds.
I can't wait to add this to my video collection. I'm also hoping that there will be a sequel.
The film has at is core a very adult theme, secrets and how they can keep us from getting close to each other. This family is in trouble because they are all keeping secrets from each other - the big secret being that mom and dad are spies, a fact they hide from their kids who are incredulous when they learn the truth. However, that's just the biggest of a web of tiny lies that unravel quickly as the plot unfolds.
I can't wait to add this to my video collection. I'm also hoping that there will be a sequel.
Ed Wood
(1994)
Lovely little movie
18 February 2001
It is strange that director with the obvious talents of Tim Burton would chose to make a film about the worst filmmaker who ever lived. However, in light of recent research about the inability of the incompetent to know they are incompetent, it seems to be a clear case study of just such a person.
That being said, despite the fact the film didn't make any money (despite costing next to nothing to make), the film is well put together and compelling in its own way. Moreover, considering the budget of Burton's previous movies (Batman, Batman Returns) and the weaknesses of the subsequent one (Mars Attacks), this one stands up with his better work. Burton seems to cast by random chance (Michael Keaton as Batman!), but instead he seems to know exactly what an actor is capable of. Johnny Depp as Wood is allowed to be the only one who is allowed to be in on the joke, yet ironically he is the only character who can't see the folly of his ways. He brings a passion to Wood that isn't there in real life (check out Wood's own performance in Glen or Glenda), but his passion for his work brings us sympathy as he goes from botched production to botched production.
Martin Landau also seems miscast as Bela Lugosi (the real Lugosi would have appeared to be a midget against the much taller Landau), but like Lugosi's stand-in in "Plan 9", he too manages to walk the fine line between passion and overacting.
Thus while Wood fails as a director, he succeeds as a human being. He may have made the world's worst films, but at least he made a modest living doing what he enjoyed doing and lived out his dream.
That being said, despite the fact the film didn't make any money (despite costing next to nothing to make), the film is well put together and compelling in its own way. Moreover, considering the budget of Burton's previous movies (Batman, Batman Returns) and the weaknesses of the subsequent one (Mars Attacks), this one stands up with his better work. Burton seems to cast by random chance (Michael Keaton as Batman!), but instead he seems to know exactly what an actor is capable of. Johnny Depp as Wood is allowed to be the only one who is allowed to be in on the joke, yet ironically he is the only character who can't see the folly of his ways. He brings a passion to Wood that isn't there in real life (check out Wood's own performance in Glen or Glenda), but his passion for his work brings us sympathy as he goes from botched production to botched production.
Martin Landau also seems miscast as Bela Lugosi (the real Lugosi would have appeared to be a midget against the much taller Landau), but like Lugosi's stand-in in "Plan 9", he too manages to walk the fine line between passion and overacting.
Thus while Wood fails as a director, he succeeds as a human being. He may have made the world's worst films, but at least he made a modest living doing what he enjoyed doing and lived out his dream.
This Is Spinal Tap
(1984)
Seriously funny
9 February 2001
If you didn't recognize many of the actors, you would be excused for thinking this was a real documentary. The action seems spontaneous and even thought this feature could be described as having reverse dramatic irony (the actors know what's happening but we don't) or elements of a Greek tragedy (the actors know what's going to happen, but can't prevent it), the fact you know its not a real documentary doesn't detract from the movie's charm. The actors treat their roles with utter seriousness - this is not an "Airplane" style spoof of the genre, and as a result, the humour runs the gamut from the sublime (the band members acting genuinely confused about why their mock bondage album cover "Sniff the Glove" might be deemed sexist) to the drop dead funny (midgets dancing around desperately undersized replicas of Stonehenge).
The movie also walks a fine line between the scripted plot and much of the improvised dialogue. We have a group of actors here so skilled in improvisation that its scary how they can't be thrown by the reactions of their fellow actors. However, despite this, the characters are totally consistent and often easy to understand and empathize with.
