#movies
Marla’s philosophy of life was that she might die at any moment.
The tragedy, she said, was that she didn’t.
Fight Club, 1999
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The Shootist is a glorifying nod to John Wayne’s career, but grounded in a desperate ‘70s malaise. One of three films here that include a death wish (a very cinematic sentiment). Hondo (1953) was tonally less effective but less typical in its plot, though simpler. I think this has to do with modern taste: a lot of older films seem deceptively constructed- somehow you expect a turn in the plot, a thriller-like reversal. But Hondo begins its plot, sticks to it, and that’s the movie.
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A Simple Plan is the story of four fairly simple people who begin a moral descent because of money. Its core flaw is Bill Paxton’s character who, it turns out, is unimaginably sick and evil, but never suspected. The denouement I could not buy- one step too far for a melodrama, which the film is, though presented as a thriller. Falling Down is a much better and tonally more interesting film, and though only slightly more visceral, its moral dilemmas are broader, more mature, and it more effectively presents its protagonist’s descent into madness. A classical blend of hubristic tragedy and the hero’s journey. The death wish here is believable whereas in A Simple Plan it offers itself a little too conveniently.
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Dragonslayer and Ladyhawke are both perfect examples of fantasy films made in the '80s: their strengths and flaws are the same. Both films make discerning use of their fantasy elements (a dragon and animal transformations, respectively), and both are marred by terrible scores. Dragonslayer’s composer, Alex North (a good composer elsewhere) offers up an amateur score, replete with incongruent bells and whistles. Ladyhawke does much worse with its '80s synth-based score by Alan Parsons Project which throws the whole film into a tonal tailspin.
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Two classics: Casablanca is a re-watch. Not only a cool-looking movie, but a genuine drama. I don’t think I’ve loved it so much before. Psycho was what everyone says it is: a masterpiece of suspense building. One flaw is the end where a psychologist comes forward to explain the revelations. On the other hand, Hitchcock invents an ending whereas in NBNW the film simply chooses a spot and calls it quits (at Nashville, Tennessee)
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Humphrey Bogart as a Catholic priest in China. He comes, he takes over for a priest who died from the stress of the mission. From the get-go the script is Very Aware of the strangeness of Bogart-As-Man-Of-God. The tone starts out very dour, giving us permission to see this priest (who begins by crossing a river and mountains) as a tired man, perfunctory in his duties. He has excuses and wakes up late. He’s certainly not shy about admitting his attraction to the missionary nurse who assists the irreligious doctor (Dr. Sigmund!!!) and his wife at the hospital. The nurse for her part seems to regard Father O'Shea with respect but secretly falls for him, or so the doctor’s wife tells him, in an effort to save her from staying in China. Bogart is encouragedd to visit the Methodist mission on the other side of the mountain to give the love pinings some space. There are some subplots. Some business about a warlord who won’t attack on certain conditions, a pilot spouse who crashed, and a fun piano scene where Bogart plays and sings (it’s okay, he has enough bravura for the rest of us and somehow pulls it off). Anyways, Bogart goes to the Methodist reverand for a collegial tete-a-tete and it is at this point that we meet The Volta, and the film transforms dramatically (no really, the drama changes) and then refolds back upon itself, ending neatly but with a bit too much self gratification. In no way an unworthy film. There are problems, the ones you’d suspect: dubbing the parishioners, garish chinese-y music (the music in general is overweaning - have the plaintive violins ever made themselves so self-evident?), and despite a brilliant village set and a generous loan by the natural scenery there are no real Chinese characters who matter. On the other hand, the dialogue is pretty snappy and rarely lags. The characters of Dr. Sigmund and his wife Beryl are very capably fleshed out by EG Marshall and Agnes Moorehead. Gene Tierney plays “Scotty” the priest-smitten nurse. The stand out is Bogart as this priest who is (as the film self consciously reminds us) so very magnetic. @humphreybogart #thelefthandofgod #humphreybogart #film #movie #movies #classicfilms (at Nashville, Tennessee)
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I just rewatched Richard Attenborough’s 1977 WWII film, A Bridge Too Far. In a way, it’s no masterpiece at all. It’s really slow and it enjoys its authentic costumes and locations too much– almost giving the actors permission to let go a bit. On the other hand, it’s nicely paced and authentic and it all plays out a bit more like a documentary, with no single protagonist. I’m sure I don’t know enough to comment on historical accuracy, but they sure put their military advisers in the credits. Third time I’ve watched it and my appreciation has grown.
Not sure if this is a series or not, but I’ve got some more films under my belt that I’ve been meaning to watch for years, and finally have.
#movies #abridgetoofar #seanconnery #richardattenborough #film #1977 (at Nashville, Tennessee)
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friday the 13th (1980) // the shining (1980)
The more I feel backed into a corner, the more rewarding it becomes when I figure my way out of the corner.
Steven Spielberg in HBO’s documentary Spielberg
introducing how steve’s show would’ve gone if bucky was still with the 107th:
bucky: sTeve?
someone else: that’s steve? barnes’ steve?
someone else: i thought he was supposed to be smaller?!
bucky: SO DID I.
*proceeds to drag steve’s punk ass off the stage*
