Must See Movies

Where the hell am I supposed to find that???

2010-11-01T10:15:00.000-07:00

To all those movie fans out there who have taken "The Book" into their hearts and have endeavored to actually view the movies listed, I thought I would use this opportunity to give you a heads up on where I have found some of the harder to find entries.

Turner Classic Movies has been an amazing source for finding some of the great foreign films, silent gems and a few modern classics. On the up side, TCM does tend to run in cycles. If you miss something special that they may feature, with a little patience, you can almost guarantee that you will get another opportunity within a year. On the down side, many films from the so called "Golden Age" of Hollywood, tend to be repeated "ad nauseum" but since they publish their schedule three months in advance on their web site, a DVR can almost get filled to capacity of movies on the life list. Another note of caution, if you have an Obsessive-Compulsive movie fan hiding inside you (as do I), it may lead to straying from the list. My movie collection has hit about 2400 as I have used the 1001 as a springboard to greater collections of the "Big Three" of silent comedy (extensive catalog including feature films AND earlier shorts with Chaplin, Keaton and Lloyd ) 22 Lon Chaney movies, 10 Dreyer features, all things Marx Brothers and more Lang, DeMille, Griffith and Bergman then I can shake a stick at.

TCM has scheduled Oscar Micheaux's 1915 feature "Within Our Gates" for November 8, 2010 so if you have access to the best film channel available without a premium, you may want to set your DVR.

TCM.com offers a 3 month schedule. I have added "La Roue", "The Phantom Carriage", "Killer of Sheep" and even "Faster Pussycat, Kill, Kill" by keeping up with their schedule and who knows what else you may find.

Public Domain website (www.archive.org) has many titles that are also available at TCM for immediate viewing. While the video quality may not always be the best available, it may provide access to titles not available without purchasing. The entire 10 chapters of "Les Vampires" have been recently added, and "Salt of the Earth" are just a couple of titles that you can find here.

Those pesky avante-garde titles are some of the hardest to locate but ubu.com proves a valuable tool. Titles available here include "Flaming Creatures", "Blonde Cobra", "Hold Me While I'm Naked" and Jean Rouch's "The Mad Masters" (although so far it is limited to the original French WITHOUT English subtitles). The down side with this site is that there are so many other films available, you can easily spend days in increments of 5 to 10 minute films, if you catch some kind of an experimental cinema fever.

So there you have it. So many movies, so little time...

A matching pair of Fields

2010-10-06T22:24:00.000-07:00

Seeing W. C. Fields at work is a must for any movie buff. These may be considered his best.

It's A Gift (1934) Fields is a shop owner named Bissonette (pronounce "bis-oh-nay")with a overbearing wife, a harpie mother-in-law, a daughter about marrying age and a rugrat of about the age of eight. When a rich uncle dies and leaves him some money he does the one thing his wife tells him not to. He uses the windfall to purchase an orange grove, and packs up the family to take them to California.

The Bank Dick (1940) Fields is the unemployed Edgar Sousè (pronounced "sue-say")with an overbearing wife, a harpie mother-in-law, a daughter about marrying age and a rugrat of about the age of eight. I'm guessing that you see the formula here. This one takes a couple of turns. W. C.'s character, so easily goes from unemployed, to film director to bank guard in the blink of an eye talking his daughter's fiance into investing bank funds on a mine stock that is probably not a good call.

Watching these films back-to-back really draws attention to the similarities. That said, I found them to be hilarious. If you are a big fan of the Three Stooges shorts these films are sure to trip your trigger..

Don't say they didn't warn you

2010-09-26T12:02:00.000-07:00

In 1930, Lewis Milestone, directed the first adaptation of Erich Maria Remarque's novel of the First World War. I find it rather impressive that within a decade of the conflict,Hollywood would have presented a film that doesn't demonize the German soldier. The principle characters and focus of the film are not "bad guys". these soldiers just happen to be German and could easily have been American, British, French or any of a number of nationalities Starting off with a lot of fanfare, parades and marching music, the citizens of a small town are whipped to a frenzy by patriotism, as we see entire classes incited to enlistment for honor, glory and pride of country. This film is full of some very stirring performances with some battle sequences impressive even by today's standards, with the first real battle (following the minor skirmish with the rats in the bunker) as effective as Spielberg's and Fuller's D-Day invasion. "All Quiet On The Western Front" shows the mundane and exciting, bravery, cowardice, survival as well as a boiled down discussion among the soldiers from the trenches about politics and the need for war, even an interesting alternative. It doesn't stop there, following the soldiers as they attempt to adapt as civilians after their experiences in the Hell that is War.