All in all, instead of having a comedy with funny line or slapstick, we have one that puts the actors in an otherwise tragic situation and uses their own denial about it to draw the humour out. We laugh because we foresee the decline and fall of Spinal Tap, we know the actors know whats coming, but still their characters, in the face of all evidence to the contrary, believe that the iceberg will somehow move out of the way before the ship hits it.
The movie also walks a fine line between the scripted plot and much of the improvised dialogue. We have a group of actors here so skilled in improvisation that its scary how they can't be thrown by the reactions of their fellow actors. However, despite this, the characters are totally consistent and often easy to understand and empathize with.
All in all, instead of having a comedy with funny line or slapstick, we have one that puts the actors in an otherwise tragic situation and uses their own denial about it to draw the humour out. We laugh because we foresee the decline and fall of Spinal Tap, we know the actors know whats coming, but still their characters, in the face of all evidence to the contrary, believe that the iceberg will somehow move out of the way before the ship hits it.
The Silence of the Lambs
(1991)
Thriller for Thriller haters
8 February 2001
This film is supposed to be scary, and it is. The tension throughout is unbelievable. However, unlike others in the "thriller" or "horror" genre, the horror is never gratuitous or hard to take. As such, being a hater of this genre, I only got around to watching this several years after it was made. Now I wish I had seen it before.
Unlike the villains who cut and slash in the standard horror films, we understand that the psychos in this film have motivation. You actually feel empathy for these people, even the man who doesn't have any - Hannibal Lecter. You feel sorry that this obviously cultured, intelligent and, yes, dedicated man is trapped not in a prison, but by the fact his brain can't stop him from carrying out the worst things he can imagine. As such, this film sheds as much light on the criminally insane as any twelve films that could be made about Charles Manson or any of his ilk. Demme actually tries to understand what makes Hannibal the man he is, and in the end we start to understand as well.
Add to this an excellent plot, engaging characters, and "good guys" that seem more out of it than the villains and you have a must see movie even for the most squeamish.
That being said, I hope the sequel can live up to the original. I have my doubts, but all being said, I hope Ridley Scott pulls it off.
Unlike the villains who cut and slash in the standard horror films, we understand that the psychos in this film have motivation. You actually feel empathy for these people, even the man who doesn't have any - Hannibal Lecter. You feel sorry that this obviously cultured, intelligent and, yes, dedicated man is trapped not in a prison, but by the fact his brain can't stop him from carrying out the worst things he can imagine. As such, this film sheds as much light on the criminally insane as any twelve films that could be made about Charles Manson or any of his ilk. Demme actually tries to understand what makes Hannibal the man he is, and in the end we start to understand as well.
Add to this an excellent plot, engaging characters, and "good guys" that seem more out of it than the villains and you have a must see movie even for the most squeamish.
That being said, I hope the sequel can live up to the original. I have my doubts, but all being said, I hope Ridley Scott pulls it off.
All the President's Men
(1976)
Good film, with weaknesses
8 February 2001
Unlike many films "based on a true story", this one manages to find a lot better balance between fact and fiction, compared to say, "The Perfect Storm" which sacrifices accuracy to get the story across. It's always a tough balancing act, but this film pulls it off brilliantly, driving the narrative forward with naturalistic acting, dialogue and situations. There's no overacting in this movie.
That being said, and the film definitely being worth a look, it does suffer from a couple of major weaknesses. First is the audio track. Throughout the film, it is barely audible, and straining to listen often detracts from trying to follow the plot. Since the plot is by no means easy to follow, this is a major failing. The second is the "sudden denouement" syndrome that seems to infect Hollywood every once in a while. These guys brought down the president, but the story stops well short of that point. Instead of following the story to its natural conclusion, it sums it all up. Its like ending Henry V after the Battle of Agincourt. I think this was done to keep the movie short (it runs about 2 1/2 hours as it is), but studio types have to learn that if a movie is good (think Shoah, Greed or the "Star Wars" Nonology once it is finished), people will sit enthralled for hours rather than walk away.
