Scattered plot and relationships. Rate it 5 stars.
Reviews
204 Reviews
The Tenant
(1976)
Inreresting but not very realistic
30 October 2018
Warning: Spoilers
I'm a clinical psychologist who worked at Topeka State Hospital (1962-76) and had a number of psychotics in both group and individual therapies. That was in an era when it was thought that people developed "insanity" due to some earlier unfortunate experiences which later became manifested by psychotic distortions of the ways they perceived and responded to reality. The plot for this movie was written during that era and reflected that belief -- (which is incorrect).
There are several different types of insanity: several forms of schizophrenia which is largely caused by genes and which typically becomes manifested in certain age ranges; manic-depressive psychoses, again caused by genes and typically manifested in certain age ranges; and a far more rare psychosis as a reaction to a strong psychic injury. The plot of this movie does not follow any of the developments now known to lead to a psychosis such as the lead character came down with. But it did make an interesting story for those unfamiliar with current practices or those who can temporarily suspend them.
The Madwoman of Chaillot
(1969)
Quite different from the play on which it's based
2 May 2018
I'm in a play reading group and we often watch a movie based on a play we've read when one's available. Similarities are that a group of wealthy Parisian men find that there's oil underground in Paris and want top scatter derricks all over the city to get it. The countess is opposed to the plan. Among the differences are that she does away with all the ____. Still, it's a worthwhile movie with a fabulous cast of characters.
The Yellow Rolls-Royce
(1964)
Very different; interesting but I wouldn't want to see more like it.
10 April 2018
I wouldn't like other movies to be like this but this was interesting as a one-off. Four different couples are involved in the serial (progressive) ownership or use of a yellow Rolls so there are 4 different stories to begin, develop, and finish within the movie's length, giving each about a half hour. A number of famous actresses and actors play the roles.
White Dog
(1982)
Pertinent drama; iffy retraining techniques
13 February 2018
Warning: Spoilers
I have no problem with the anti-racist bias here. I DO have MAJOR problems with the techniques used in re-training the dog out of his racial bias. Possibly the author of the original story (and the film people) consulted only local dog trainers? My background (although a professional PhD clinical psychologist, now retired) includes 7 years study on my PhD in learning theory which also included teaching many fellow PhD candidates.
This film's authors, directors, & screen writers obviously did not consult with any scientific university experts on the learning and retraining principles involved. As is, it makes an emotionally compelling story and worthwhile story but a flawed one.
Why have the retrainer be one single black man -- why not have many blacks, of many ages and both genders? That's what any adequate retraining regime would have done. And why use a full size burger as a reward? In learning (and retraining) positive results do NOT depend on the size of the reward but upon its frequency of occurrence and immediacy to the desired response and desirability. While these are critical, important points in any effective retraining procedure, they are not those most people would be aware of.
This film's authors, directors, & screen writers obviously did not consult with any scientific university experts on the learning and retraining principles involved. As is, it makes an emotionally compelling story and worthwhile story but a flawed one.
Why have the retrainer be one single black man -- why not have many blacks, of many ages and both genders? That's what any adequate retraining regime would have done. And why use a full size burger as a reward? In learning (and retraining) positive results do NOT depend on the size of the reward but upon its frequency of occurrence and immediacy to the desired response and desirability. While these are critical, important points in any effective retraining procedure, they are not those most people would be aware of.
Purple Noon
(1960)
Interesting but unrealistic IMO
30 January 2018
Warning: Spoilers
I haven't read Patricia Highsmith's novel on which this film is based but I gather from those who have that it's an excellent adaptation. I thought the acting was superb by the 3 main characters and the settings were great. The director made a few minor blunders on sailing the sailboat (I've owned and raced 10 sailboats over a 50 year span, one almost as large as the one in this film).
But I'm also a clinical psychologist (retired) and I cannot imagine anyone being so consistently adept as Tom Ripley in faking so many things so, to me, the story was very unrealistic. However, since its plot apparently follows that in the novel very closely -- probably 10 of 10 stars worth -- it is a worthwhile film.
But I'm also a clinical psychologist (retired) and I cannot imagine anyone being so consistently adept as Tom Ripley in faking so many things so, to me, the story was very unrealistic. However, since its plot apparently follows that in the novel very closely -- probably 10 of 10 stars worth -- it is a worthwhile film.
Au hasard Balthazar
(1966)
PLEASE read reviews of it first before seeing this
28 November 2017
Warning: Spoilers
I've just finished seeing this in a monthly foreign film series and wish I could give it two different ratings -- probably a "2" because I kept trying to figure out its plot and couldn't but also an "8" or "9" because it does show that in living, as Balthazar experienced in this film, many of us go through a number of very different experiences. Seeing this film without first having read any reviews or with any advance knowledge of its message, it was finally that latter view that I arrived at after giving up on trying to figure out "the plot."
Pygmalion
(1938)
EXCELLENT movie
20 September 2017
Our play reading group (of retired university peeps & spouses) recently finished Shaw's "Pygmalion" and -- as we often do when available -- show a film of the play we've just read for both our play reading group plus any of the hundred or so other retiree members who'd like to attend.
We thought that this 1938 film was absolutely superb. It fully captured Professor Higgins' lack of any personal concern for Eliza, her growth and developing inner conflict, and Col. Pickering's valuable humanity with Eliza. Almost all the characters were very nicely and fully brought to life except, IMO, perhaps one and that's Eliza's father, Alfred Doolittle. While this film does give an initial view of him that's quite adequate (e.g., in his willingness to "sell" Eliza for 5 pounds), it's not quite as detailed or adequate (IMO) as the play in depicting his misery as the recipient of a grant that makes him wealthy. (But that's a small point and perhaps mainly just me.)