In 1940, Hollywood issued a plea to the conscious of the American movie viewers with Frank Borzage's "The Mortal Storm". With Hilter's rise to power in the Germany of the 1930s this film casts the spotlight on trouble yet to come. Frank Morgan, who's voice is easily recognized a year after his portrayal of the Wonderful Wizard of Oz plays a college professor that sees his family torn apart by a divided loyalties to the rising Hitler. James Stewart, a friend of the professor's family, feels no need to embrace the new fascist views rising throughout his homeland, even standing up to the oppression as he defends himself and others against attack from the Nazi fanatics. In retrospect, it was quite an effective movie, while as a predictive cautionery tale, it surely deserves to be remembered.
As I watched the conclusion of the film, I recognized similarities to Jean Renoir's earlier film "Le Grande Illusion" which focused on activities during WWI.
Future TV stars Robert Young ("Father Knows Best" and "Marcus Welby, MD") and Robert Stack (The original Eliot Ness on "The Untouchables") play Nazi Party members and supporters as well as that staple of John Ford's troup Ward Bond, who is actually heard to deliver that stereotypical line "we have ways of making you talk" while interrogating a woman.

Notable Exceptions:
G. W. Pabst's "Westfront 1918" very much like "All Quiet On The Western Front" is another look at the same war from a German director and just as reviled by the rising Third Reich for it's bleak defeatist view. I got this from TCM about a year ago, so be on the lookout. It's well worth seeing.

Vincente Amorim's "Good" from 2008. Viggo Mortesen stars as an intellectual author who, though unsupportive of the Nazi Party, rises in their ranks eventually when his book about compassionate euthenasia is favored by the fuhrer. The benefits of recognition by the party and complacency lead to an abandonment of his own values.

The Rapture (1991)

2010-04-14T09:13:00.000-07:00

Mimi Rogers as Sharon, is a promiscuous telephone information operator, who juggles her job and her swinging lifestyle. After a series of incidents, she questions her lot in life and turns to the church to provide comfort and reassurance that there is redemption for her life with the coming of “The Rapture”. From this point she turns her back on her old way of life, embracing the prophecy as a slow burning fuse which ultimately will take her to salvation. Paraphrasing John Lennon, “life is what happens when you are making plans for something else”, she marries, has a daughter whom she is preparing for Heaven as well, and loses her husband to an act of senseless violence. When the prophecy proves not to be an instant pay-off, she withdraws from society to a desert park to wait out the impending call to heaven. Michael Tolkin tells this story with great feeling using little if not any special effects. While I really did not expect to find this film interesting, (I am not a “person of faith” actually looking up to Bill Maher as a spiritual leader) I was actually able to watch and care about the Sharon even though I knew what would come of her faith. Mr. Tolkin’s film actually provides an End Of Days with some rather interesting symbolism. Is this really a faith-based movie, or is it a cynical look at religious beliefs? I cannot be sure but I was certainly glad to have seen it.

Sherman's March

2010-04-07T05:48:00.000-07:00

I'm not sure when Ross McElwee decided to turn this documentary into a look at relationships in the early 1980s. It seems that it was his original intention and that the parallel between his love life and the life of William Tecumseh Sherman is more of an afterthought than a diversion. If you are looking for information about Sherman's March To The Sea, you are advised to look elsewhere, although there are certainly a few things that can be learned, the film begins with McElwee explaining his bad luck as his girlfriend has left him for a former boyfriend. From this point forward, we see him proceed immediately to his hometown in the Deep South and is subjected to family and friends good intentions trying to fix him up with a good southern girl. Meeting women along the way, he follows the path of Sherman's March, meeting women along the way, who drift in and out of his life without ever succumbing to his charms which must be easily ignorable considering the fact that he spends so much time filming their more personal moments. “Sherman's March” actually becomes more interesting because of it's mediocrity and if that is not enough of a lure to watch it, there is always the view of life seen before cellular technology, computers, and the other marvels of technology came along.