That being said, and the film definitely being worth a look, it does suffer from a couple of major weaknesses. First is the audio track. Throughout the film, it is barely audible, and straining to listen often detracts from trying to follow the plot. Since the plot is by no means easy to follow, this is a major failing. The second is the "sudden denouement" syndrome that seems to infect Hollywood every once in a while. These guys brought down the president, but the story stops well short of that point. Instead of following the story to its natural conclusion, it sums it all up. Its like ending Henry V after the Battle of Agincourt. I think this was done to keep the movie short (it runs about 2 1/2 hours as it is), but studio types have to learn that if a movie is good (think Shoah, Greed or the "Star Wars" Nonology once it is finished), people will sit enthralled for hours rather than walk away.
M*A*S*H
(1970)
Mish M*A*S*H
28 January 2001
M*A*S*H made the reputation of its director Robert Altman, but although Altman's talents are considerable, I think he pulled off a fast one here. The plot careens from place to place, the story doesn't really go anywhere, the script is disjointed, and we don't get nearly the sense of the brutality of war that we see in other films of this period, even the ones that weren't nearly as entertaining. Heck, the TV series did a better job of looking into the utter futility of war. The surgical scenes are somewhat gruesome, but hardly shocking.
I think the sucess of the film and its obvious entertainment value (you will like watching this film) is due to a five star cast from top to bottom. The actors who deservedly made their reputation in this film and give fine performances throughout are Donald Sutherland, Elliott Gould, Robert Duvall, Sally Kellerman, Gary Burghoff and Bud Cort, and that's just the A-team. Heck, I could make a good movie today with just those people. From the stoic Trapper John to the bible thumping adulterer Frank Burns, the characters ring true and are fully fleshed out.
I think the sucess of the film and its obvious entertainment value (you will like watching this film) is due to a five star cast from top to bottom. The actors who deservedly made their reputation in this film and give fine performances throughout are Donald Sutherland, Elliott Gould, Robert Duvall, Sally Kellerman, Gary Burghoff and Bud Cort, and that's just the A-team. Heck, I could make a good movie today with just those people. From the stoic Trapper John to the bible thumping adulterer Frank Burns, the characters ring true and are fully fleshed out.
Rebel Without a Cause
(1955)
Watch "Giant" instead
26 January 2001
James Dean's first movie and a credible performance. Too bad the movie's plot is a bit contrived and the acting, including Dean's, seems very strained at times - as if the actors were going to start laughing out loud at the hackneyed lines in the script.
One would have hoped that with this movie's reputation and solid cast, it might have held up better over the last forty-odd years. The movie tries to explore just why our protagonist is going through a tough time in his life. Every other teenage angst movie made since came up with the correct answer - that's what happens to teenagers. The premise of the movie is that Dean's behaviour is "unusual" for a teenager of that generation despite the fact that every other teenage character in the movie is going through the same thing, even though their mothers don't pick-up and move when their kids get in trouble.
The best you can say about this film is all of the cast takes it seriously. For a 60's baby like me (okay, late 1950's), seeing Ed Platt as anything else than "The Chief" and Jim Backus as anyone other than "Mr. Howell" is a treat in itself. In one famous and outrageous scene, the emasculated Backus, playing Dean's father, is dressed in a frilly apron and preparing dinner while he talks to his son about problems he really doesn't understand. You try doing that with a straight face. Rounding out the cast are Sal Mineo and a very young Natalie Wood.
Watch this strictly for historical purposes, not to be entertained. Dean only made three movies, so even though I haven't seen either of them, they've got to give his considerable talents a better chance at expression than this exploitation flick did.
One would have hoped that with this movie's reputation and solid cast, it might have held up better over the last forty-odd years. The movie tries to explore just why our protagonist is going through a tough time in his life. Every other teenage angst movie made since came up with the correct answer - that's what happens to teenagers. The premise of the movie is that Dean's behaviour is "unusual" for a teenager of that generation despite the fact that every other teenage character in the movie is going through the same thing, even though their mothers don't pick-up and move when their kids get in trouble.