A TRULY EXCELLENT film -- Wendy Hiller as Eliza is absolutely SUPERB!
We thought that this 1938 film was absolutely superb. It fully captured Professor Higgins' lack of any personal concern for Eliza, her growth and developing inner conflict, and Col. Pickering's valuable humanity with Eliza. Almost all the characters were very nicely and fully brought to life except, IMO, perhaps one and that's Eliza's father, Alfred Doolittle. While this film does give an initial view of him that's quite adequate (e.g., in his willingness to "sell" Eliza for 5 pounds), it's not quite as detailed or adequate (IMO) as the play in depicting his misery as the recipient of a grant that makes him wealthy. (But that's a small point and perhaps mainly just me.)
A TRULY EXCELLENT film -- Wendy Hiller as Eliza is absolutely SUPERB!
La La Land
(2016)
A new form of musical movie
3 September 2017
Warning: Spoilers
I was eager to see this movie after hearing it had won so many Oscars but it left my local movie house too soon and all 18 of my public library's DVD copies of the film were checked out with a waiting list over a month long. So I rented a copy and am quite glad I did.
Near the very beginning, this movie has a scene that tells you that expected reality will be occasionally dismissed in favor of music and dance: As hundreds of cars become temporarily halted on one of LA's multi-lane trafficways (those of us who've driven there know that's realistic), one person gets out and starts dancing and soon that serves as the catalyst to prompt 100s of others to do the same thing (pure fantasy).
The primary characters are Mia (Emma Stone) and Seb (Ryan Gosling). Emma is an aspiring actress/playwright who temporarily works as a barrista in a coffee shop until she can get her break. Seb is a jazz pianist in a club where he's forced to play the kind of music he doesn't like so he aspires to own his own club in which he can feature the kind of music he favors.
The two meet, develop into a romantic couple, consoling and finding various ways to support and/or rescue each other when needed. They each do finally get their "Big Break" -- Emma as the lead in a movie that'll be filmed in Paris and Seb in a traveling band that pays him enough to accrue enough money to start his own club in LA.
"LaLa Land" ("La" is a "play" on "L.A." for Los Angeles) has lots of spots where the viewer must infer what is happening or has happened because we don't see it unfold or be dramatically portrayed in the film. E.g., when Mia is shown back in LA from Paris with a child and a husband who's not Seb, that suddenly strikes us viewers that the Mia-Seb relationship won't be one in which "they'll live happily together ever after." With her husband, Mia & Seb do later meet (in Seb's new, apparently successful club), comfortably & briefly acknowledging each other, but continuing on in their separate ways no doubt privately grateful for the role the other did play in bringing each to their new levels.
But that's also quite realistic, isn't it? -- I think many of us are grateful for how our loves in the past have helped us to go on to new levels. So perhaps this "LaLa Land" will prompt other film makers to experiment with finding new ways of combining music & dance with human hopes and more realistic outcomes.
Near the very beginning, this movie has a scene that tells you that expected reality will be occasionally dismissed in favor of music and dance: As hundreds of cars become temporarily halted on one of LA's multi-lane trafficways (those of us who've driven there know that's realistic), one person gets out and starts dancing and soon that serves as the catalyst to prompt 100s of others to do the same thing (pure fantasy).
The primary characters are Mia (Emma Stone) and Seb (Ryan Gosling). Emma is an aspiring actress/playwright who temporarily works as a barrista in a coffee shop until she can get her break. Seb is a jazz pianist in a club where he's forced to play the kind of music he doesn't like so he aspires to own his own club in which he can feature the kind of music he favors.
The two meet, develop into a romantic couple, consoling and finding various ways to support and/or rescue each other when needed. They each do finally get their "Big Break" -- Emma as the lead in a movie that'll be filmed in Paris and Seb in a traveling band that pays him enough to accrue enough money to start his own club in LA.
"LaLa Land" ("La" is a "play" on "L.A." for Los Angeles) has lots of spots where the viewer must infer what is happening or has happened because we don't see it unfold or be dramatically portrayed in the film. E.g., when Mia is shown back in LA from Paris with a child and a husband who's not Seb, that suddenly strikes us viewers that the Mia-Seb relationship won't be one in which "they'll live happily together ever after." With her husband, Mia & Seb do later meet (in Seb's new, apparently successful club), comfortably & briefly acknowledging each other, but continuing on in their separate ways no doubt privately grateful for the role the other did play in bringing each to their new levels.
But that's also quite realistic, isn't it? -- I think many of us are grateful for how our loves in the past have helped us to go on to new levels. So perhaps this "LaLa Land" will prompt other film makers to experiment with finding new ways of combining music & dance with human hopes and more realistic outcomes.
Forbidden Games
(1952)
Subtle, realistic, emotionally moving film of childhood, dealing with death & loss
30 May 2017
We saw this in a Great Films group for retired university faculty, &c., and I found it very accurate and convincing of how some children will deal with severe loss. (I'm a retired clinical psychologist with quite a bit of experience working with orphans and foster children and I found it very convincing.) Children differ in their reactions to serious events; in this Paulette (age 5) loses her parents and her very dear pet dog to German planes strafing them as they're fleeing Paris early in WW-II. She soon meets an adopting friend, Michel (10), the son of peasant farmers in their rural area, and he gets his family to accept her. He's Catholic (she's not) and Michel teaches her how to say prayers and honor the dead, and together they bury her dead dog (which she'd been carrying) and they somewhat overcome her losses (and his strong need to have a young companion) by building a cemetery, ritually burying other animals, having funeral services (just the 2 of them), and finding (stealing) and putting up crosses on those graves. Very touching but never overdone, IMO. This won many awards including being understandably listed as one of Roger Ebert's "Great Films," an Oscar, et alia.