El Topo (1970)

2010-03-04T07:34:00.000-08:00

Take a Sergio Leone western, add a dash of Luis Bunuel's surrealism, a bit of Fritz Lang's "Metropolis", a sprinkle of Tod Browning's "Freaks" and you've got an idea what to expect from Alejandro Jodorowsky's "El Topo". With a title that literally means "The Mole" my first question was why would they pick a name such as this for the title character. Is the mole a ferociously identified icon of Spain? That is not the answer but don't worry, it will come as the movie reaches the half-way mark.

The first half of the movie plays out like a textbook Spaghetti Western, with odd, bad guys and good guys that aren't really all that good, they are just not as bad as the bad guys. Beginning with Alejandro Jodorowsky in the title role riding through a desert with his naked son(except for the hat that I suppose is supposed to shield his eyes from the harmful effects of the sun) it was reminiscent for me of the "Lone Wolf and Cub" samurai series that hit comics and film in the late 80s and early 90s, but unfortunately loyalty and parental duties are not high on the list virtues for "The Mole", who leaves his son with a group of monks when a woman comes along. But when the title character is introduced to a subterranean society, it takes an almost science-fictionesque turn, as he sheds his guns and black gunslinger garb (hmmm, now I'm beginning to wonder if this may have been somewhat influential to Stephen King for his "Dark Tower/Gunslinger series) in favor of a monkish robe, performing carnival acts for the above ground towns people (notice that I did not refer to them as normal), using his income to finance the tunnelling that he hopes will free the subterraneans.

While I am glad to have seen this particular movie, it falls more in line with a guilty pleasure cult film than a MUST SEE MOVIE.

Come And See (Idi I Smotri) 1985

2010-02-26T20:12:00.000-08:00

The story of a young Belorussian farm boy who leaves his home to what he expects to be pride and glory fighting with the partisans during the German invasion of WWII. To this point it is very much like an earlier Russian film that I saw and reviewed. Larisa Sheptko's "Ascent" from 1976, a very impressive study of the lengths a people of an occupied area will go to survive. "The Ascent" is not to be missed and may actually be a companion piece that may get you up to speed on the history of the time and area, but it can not fully prepare you for the depth and brutal portrayals of Elem Klimov's "Come And See". Upon initially seeing the boy, played by Aleksi Kravchenko the awkward lad seems to just float on a cloud. When he finally is impacted by the war his whole life becomes a walk through hell with each level more atrocious then the last. By the end of the movie, the look in the eyes of the boy reflects the sheer terror that they have seen and his posture shows the burden that his body has come to bear.
I cannot say enough about this movie. It's imagery will stay with me for a very long time. While I highly recommend it, I also must warn that it is not for the timid or squemish. I have seen many, many war/anti-war movies in my life but none in any language has been as effective as this one.

Sweet Sweetback's Baadasssss Song (1971)

2010-02-04T06:57:00.000-08:00

"This film is dedicated to all the Brothers and Sisters who have had enough of the Man".

Melvin Van Peebles' Sweetback, is on the run. When he witnesses the brutal beating of a black revolutionary by (do I even need to say) WHITE cops, Sweetback administers a little street justice. Since the beating of (do I still need to say) WHITE cops is not something that the Man takes lightly, Sweetback is forced to take it on the lam, heading for Mexico. The way is not easy and he is forced to deal with hardship (police as incompetant as they are racist and biker gangs looking for good times)as he makes a dash for the border.

With today's culture, where The Man may be a little harder to identify (I guess that depends greatly on who you are and where you live since I am sure there are those today with whom the movie still resonates), I was a little disturbed by the open portrayal of stereotypes that I have spent years rejecting.