The best you can say about this film is all of the cast takes it seriously. For a 60's baby like me (okay, late 1950's), seeing Ed Platt as anything else than "The Chief" and Jim Backus as anyone other than "Mr. Howell" is a treat in itself. In one famous and outrageous scene, the emasculated Backus, playing Dean's father, is dressed in a frilly apron and preparing dinner while he talks to his son about problems he really doesn't understand. You try doing that with a straight face. Rounding out the cast are Sal Mineo and a very young Natalie Wood.
Watch this strictly for historical purposes, not to be entertained. Dean only made three movies, so even though I haven't seen either of them, they've got to give his considerable talents a better chance at expression than this exploitation flick did.
Hilarious, thought provoking and touching
14 January 2001
South Park The Movie is, of course, a movie about the reaction to movies like South Park The Movie. Terrance and Phillip The Movie - the fictional piece that drives the plot is, like South Park, designed for adults but with attractions for children, as all things adult are. When our heroes are "corrupted" by the film, the film becomes the source of all of societies ills and the battle to destroy it and everything related to it escalates to full scale warfare.
Along the way, the unabashed language actually hits several major funny bones once you get over the shock. Like the boys, you enjoy mastering the shock and using the language to shock others, then blaming the movie for your behaviour. The broad satire of a manipulative Saddam Hussein, pursuing his own agenda, could actually make you bust a gut laughing.
But it was the empathy which you feel for the characters that actually made this movie special. Your sympathies are for the characters with real problems like poor little Kenny (punished severely for missing church), Satan (in a disfunctional relationship), and Chef (once again being treated to a large helping of casual racism). The characters who think they have a problem, like Kyle's crusading mother, get less sympathetic as the film goes on and their concern about the well being of their children grows. However, all's well that ends well, and everyone (well, almost everyone) winds up being redeemed, even good old Satan.
Along the way, the unabashed language actually hits several major funny bones once you get over the shock. Like the boys, you enjoy mastering the shock and using the language to shock others, then blaming the movie for your behaviour. The broad satire of a manipulative Saddam Hussein, pursuing his own agenda, could actually make you bust a gut laughing.
But it was the empathy which you feel for the characters that actually made this movie special. Your sympathies are for the characters with real problems like poor little Kenny (punished severely for missing church), Satan (in a disfunctional relationship), and Chef (once again being treated to a large helping of casual racism). The characters who think they have a problem, like Kyle's crusading mother, get less sympathetic as the film goes on and their concern about the well being of their children grows. However, all's well that ends well, and everyone (well, almost everyone) winds up being redeemed, even good old Satan.
12 Monkeys
(1995)
A Philosophical Odyssey
14 January 2001
Several films have examined the classic form of the Greek Tragedy, but none with more sophistication than this and due mention to the Greek myth of Cassandra that drives such plots. Although Bruce Willis is in classic "detached man with an important mission" mode, he shows why you've got to see him outside of an action film in order to gauge his worth as an actor. His restraint in the role of a man not quite sure whether the disaster he foresees is real or just a figment of his own mind helps to allow the viewer to wonder whether it all might be a dream. During the movie, you have more faith in Bruce's mission than Bruce does.
In the end, like many movies of this type, including ones with happy endings (think "Terminator 2" or any of the many time travel episodes of Star Trek), you have to wonder whether prescience is actually something to be envied or whether knowing the outcome is actually enough to alter it.
In addition, Terry Gilliam is one of my favourite directors merely for the sense of style he gives to the cinematography. Even a stinker like "Fear and Loathing in Las Vegas" treats every shot like a masterpiece of art and this film is no exception.
In the end, like many movies of this type, including ones with happy endings (think "Terminator 2" or any of the many time travel episodes of Star Trek), you have to wonder whether prescience is actually something to be envied or whether knowing the outcome is actually enough to alter it.
In addition, Terry Gilliam is one of my favourite directors merely for the sense of style he gives to the cinematography. Even a stinker like "Fear and Loathing in Las Vegas" treats every shot like a masterpiece of art and this film is no exception.
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