Umberto D.
(1952)
Great plot but execution is so-so, IMO
31 August 2016
I'm glad others like this so much -- many say it's the best film they've ever seen -- but it falls short of that for me. It's in the "neo-realistic Italian style" using "ordinary people" rather than trained actors which sometimes leads to more realistic films.
Not for me in this case. To me, it seemed needlessly "jumpy" -- almost like its sequencing and development followed sort of a "comic strip" model in which actions are briefly portrayed followed by some later ones (or preceded by others), and it's up to the viewer/reader to fill in the gaps in the sequences and development. Also, I've had dogs for over half my long life and they've been very loving companions. While "Flike" (Umberto's dog) was a trained 'actor,' I NEVER saw the emotional reaction of genuine mutual love and affection that usually intermittently, spontaneously takes place between a man (or woman) and his/her dog.
Trained obedience? Yes.
Companions? Yes.
Bosom buddies? No. No sign.
Great story.
Great plot.
Execution? -- so-so.
Not for me in this case. To me, it seemed needlessly "jumpy" -- almost like its sequencing and development followed sort of a "comic strip" model in which actions are briefly portrayed followed by some later ones (or preceded by others), and it's up to the viewer/reader to fill in the gaps in the sequences and development. Also, I've had dogs for over half my long life and they've been very loving companions. While "Flike" (Umberto's dog) was a trained 'actor,' I NEVER saw the emotional reaction of genuine mutual love and affection that usually intermittently, spontaneously takes place between a man (or woman) and his/her dog.
Trained obedience? Yes.
Companions? Yes.
Bosom buddies? No. No sign.
Great story.
Great plot.
Execution? -- so-so.
Strictly Ballroom
(1992)
Many others LOVED it -- to me it was so-so
9 August 2016
This is Baz Luhrmann's first film of his famed trilogy. I saw this in a group of retired college faculty and the spontaneous comments I heard from many people indicated they'd rate it a 10 (or higher). But "different strokes for different folks." IMO, in style it reminded me of a farce, somewhat of a comic strip in which many cartoon characters come in without any/much preceding development, often as caricatures. That obviously didn't bother most others as it did me. I used to dance a LOT in my 1950s college years (fox trot, waltz, jitterbug, rhumba, tango) and, at some formals, my partner and I were good enough that sometimes we were the only couple left dancing the tango or rhumba while others formed a large admiring circle around us. So I DID enjoy the dancing scenes and could also appreciate that some couples would compete for titles (although we never did). From my later professional life (PhD therapist, lot of marriage & family work) I DID appreciate that Scott would unknowingly follow very much in his father's path while his mother was strongly opposed to it! THAT was very realistic.
Most will LOVE it -- some will find it so-so or less.
Most will LOVE it -- some will find it so-so or less.
Jalsaghar
(1958)
A subtle look at ageing + the pre-Independence Indian caste system
26 July 2016
This was seen in the monthly Foreign Film Series in a society for retired university (KU) peeps. This 1958 story is remarkably subtle, about the advancing age and declining wealth of a higher caste Indian man, a Zamindar (landlord), whose income from his inherited lands is dropping from the previous levels of his wealthy ancestors because increasing river floods have lessened his rentable property and income. He's unable to adjust his manner of living to either that change or simultaneous changes in the Indian economy that lead to new economic benefits and social mobility for many in lower castes. He's especially irritated at his nouveau riche lower caste new next door neighbor whose income comes from money lending rather than through inherited property and wealth; he engages in expensive rival concerts which he cannot truly afford and these leave him even poorer. Through two extended flashbacks we learn he had been married and had a son (16? 18?); both wife and son died together on a trip. So he's alone for many years. While Indian music is his primary comfort (played in "the music room" of his palatial home), he also begins to use it as his primary club against his "upstart" neighbor. As he ages we see his memory decline, e.g., asking one of his two remaining servants, "What month is this?" before he presents one last concert for invited guests (and to belittle his rival, his lower caste neighbor, an included guest) before he then embarks on an activity which leads to his death. Great examples of Indian music (but the closed captions on the DVD we saw had white type/lettering which sometimes was not very legible against its background). The movie also very subtly raises the question -- to what extent is this person (one's self or relative or friend) going through parallel sequences in the getting old process?
That Night in Varennes
(1982)
Brilliant film, but....
28 June 2016
This French film is much more meaningful to French citizens (who undoubtedly are far more familiar with the history of their country's transition from monarchy to democratic republic than most non-French citizens). I rushed to Wikipedia to read about Louis XVI and his wife, Marie Antoinette, and this era as soon as I got home from seeing this film. And for those also unfamiliar with it, I recommend potential viewers also read about them and the French transition from monarchy to citizen democracy before seeing this film; I think that'll make it far more meaningful.