This was an interesting look at what could have been the Godfather of Blaxploitation films. Though often seeming stiff and roughly cut, it seems that the feeling had been edited for a deliberate artistic feel. The use of montages and spliced repetitive dialogue, while noticable is almost subliminal in it's affects.
"Sweet Sweetback's Baadasssss Song" is a certainly worthy of it's place in The Book, although I might argue that being there, it over-shadows the other genre films of the time. "Shaft" and "Superfly" making them easily removable.

Yesterday was Paul Newman's Birthday

2010-01-28T08:39:00.000-08:00

While reading Edward Boe's blog for "Cool Hand Luke" he pointed out the passing of Paul Newman's birthday. I have been a big fan for many years and though he is represented by five films in "The Book" there are several other performances that I have appreciated through his career. While not necessarily "Must See" they are definitely worth a look.

The Hustler (1961)-Robert Rossen's look at the seedy world of pool room hustling. Newman would reprise his role as "Fast Eddie" Felson 25 years later, in Martin Scorsese's "The Color Of Money". Previously referenced in "Once Was Definitely Enough" blog.

Hud (1963)- Martin Ritt's film of a modern day ranch family. Newman's Hud is the son that works as a ranch hand, avoiding responsibility whenever possible, probably driven to the lax work-ethic by his father's obsessively high expectations.

Cool Hand Luke (1967) A look at the chaining up of a free spirit. One of the few entries in the short list of PERFECT MOVIEs out there.
http://ehaugenboe.wordpress.com/2010/01/28/cool-hand-luke-1967/#comments
Mr. Boe covers this film outstandingly in his latest blog entry.

Butch Cassidy And The Sundance Kid (1969)-George Roy Hill contributed to the "buddy" movie genre with Newman and Robert Redford.  A western story that weaves in and out of the historical track. The pair would work again in the seventies and somehow evade ever working together again on screen, despite their mega-box office appeal.

The Sting (1973)- George Roy Hill would bring Newman and Redford together again in a ragtime era con game that is great fun to watch if only for the atmosphere. The feel of the Great Depression is well done, with a just enough hope for the future. Previously referenced in "Once Was Definitely Enough" blog.

Not in "The Book" but worth a look:

The Outrage (1964)- Martin Ritt remakes Akira Kurosawa's "Rashamon" as a western, a pretty successful formula if you consider "The Magnificent Seven". Great performances by Newman and Edward G. Robinson make it worth a look.

The Life And Times Of Judge Roy Bean (1972)-John Huston directs. Newman portrays this "Legend In His Own Time" figure of the American West with just the right amount of bravado and mirth. His law west of the Pecos is especially swift when dealing with Stacy Keach as "The Original Bad Bob"

Slapshot (1977)- Newman stars as an aging hockey player that still has a few good moves.

The Verdict (1982)- Sidney Lumet directs Newman as an ambulance chasing lawyer that stumbles on a worthy cause. You can practically see the switch being flipped that changes him from a cash register to a seeker of justice.

The Hudsucker Proxy (1994)-The Coen Brothers get to direct Newman in this wonderful era-piece. Not a starring role but a chance for him to shine in a supporting role.

Road To Perdition (2002)-Sam Mendez-s tale of 30's era gangsters and loyalty. Newman is the patriarch that turns on the lead character, a hitman that has been part of "The Family" for years, but is singled out as a threat to an aspiring son.

Germaine Dulac's "La Souriante Madame Beudet" or "The Smiling Madame Beudet"

2010-01-18T15:03:00.000-08:00

I applied to my local public library to see if they could get this one for me and they were able to borrow it (in VHS format from the library at Cornell University, how cool is that?

First, let me start by saying, considering the title, Madame Beudet didn't do a whole lot of smiling. In fact she seemed quite unhappy. Her husband shows her no respect and can actually be seen removing a gun from his desk, where he keeps it unloaded, and threatens to kill himself to stop his argument. Madame Beudet, seems to feel that her loveless marriage may be best ended by placing bullets in the gun. But when the next argument begins that jerkwad of a husband turns the tables and points it at her. Recognizing the fact that the story and technology available to Madam Dulac was primitive, I was quite impressed by the story and technics used.