The scenes were great -- they captured the time and life/era exceedingly well; the actors were interesting and very appropriate. But, in my lacking an extensive enough appreciation of this era and its events, I agree totally with Roger Ebert's review (he gave it 2.5 stars of 4): http://www.rogerebert.com/reviews/la-nuit-de-varennes-1983 (2.5 of 4)
The scenes were great -- they captured the time and life/era exceedingly well; the actors were interesting and very appropriate. But, in my lacking an extensive enough appreciation of this era and its events, I agree totally with Roger Ebert's review (he gave it 2.5 stars of 4): http://www.rogerebert.com/reviews/la-nuit-de-varennes-1983 (2.5 of 4)
Worthwhile but somewhat disappointing
21 June 2016
Recently our play reading group finished "Mrs. Warren's Profession" and, as we often do, we obtained a copy of a film of the play we've read to show both to our group's participants (about 10+) as well as to any others who care to see it from the larger membership of our society (retired university peeps) -- those visitors added another 12. We viewed it this afternoon. The cast seemed excellent as did all the "sets" and costumes. However, IMO considerable liberties were taken with the play -- probably to make it less appropriate to a stage production and rather more flexible as in films -- which apparently involved also adding considerably more dialog. The DVD specifically said it had closed captioning but several experts in the Alumni Center (where we meet) could not get those to display. The actors were all English (with that accent) and spoke rather rapidly which made a good understanding of what was being said beyond reach for all but 3 of our viewers (of 22 total) who were native to Great Britain. I think the movie ran longer than the performance of the actual play. I no longer have my copy of the play available to check but it's my strong impression that a number of scenes wereRecently our play reading group finished "Mrs. Warren's Profession" and, as we often do, we obtained a copy of a film of the play we've read to show both to our group's participants (about 10+) as well as to any others who care to see it from the larger membership of our society (retired university peeps) -- those visitors added another 12. We showed it this afternoon. The cast seemed excellent as did all the "sets" and costumes. However, IMO considerable liberties were taken with the play -- probably to make it less appropriate to a stage production and rather more flexible as in films -- which apparently involved also adding considerably more dialog. The DVD specifically said it had closed captioning but several experts in the Alumni Center (where we meet) could not get those to display. The actors were all English (with that accent) and spoke rather rapidly which made a good understanding of what was being said beyond reach for all but 3 of our viewers (of 21 total) who were native to Great Britain. I think the movie ran longer than the performance of the actual play. I no longer have my copy of the play available to check but it's my strong impression that a number of scenes were greatly expanded, for instance the final scene between Vivie and her mother as well as a number of earlier scenes. While these were all completely in keeping with the overall plot they aren't with either Shaw's language or intent. Worthwhile to see but somewhat disappointing and less than 95% Bernard Shaw.
She Stoops to Conquer
(2003 Video)
EXCELLENT rendition of a great play with some minor deficiencies
20 October 2015
The characters, setting, costumes, photography, direction are ALL EXCELLENT in this version. What isn't?
The playback version doesn't work with all US players (we found one that worked). I thought the 5 acts were specified but they aren't delineated in the playback. (See my Message Board post on this subject for more info.) AND I thought that subtitles were an available option (which in set-up they seemed to be) BUT we couldn't get them to work.
We were showing this film for our group of play readers in a university group for retired faculty (the KU Endacott Society)-- our group had just finished reading the play and were viewing this PLUS sharing it with members of the far larger Society who'd like to see it.
Deciphering England's native "English speech" is not easy for everyone. It WOULD have been a little easier for those of us who'd previously spent 4-6 hours reading various parts in the play.
IF you previously have some acquaintance with this play (having read it, acted in it, etc.) or familiarity with native English speech, this could be a delightful experience. But for many?some? people lacking that, it could be frustrating.
The settings, costumes, actors, direction were ALL excellent.
JMO
The playback version doesn't work with all US players (we found one that worked). I thought the 5 acts were specified but they aren't delineated in the playback. (See my Message Board post on this subject for more info.) AND I thought that subtitles were an available option (which in set-up they seemed to be) BUT we couldn't get them to work.
We were showing this film for our group of play readers in a university group for retired faculty (the KU Endacott Society)-- our group had just finished reading the play and were viewing this PLUS sharing it with members of the far larger Society who'd like to see it.
Deciphering England's native "English speech" is not easy for everyone. It WOULD have been a little easier for those of us who'd previously spent 4-6 hours reading various parts in the play.
IF you previously have some acquaintance with this play (having read it, acted in it, etc.) or familiarity with native English speech, this could be a delightful experience. But for many?some? people lacking that, it could be frustrating.
The settings, costumes, actors, direction were ALL excellent.
JMO
Saving Mr. Banks
(2013)
Interesting biopic of an interesting character
15 January 2014
This movie is about "P.L. Travers," the pen name of the woman who wrote the Mary Poppins books and the negotiations and huge struggles involved between Travers and Walt Disney over Disney gaining the rights to make the one "Mary Poppins" film. It gives much of the author's early background which influenced both her writing, those struggles and her personality.
Emma Thompson was nominated (very deservedly, IMO) for Golden Globe's "Best Actress" 2013 award. She was great portraying very difficult character.
While the film is biographical, like many "biopics" it takes liberties in which facts it presents, omits &/or distorts. Nevertheless, it captures much of this author's qualities, personality, and history. The Wikipedia article on "P.L. Travers" is worthwhile for those who wish to sift fact from film fiction: http://en.wikipedia.org/wiki/P._L._Travers
And also, if interested, you can google the Chicago Tribune article about an interview with the author of a biography of "P.L. Travers": "'Mary Poppins, She Wrote' author discusses P.L Travers, 'Saving Mr. Banks' "
Emma Thompson was nominated (very deservedly, IMO) for Golden Globe's "Best Actress" 2013 award. She was great portraying very difficult character.
While the film is biographical, like many "biopics" it takes liberties in which facts it presents, omits &/or distorts. Nevertheless, it captures much of this author's qualities, personality, and history. The Wikipedia article on "P.L. Travers" is worthwhile for those who wish to sift fact from film fiction: http://en.wikipedia.org/wiki/P._L._Travers
And also, if interested, you can google the Chicago Tribune article about an interview with the author of a biography of "P.L. Travers": "'Mary Poppins, She Wrote' author discusses P.L Travers, 'Saving Mr. Banks' "
Our Hospitality
(1923)
A take-off on the Hatfield-McCoy feud
25 September 2013
Warning: Spoilers
This was seen in the annual Kansas Silent Film Festival. It stars Buster Keaton and is a take-off on the famed Hatfield-McCoy feud, with those names altered to "Canfield" & "McKay."
The plot has Willie McKay (Keaton) being taken north and raised in NY state after his father is killed in the feud. When he becomes a young adult, he's tricked into returning to inherit his father's estate (unaware that it's practically non-existent) and where he'll inevitably run into the wealthy Canfield family who have the intent to murder him.
BUT also on his train journey back is a lovely young lady -- a Canfield as it happens -- who invites Willie to supper in her home with her father and 2 brothers. Because of the customs of Southern hospitality, her father forbids his sons to kill Willie in their home, so they try tricks to get him outside. A very funny movie with many surprises. (Keaton loved trains and had "The Rocket" built especially for this film.)
The plot has Willie McKay (Keaton) being taken north and raised in NY state after his father is killed in the feud. When he becomes a young adult, he's tricked into returning to inherit his father's estate (unaware that it's practically non-existent) and where he'll inevitably run into the wealthy Canfield family who have the intent to murder him.
BUT also on his train journey back is a lovely young lady -- a Canfield as it happens -- who invites Willie to supper in her home with her father and 2 brothers. Because of the customs of Southern hospitality, her father forbids his sons to kill Willie in their home, so they try tricks to get him outside. A very funny movie with many surprises. (Keaton loved trains and had "The Rocket" built especially for this film.)
The Butler
(I) (2013)
Worthwhile BUT misleading
23 September 2013
This film was inspired by and loosely based on the career of Eugene Allen, a black butler who served 8 presidents in the White House, the "lifetime" of a fictional "Cecil Gaines" (Whittaker) and his family is used to briefly retrace the conflicts and advances in American race relations over the last 100 years.
I was mistaken in seeing this film, thinking that it was the biographical drama of an actual White House butler's experiences. It is NOT, and I didn't fully realize that until after the movie when I turned to the internet to get more information. There are OCCASIONAL similarities between the lives and experiences of the actual butler (Eugene Allen) and the character, "Cecil Gaines," inspired by Allen and brilliantly portrayed by Forest Whittaker. But many spicy & highly charged elements have been added, no doubt to more dramatically portray the severity and some of the extremes that were fostered and tolerated in America during Allen's/"Gaine's" lifetime (plus add dramatic tension).
I'm 85 and lived through many of those years. I was active in demonstrating for racial equality (and fortunately never injured as some others were). While this movie shows a few extreme examples (& newsreel clips) of racism & protests, I totally agree with A.O. Scott's statement in his NYTimes review: "A brilliantly truthful film on a subject" (civil wrongs) "that is usually shrouded in wishful thinking, mythmongering and outright denial...."
BUT I DO wish that this movie made it clear FROM THE BEGINNING that it's NOT the film version of a biography but an "As if" drama of what many people, such as Mr. Allen, did or could experience. Several internet sites list the several places this movie's details of the fictional "Mr. Gaines'" life correspond with Mr. Allen's actual life and the many where they do not. E.g., Mr. Allen's one son served in Viet Nam and returned safely whereas this film's fictional "Mr. Gaines" has 2 sons: 1 killed in Viet Nam, and another active in the Black Panthers, etc. (One of those sites is "How True Is The Butler" at www.slate.com)
I'll be surprised if Forest Whittaker and Oprah Winfrey do not, at the least, receive Oscar nominations for their roles; they were both outstanding. But the characterizations of many presidents (and their wives) vary between good and "unhh!"
My rating of 8 is downgraded from 10 because of objections cited.
I was mistaken in seeing this film, thinking that it was the biographical drama of an actual White House butler's experiences. It is NOT, and I didn't fully realize that until after the movie when I turned to the internet to get more information. There are OCCASIONAL similarities between the lives and experiences of the actual butler (Eugene Allen) and the character, "Cecil Gaines," inspired by Allen and brilliantly portrayed by Forest Whittaker. But many spicy & highly charged elements have been added, no doubt to more dramatically portray the severity and some of the extremes that were fostered and tolerated in America during Allen's/"Gaine's" lifetime (plus add dramatic tension).
I'm 85 and lived through many of those years. I was active in demonstrating for racial equality (and fortunately never injured as some others were). While this movie shows a few extreme examples (& newsreel clips) of racism & protests, I totally agree with A.O. Scott's statement in his NYTimes review: "A brilliantly truthful film on a subject" (civil wrongs) "that is usually shrouded in wishful thinking, mythmongering and outright denial...."
BUT I DO wish that this movie made it clear FROM THE BEGINNING that it's NOT the film version of a biography but an "As if" drama of what many people, such as Mr. Allen, did or could experience. Several internet sites list the several places this movie's details of the fictional "Mr. Gaines'" life correspond with Mr. Allen's actual life and the many where they do not. E.g., Mr. Allen's one son served in Viet Nam and returned safely whereas this film's fictional "Mr. Gaines" has 2 sons: 1 killed in Viet Nam, and another active in the Black Panthers, etc. (One of those sites is "How True Is The Butler" at www.slate.com)
I'll be surprised if Forest Whittaker and Oprah Winfrey do not, at the least, receive Oscar nominations for their roles; they were both outstanding. But the characterizations of many presidents (and their wives) vary between good and "unhh!"
My rating of 8 is downgraded from 10 because of objections cited.
It Happened One Night
(1934)
Interesting "Time Travel" to an era
23 September 2013
Background to that '30s era: this 1934 film is often called the first (of the many following) in the 'screwball comedy' genre; it came out in the worst of the Great Depression (US unemployment in 1928 was 2.9%, by 1933 it hit 25%; millions were hungry and desperate, leading to some antagonisms between economic classes). This was also a time when women's roles were changing in the US: the 'women's suffrage' movement gained women the right to vote in 1920 (19th Amendment), more equality in decision-making, more freedom in dress, gender & sexual roles (e.g., '20s 'Flappers'). "Screwball comedies" capitalized and fed on those changes: they typically "feature farcical situations, a combination of slap-stick with fast-paced repartee and show struggles between" (central characters of different) "economic classes. They also generally feature a self-confident and often stubborn central female protagonist and a plot involving courtship and marriage or remarriage" ("quotes" from Wikipedia).