Notable Exceptions

The VHS borrowed also had a short surreal film titled "La Coquille et le clergyman" ("The Seashell and The Clergyman") which was a delightful short film. Released in 1928, it may have been overshadowed by "Bunuel's "Un Chien Andalou" or may have even provided some inspiration.

This quote stolen from Wikipedia says it all for me:

The British Board of Film Censors famously reported that the film was "Apparently meaningless" but "If there is a meaning, it is doubtless objectionable"

Certainly, any one of these films deserves a place in "The Book"

Kreativ Blogger Award

2010-01-18T14:29:00.000-08:00

Who! Me?

As much as I may want, I find myself unable to accept such an award for the following reasons...

I do not follow enough blogs to allow me to nominate seven. If it wasn't for Mr. Boe's blog roll and movie related sites, there would be an even shorter list of blogs that I visit.

Finally, I really am not worthy. While I am a movie buff, who may know a bit of trivial minutae about my subject of interest, I am not nearly as knowledgable as others at analyzing the subjects as clearly, technically and articulately. I know what I like and am prepare to say so but often I cannot provide a reason.

I can hear the orchestra warming up, so finally, I would like to thank Ed and the academy and say it's really is a thrill just to be nominated.

La Historia Oficial "The Official Story" 1985

2010-01-11T10:50:00.000-08:00

When an upper-class mother begins to doubt the circumstances behind the adoption of her daughter, she must look at her own moral identity and that of her husband who was influential enough to have arranged the adoption of the child of a "Disappeared" political leftist.

Without giving away too much in my critique, I will say that I found this to be a very interesting and important film, well told by Argentinian director Luis Puenzo. Much like German films looking at their role in the second World War and American movies about the handling of the Native Americans, this one shows that Argentina's political identity has a dark side and that they are prepared to get their story out for examination, especially noteworthy since the film was released less than two years after the fall of the military government behind the purge.

The acting, over all, seemed well done. With Norma Aleandro's "Alicia" being quite well played. The struggle she goes through is worn for all to see. Not just because of her own dilemma but also as she learns of the effects on others, strangers and friends alike.

A Christmas Story

2009-12-31T07:20:00.000-08:00

I did not see it when it came out. I was turned off by the director. I knew Bob Clark was responsible for the "Porky's" movies and I really believe that they were a waste of my time. I believed that I was above them and did not expect that he could actually create a movie that would interest me. I know that sounds awful snobby. Since that time, I have watched the first two of the franchise and found them much less offensive and more structured then I expected.

Anyway, it was my older brother that first introduced me to "A Christmas Story" in 1987 and I have not stopped watching it yearly since. Although the story reflects a generation other then my own, (I would have been Ralph's age in the 60s) I still can see certain things in the family interaction and the child's daily life that reminds me of growing up in general. Being one of a whole class full of goobers, using avoidance to deal with bullies and wishing for something big that proves to be less then what you expected. I am constantly using the dialog and events of this movie in daily conversation, that affect intensifying as the holiday draws near. I have even been known to serve duck instead of turkey and I must say it get rave reviews. Although it is centered around Ralphie, for me it is Darren McGavin that makes the movie the most enjoyable. I see parts of my father in him. Hearing him working on the furnace reminds me of being present when my dad worked on cars. He got the job done but still found that a steady stream of expletives provide the added torque required to free a frozen nut. I wonder if my daughter sees parts of me in the movie father as well.

"A Christmas Story" will always have just as iconic a stature as any other film, holiday themed or otherwise, even eclipsing the Granddaddy of all Christmas movies "It's A Wonderful Life". And I will always remember that my brother Steven gave it to me as the ultimate gift that keeps giving.

Steven always seemed to be an inside source to some great hidden gems like Penelope Spheersis' "Dudes" starring John Cryer and "Pass The Ammo" with Bill Paxton and Tim Curry. Ironically both of these have NEVER been released on DVD and I was forced to make a transfer from VHS just to keep them in my collection. On the other hand Steven loved Steven Segal movies as well. Just goes to show you that there is no accounting for taste, good OR bad.