A young 30's Gable plays "Peter," a drinking, hard boiled newspaper reporter just fired from his job when he accidentally meets the young 20's "Ellie" (a young 30's Colbert) who's increasingly rebelled against the escalating but failing attempts of her upper class, super-rich father to control her. He tries to keep her on his Florida yacht while arranging to annul Ellie's impulsive marriage to a man (whom her father recognizes but Ellie doesn't as mainly interested in her wealth). But Ellie escapes her father's captivity and sets off to NYC to be reunited with her new spouse. On her way, she meets Gable who's initially interested in helping her because it'll lead to his scoop of a newspaper story (and reinstatement of his job). But then--romance eventually, gradually, starts to happen between you know who.
My rating: 6 of 10 I found this interesting as a time-traveling experience--early '30s bus rides, clothes, roles, attitudes, etc.-- but all the people seemed to me to be too much caricatures and not enough real characters. (However, many people on IMDb's "Discussion Board" say the more often they've seen this film, the more highly they value it--many saying it's among their most favorite films of all--so maybe familiarity breeds appreciation?) FWIW: Neither Gable nor Colbert wanted to be in this film; MGM "loaned" them to Columbia Pictures, then a 2nd rate movie company, for this movie as punishment for each being too "uppity" and/or violating MGM policies. But, after this film gained such outstanding success (lifting Columbia's rank to among the majors) and substantially helped both Gable's & Colbert's careers, they came to appreciate it.
A young 30's Gable plays "Peter," a drinking, hard boiled newspaper reporter just fired from his job when he accidentally meets the young 20's "Ellie" (a young 30's Colbert) who's increasingly rebelled against the escalating but failing attempts of her upper class, super-rich father to control her. He tries to keep her on his Florida yacht while arranging to annul Ellie's impulsive marriage to a man (whom her father recognizes but Ellie doesn't as mainly interested in her wealth). But Ellie escapes her father's captivity and sets off to NYC to be reunited with her new spouse. On her way, she meets Gable who's initially interested in helping her because it'll lead to his scoop of a newspaper story (and reinstatement of his job). But then--romance eventually, gradually, starts to happen between you know who.
My rating: 6 of 10 I found this interesting as a time-traveling experience--early '30s bus rides, clothes, roles, attitudes, etc.-- but all the people seemed to me to be too much caricatures and not enough real characters. (However, many people on IMDb's "Discussion Board" say the more often they've seen this film, the more highly they value it--many saying it's among their most favorite films of all--so maybe familiarity breeds appreciation?) FWIW: Neither Gable nor Colbert wanted to be in this film; MGM "loaned" them to Columbia Pictures, then a 2nd rate movie company, for this movie as punishment for each being too "uppity" and/or violating MGM policies. But, after this film gained such outstanding success (lifting Columbia's rank to among the majors) and substantially helped both Gable's & Colbert's careers, they came to appreciate it.
Harvey
(1950)
Wonderful time travel back to mid-20th century USA
18 September 2013
Possibly, for some, our modern day views of alcoholism may interfere with appreciating this film's narrative. But it's not a reality play, it's farcical: it's a fairy-tale, it's an allegory for what's really most important in human relations.
And Elwood Dowd isn't an alcoholic--he's the very rare person who has --somehow --found the means (through his magic pooka, "Harvey") to be friendly, considerate and compassionate with everyone. Jimmy Stewart plays him perfectly.
While it certainly wasn't the original intention for this movie, nevertheless now it also provides us present day, 21st century viewers with a "Time Traveling" experience: -- a look back at our society in the 1940s-50s, immersing us in the norms of that period's gender relations, of styles of women's social relations, of upper-crust, top-of-the-line mental health treatment (although typical MH treatment in that era was punitive, very barbaric), etc. And yet, almost all of its humor still resonates: still delightful, still charming, even after all these sixty-some years.
And Elwood Dowd isn't an alcoholic--he's the very rare person who has --somehow --found the means (through his magic pooka, "Harvey") to be friendly, considerate and compassionate with everyone. Jimmy Stewart plays him perfectly.
While it certainly wasn't the original intention for this movie, nevertheless now it also provides us present day, 21st century viewers with a "Time Traveling" experience: -- a look back at our society in the 1940s-50s, immersing us in the norms of that period's gender relations, of styles of women's social relations, of upper-crust, top-of-the-line mental health treatment (although typical MH treatment in that era was punitive, very barbaric), etc. And yet, almost all of its humor still resonates: still delightful, still charming, even after all these sixty-some years.
Before Sunrise
(1995)
Marvellous, unusually realistic, atypical of Hollywood
7 September 2013
Warning: Spoilers
This is about the accidental meeting of two mid-20s age college students: "Jesse" (Ethan Hawke) and "Celine" (Julie Delpy).
He's returning from a disappointing visit to his girlfriend in Spain (she's in an international student program but has fallen in love with another student and dumped Jesse). He's near broke and on a train to Vienna from where he'll take his cheapest flight back to the USA.
Celine's on the same train, returning to her home in Paris when they meet. Although French, she's studied in the USA and speaks excellent English. Jesse asks - and Celine agrees - to interrupt her trip to spend a few more hours together exploring Vienna before his plane leaves. Gradually, as they get to know each other, they become more deeply attached.
As Roger Ebert said, "This sort of scenario has happened....millions of times. It has rarely happened in a nicer, sweeter, more gentle way.... (It's) so much like real life - like a documentary with an invisible camera."
This is the first film (so far, of 3) by Linklater starring Delpy and Hawke, each filmed 9 years apart: "Before Sunset" (2004) & "Before Midnight" (2013). While it'd be nice to see them in order, each one is so good, so unique and satisfying that it's more important to just see them. The series is about relationships: how do we get to know others and let others know us, how do we handle differences, conflicts? To what would a long term relationship with this person lead? - satisfaction? - disappointment? How much of which? How can we tell?
This film's opening raises those questions by example: on the train ride, Celine's bothered by the loud conversation of a long married, middle-aged couple across the aisle from her: they argue so loudly (and obviously chronically) about? - whatever, everything - that Celine moves and finds herself across the aisle from Jesse. Their conversation starts - and where will this go? That's the gist of this marvelous, very unique movie.
People who prefer car chases and explosions should avoid it--no action of that kind, whatsover; it's all just talk--but, for many of us, what exciting talk that keeps us wondering to where it will lead!!
He's returning from a disappointing visit to his girlfriend in Spain (she's in an international student program but has fallen in love with another student and dumped Jesse). He's near broke and on a train to Vienna from where he'll take his cheapest flight back to the USA.
Celine's on the same train, returning to her home in Paris when they meet. Although French, she's studied in the USA and speaks excellent English. Jesse asks - and Celine agrees - to interrupt her trip to spend a few more hours together exploring Vienna before his plane leaves. Gradually, as they get to know each other, they become more deeply attached.
As Roger Ebert said, "This sort of scenario has happened....millions of times. It has rarely happened in a nicer, sweeter, more gentle way.... (It's) so much like real life - like a documentary with an invisible camera."
This is the first film (so far, of 3) by Linklater starring Delpy and Hawke, each filmed 9 years apart: "Before Sunset" (2004) & "Before Midnight" (2013). While it'd be nice to see them in order, each one is so good, so unique and satisfying that it's more important to just see them. The series is about relationships: how do we get to know others and let others know us, how do we handle differences, conflicts? To what would a long term relationship with this person lead? - satisfaction? - disappointment? How much of which? How can we tell?
This film's opening raises those questions by example: on the train ride, Celine's bothered by the loud conversation of a long married, middle-aged couple across the aisle from her: they argue so loudly (and obviously chronically) about? - whatever, everything - that Celine moves and finds herself across the aisle from Jesse. Their conversation starts - and where will this go? That's the gist of this marvelous, very unique movie.
People who prefer car chases and explosions should avoid it--no action of that kind, whatsover; it's all just talk--but, for many of us, what exciting talk that keeps us wondering to where it will lead!!
Les Misérables
(2012)
Very worthwhile but not that enjoyable to me
30 January 2013
Warning: Spoilers
Some factions consider this an "opera," some consider it "musical theater." (IMO, it resembles opera FAR more than "Sound of Music," "Oklahoma," etc., does.)
Valjean (Hugh Jackman) was sentenced to years of hard labor after stealing bread to feed his starving niece. After being released, because he broke parole he was then hunted endlessly, vindictively, by Javert (Russell Crowe) attempting to return him to prison. Valjean cares for, brings up as her only parent, an orphan girl and in that process achieves his own redemption.
Set in 1810-1860 era France, it deals with class & gender inequities, retaliative laws & punishments, etc., then prevalent in France as well as much of Western civilization (& with vestiges today).
Stunning settings, excellent acting, but it was too much like some less preferred opera for me. (While I do like "Faust," "Carmen," "Amahl & the Night Visitors," "Madama Butterfly," etc.) I didn't leave humming any tunes from this movie. But it is worthwhile for its history, current importance & relevance, etc.
Valjean (Hugh Jackman) was sentenced to years of hard labor after stealing bread to feed his starving niece. After being released, because he broke parole he was then hunted endlessly, vindictively, by Javert (Russell Crowe) attempting to return him to prison. Valjean cares for, brings up as her only parent, an orphan girl and in that process achieves his own redemption.
Set in 1810-1860 era France, it deals with class & gender inequities, retaliative laws & punishments, etc., then prevalent in France as well as much of Western civilization (& with vestiges today).
Stunning settings, excellent acting, but it was too much like some less preferred opera for me. (While I do like "Faust," "Carmen," "Amahl & the Night Visitors," "Madama Butterfly," etc.) I didn't leave humming any tunes from this movie. But it is worthwhile for its history, current importance & relevance, etc.
Mr. & Mrs. Bridge
(1990)
Very interesting--although not that enjoyable
20 December 2012
Starring Paul Newman & Joanne Woodward and based on the 2 novels by Evan Connell: "Mr. Bridge" & "Mrs. Bridge." Mr. Bridge (Newman) grew up in a modest family in a small, rural Kansas town and rose to become a prominent lawyer in Kansas City, MO, in the 1930s - early '40s, a member of the country club set and affluent society. He's reached his apex BUT, having grown up in a family in a much lower social position & totally unfamiliar with higher society, he's inwardly fearful of a gaffe that would destroy his new found prominence--so he relies mainly on his sense of what his and his family's 'proper' role & appearance should be (and becomes very rigid about it & somewhat snobbish). His extreme reliance on maintaining these roles stifles him--and his wife (Woodward) even more--and results in their children distancing themselves from their parents and seeking less restrictive patterns.
The narrative is in the "slice of life" style: no plot, no conflict resolved, no definite ending: as if the viewer looks in on these lives at various points--sometimes briefly, sometimes longer--and stitches those views together to form a collage, the whole, rather than creating a more seamless narrative in the more usual style.