Notable Exceptions: With the coming of Robert Downey, Jr. as "Sherlock Holmes" I am reminded of Bob Clark's contribution to the Holmesian catalog with "Murder By Decree". Christopher Plummer is the detective (one of my favorite outside of Jeremy Brett) supported by James Mason as Watson. Holmes goes after Jack the Ripper, and was the first time I had ever seen the conspiracy theories tying the Ripper to the British royals on film.

Falling in love in 1932

2009-12-18T13:04:00.000-08:00

Love Me Tonight (1932) A early musical featuring the music of Rodgers and Hart, directed by Rouben Mamoulian is not as full blown as musicals would eventually become. Maurice Chevalier is a lowly tailor who falls for a well stationed princess. When the tailor presses an aristocrat to pay his unpaid bills, the deadbeat introduces the tailor to princess's family as a baron. Not the first movie about love blossoming from different sides of the track, or maybe it really is. Chevalier's performance of "Mimi" may have served as inspiration for a Flight of the Conchords song.

Trouble in Paradise (1932) Ernst Lubitsch directs a story of thieves and pickpockets that become part of a love triangle with a mark.

Inclusion of these titles in "The Book" is, in my humble opinion, a coin toss. It's back story concerning the censorship of risque scenes and dialog in light of today's culture is probably the most interesting aspect.

The Passions of the Other Mel

2009-12-04T10:39:00.000-08:00

I had started reviewing Mel Gibson when I realized that his contributions were already covered in previous blogs(When Actors Direct & Once Was Definitely Enough), so rather then lose the killer title I am adapting it for Mel Brooks.

The Producers (1968) I was an early fan of Mel Brooks and had loved "The Producers" decades before it was became an Off-Broadway musical sensation. The release of the musical is good, with Nathan Lane and Matthew Broderick providing wonderful performances, but Zero Mostel and Gene Wilder will always be my favorite Bialystock and Bloom. Dick Shawn's LSD was a terrific salute to a bygone perception of the flower child.

Blazing Saddles (1974) The first Brooks movie I ever saw and what a wonderful nonPC comedy. With great performances all around.

Young Frankenstein (1974) Mel Brooks broke the mold when he parodied the iconic genre film when he did this one. From Gene Wilder's Dr. Fronk-en-steen, to Marty Feldman's Eye-Gor, to the Frau Blücher (hear those horses?) of Cloris Leachman and Peter Boyle's Monster this one is a keeper. Must not shortchange Madeliene Kahn and her hot rendition of the Battle Hymn of the Republic.

Although Mel continued to provide laughs in his movies into the 90's they just were not up to the caliber of these three comic masterpieces.

Notable Exception: A bit different from his other straight-forward comedy's is his "Twelve Chairs" with Ron Moody and a very young Frank Langella

Hoří, má panenko! or The Fireman's Ball

2009-12-02T09:51:00.000-08:00

Milos Forman 1967 film "The Fireman's Ball" is a real find. A celebration honoring a Fire Chief's 86th birthday seems like a pretty simple matter. As the planning breaks down, the resulting party is a hilarious interaction between awkward regular folk. From the "Beauty Contest" almost totally devoid of beauty, to the disappearring lottery prizes to the response to the neighborhood fire is pure slapstick reminiscent of a silent comedy classic.

Forman insistance that it was not a political film did not keep it from being banned in his own home country.

I found this one on the Independant Film Channel. Be on the lookout for it. Even if you are not a big fan of foreign films, the reading of the subtitles become almost unnecessary as the film unfolds.