Set & filmed in Kansas City, MO (& with bits of KC jazz!!) it captures quite well some gender & social role aspects of affluent KC society in the 1930s-early '40s era: male dominated in which women were to raise kids, help their husbands, and be agreeable to them. The 3 Bridge children rebel, of course, against the patterns of their parents, each in their own way. IMO, while the film's quite interesting it's not that enjoyable: it shows the effect of strictly living out one's life in a role (Mr. B's) rather than being more flexibly human. (Also interesting was the view of that social class at that time: Although set in the mid to late Great Depression era, among this affluent class there was no mention of it except to be anti-Roosevelt and demand that all peoples earn their livings despite the severe nation-wide unemployment then existing).
One easily anticipates how much WW-II & the USA's 1941 entry into it will change forever the expected and accepted gender and social roles current at that time in the USA. It's a fascinating look back at a former era.
This role for Newman is definitely not typical of his usual but he conveys Mr. Bridge's very constricted life quite well as does Woodward as the suffering but compliant Mrs. Bridge.
The narrative is in the "slice of life" style: no plot, no conflict resolved, no definite ending: as if the viewer looks in on these lives at various points--sometimes briefly, sometimes longer--and stitches those views together to form a collage, the whole, rather than creating a more seamless narrative in the more usual style.
Set & filmed in Kansas City, MO (& with bits of KC jazz!!) it captures quite well some gender & social role aspects of affluent KC society in the 1930s-early '40s era: male dominated in which women were to raise kids, help their husbands, and be agreeable to them. The 3 Bridge children rebel, of course, against the patterns of their parents, each in their own way. IMO, while the film's quite interesting it's not that enjoyable: it shows the effect of strictly living out one's life in a role (Mr. B's) rather than being more flexibly human. (Also interesting was the view of that social class at that time: Although set in the mid to late Great Depression era, among this affluent class there was no mention of it except to be anti-Roosevelt and demand that all peoples earn their livings despite the severe nation-wide unemployment then existing).
One easily anticipates how much WW-II & the USA's 1941 entry into it will change forever the expected and accepted gender and social roles current at that time in the USA. It's a fascinating look back at a former era.
This role for Newman is definitely not typical of his usual but he conveys Mr. Bridge's very constricted life quite well as does Woodward as the suffering but compliant Mrs. Bridge.
A New Leaf
(1971)
Most people find this VERY funny (but it's not to me)
17 October 2012
Warning: Spoilers
Henry (Walter Matthau), having squandered his large inheritance, his butler advises him that his only remedies are either suicide or marrying for money. The first option is less appealing to Henry so he quickly searches for a likely candidate--and finds Henrietta (Elaine May).
This film is an example of what's sometimes called "comedy noir" in which undesirable acts or conditions set the stage for satire or laughs. Henry's an arrogant, completely self-centered man, profligate of his considerable inheritance, and seemingly never with any close emotional relationships. He risks taking out a very punitive short term loan to maintain his appearances as a man of considerable means with the aim of both quickly finding a wealthy woman to marry and then "doing her in."
He finds his ideal candidate/victim: Henrietta --- the only child of deceased parents, extremely wealthy, a botanical scientist, AND with almost NO social sense or grace. Henry quickly courts her, proposes, and they marry. Henry researches potential poisons while Henrietta is researching ferns. But suddenly, Henry realizes Henrietta's love for him has become as gratifying as her abundant money and he begins a transformation.
This film is liberally sprinkled with great (funny) one-liners and dialog; many people find it side-splitting hilarious. I chuckled some but neither Henry's extreme haughtiness nor Henrietta's "Asperger's"-like behavior was that funny to me nor such quick transformations believable.
My rating of 6 was possibly influenced by my career (clinical psychologist) working with disturbed people which may have lessened my appreciation? Most friends in non-therapeutic fields think it's extremely funny.
FWIW: Elaine May's (the director as well as co-star) original version of this film was 3 hours long which the studio found unacceptable so it was cut to its present length, eliminating 2 murders in the process. Elaine May was so dissatisfied with this cutting, she sought to have her name removed from the film credits. More about this can be found in IMDb's "Did You Know" Trivia for this film and/or look for this film's title on Wikipedia.
This film is an example of what's sometimes called "comedy noir" in which undesirable acts or conditions set the stage for satire or laughs. Henry's an arrogant, completely self-centered man, profligate of his considerable inheritance, and seemingly never with any close emotional relationships. He risks taking out a very punitive short term loan to maintain his appearances as a man of considerable means with the aim of both quickly finding a wealthy woman to marry and then "doing her in."
He finds his ideal candidate/victim: Henrietta --- the only child of deceased parents, extremely wealthy, a botanical scientist, AND with almost NO social sense or grace. Henry quickly courts her, proposes, and they marry. Henry researches potential poisons while Henrietta is researching ferns. But suddenly, Henry realizes Henrietta's love for him has become as gratifying as her abundant money and he begins a transformation.
This film is liberally sprinkled with great (funny) one-liners and dialog; many people find it side-splitting hilarious. I chuckled some but neither Henry's extreme haughtiness nor Henrietta's "Asperger's"-like behavior was that funny to me nor such quick transformations believable.
My rating of 6 was possibly influenced by my career (clinical psychologist) working with disturbed people which may have lessened my appreciation? Most friends in non-therapeutic fields think it's extremely funny.
FWIW: Elaine May's (the director as well as co-star) original version of this film was 3 hours long which the studio found unacceptable so it was cut to its present length, eliminating 2 murders in the process. Elaine May was so dissatisfied with this cutting, she sought to have her name removed from the film credits. More about this can be found in IMDb's "Did You Know" Trivia for this film and/or look for this film's title on Wikipedia.
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