In The Year of the Pig (1969)

2009-11-25T11:12:00.000-08:00

Emile De Antonio's documentary provides an account of the history of VietNam from the occupation by colonizing French troops to deployment of American troops. As documentaries go, it is an interesting look at a time in history. I was a student during the events filmed, the 9th grade when Saigon fell. I can't help but parallel many of the events with the more recent activities of the Iraq war. It documents the American politics that lead to the U. S. involvement that, in hindsight, are quite shocking. I must be careful to critique the film rather than the culture of the decade. If you have no preconceived notion of the VietNam conflict this is certainly a good place to start, but be careful. If you fall among the many millions that think that America can do no wrong, this film will probably upset you. I wonder if the hawks of DC released anything as a counterpoint to this, as I would be interested to see the spin that was produced. While the politicians of the time viewed it as necessary measures to halt the spread of Communism, DeAntonio shows the activities as a civil war deserving no more foreign involvement then was provided during the American Civil War. It provides a unapologetic look at the mechanics of warfare and a glimpse of the "Ugly American". Easily understandable why it was so vilified upon release during the height of the conflict. Could not have eased any of the anti-war sentiment prevalent at the time.

As a side note, the wife and I just purchase a brand new bedroom set (quite attractive I must admit) and upon delivery, I saw that it was manufactured in VietNam. No really point in this, I'm just saying...

Killer of Sheep (1977)

2009-11-11T07:11:00.000-08:00

The introduction of Charles Burnett's "Killer of Sheep" in THE BOOK is one of those Cinderella stories. Originally filmed in 1977, it skyrocketed to fame when included in a survey of best movie of 2007 after a revival that included the Berlin InternationalFilm Festival. Minimal filming technics allow a story of a common family living in the Watt's area of LA. The lead character works in a slaughterhouse while the time spend ON THE JOB in the movie is minimal, it seems apparent that the job itself and financial hardships, takes it's toll on him. His interaction with wife and children though touching, seems saddened. Though the family seems happy enough to be scrapping by, the influence of the neighborhood seems to really disappoint them at many different turns. Also, a key element is the exposure of the children to a neighborhood where they are basically left to their own devices, and though an adult intervention would more than likely lead to stern direction, they seem to get through the growing up of their lives unscathed.

"Killer of Sheep" was a great find. It was shown on TCM along with several other Burnett works and and interview with the director himself. Keep your eyes open for any opportunity to see this.

The Phenix City Story (1955)

2009-11-09T19:08:00.000-08:00

This was one of those "ripped from the headlines" stories about a town that has let the lawless element run roughshod for too long. It has all the elements of a good vengence movie, a gangster movie and a morality movie all rolled into one. While a good, informative film, I could not help but see a comparison between it and the Original "Walking Tall" with Joe Don Baker and wish that it could be remade by Martin Scorsese. While it was an interesting story it's telling seems to be only half completed. When the people of Phenix City stand up against the criminal element, the movie ends when the Governor is called and persuaded to call out the militia. So much more seems ripe for the telling and Martin Scorsese seems perfect for it.

I caught this one on TCM, a great venue for the older films from "The Book". With at least 4 scheduled per month, it has been instrumental in helping me see about 20 percent of the the films that were not already under my belt and finding great silent and foriegn films for my collection.

The Ascent (1976) or "Восхождение" if you are actually Russian.

2009-11-06T17:21:00.000-08:00

"The Ascent" tells the story of a Soviet Union occupied by Germany during WWII. Directed by Larisa Sheptiko and released in 1976, this film illustrates the lengths those affected by war will go to for survival. Filmed in black and white, I was immediately sympathetic as the subjects were partisans, part of a civilian army fighting for their own lives much more than for their party, they fight for their country and their way of life. Lately I have been interested in seeing films that portray the acceptance of the conquered for the conqueror, as seen in Melville's "Army of Shadows" as well as 2006's "The Lives of Others".

As two partisans attempt to find food for their group, they encounter fellow Russians, some who have accepted their occupation and German troops. Though they work together to fight off their enemies (German Soldiers AND the brutal Russian winter) they are eventually captured and interrogated by Russian Liaison to the occupying force.

Sheptiko's film is a great film worthy of a place in "The Book".

O Preston, Where Art Thou?

2009-11-02T11:06:00.000-08:00

Preston Sturges had a short tenure as a Hollywood "golden" boy lasting little more than a decade, getting screenplay and director credits in over a dozen films, but his must see movies interestingly span a period of 2 years. He reinvented the screwball comedy style of the thirties for a newer generation.

"The Lady Eve" (1941) Barbara Stanwyck stars as a con artist who is bested by her mark played by Henry Fonda. She then attempts to pose as another high society heiress (apparently, a wig was all it took back then to become unrecognizable) just for a chance to beat the mark that bested her earlier, she falls for him and true love triumphs.

"Sullivan's Travels" (1941) When a Hollywood director (Joel McCrea) known for his shallow comedies, tries to get the green light for a meaningful drama of the downtrodden, he leaves his posh life behind (but never TOO FAR behind) and rides the rails to rediscover the common man. He connects with a down and out Veronica Lake, who attempts to help him through his adventure without really knowing his real identity.

"The Palm Beach Story" (1942) A story of marriage, and deception. Joel McCrea (again) stars with Claudette Colbert star as two sets of twins who hijack the wedding so that each can marry the other. If this sounds confusing, I'm not surprised. Even with the confusion, this one is a great comedy full of kookie charactersand rapid fire wit that needs to be seen to really be appreciated.

Notable Exceptions: "Hail the Conquering Hero" Eddie Bracken plays a man returning home with a little more fanfare than expected. The stories that he told his mother about his assignment to combat are greatly exaggerated, especially since he was rejected by the marines for chronic hayfever, have gotten around town. Now, instead of coming clean to his mother that he had been working in the San Diego shipyards, he is urged by a few marines, who out of respect for his dead father, (a WWI Marine hero) accept the hero's welcome.

The Man of a Thousand Faces

2009-10-29T12:40:00.000-07:00

Lon Chaney's contribution to cinema is often overlooked except by die hard fans. The man who used make-up and physical contortion bordering on torture to create characters not easily forgotten has only been picked for two entries, making him one of the most under-represented actor in "THE BOOK".

The Phantom of the Opera (1925) No shortage of stars have since played Erik but they all owe Chaney a genuine reverie. His make-up alone at the time was reported to have triggered screaming AND fainting.

The Unknown (1927): A circus story (and he did many if these) has Chaney as a fugitive. He makes his living as an armless knifethrower who uses his feet. It seems his character in fact is not armless and fools everyone by binding his arms to his torso. Why would someone do something so drastic, why to hide the easily identifiable double thumb on his right hand. Just seeing Chaney perform armless is worth the time. This, however, is a very dark ironic story

Notable Exceptions: "London After Midnight", the ultimate LOST FILM, with the best chance of seeing it is on TCM, who presents a version that incorporates what little motion footage available with production skills and full intertitles to get as close as possible to the original movie experience. Chaney's vampire was one of the creepiest for many decades, second only to Murnau's Count Orlock. "The Hunchback of Notre Dame". Long before Charles Laughton, Anthony Quinn, Anthony Hopkins or the Disney animated slush, Chaney's Quasimodo rang the bells silently and still was able to chime in as the best. The Blackbird may be one of his more physically demanding roles since he portrays a criminal's twin who's body is twisted to a degree that even watching him move is painful. In the past 4 years, thanks to TCM and Sonic DVD burners I have added about 26 Chaney titles to my home collection.

Fritz Lang's early German films

2009-10-28T06:39:00.000-07:00

Fritz Lang's film making career began in post war (WWI) Germany. As with many of the films coming from there at the time, his early expressionism was unique to the film industry.

Dr Mabuse, Der Spieler a.k.a. The Gambler (1922) Part Fu Manchu part Moriarity, Dr Mabuse will do what is necessary to get a more scratch. The criminal mastermind began his long career in movies in this film. The diabolical doctor seems to have control over time as well, since it really seems to stand still getting through this one. Interesting enough if taken in small bites but I have been hard pressed to make it through in one sitting.

Metropolis (1927) This is probably Lang at his greatest. A story about class, station and the respect for the parts that make the whole. Even the lowest most insignificant piece, when stressed can break and shut down the machine.

M. (1931) This one practically invented the film noir movement. Peter Lorre wrote the book on creepy. When the police are unable to stop a serial child murderer, the job falls to the criminal underworld. Every eye and ear on the street is on the lookout and dispenses justice without a long drawn out court process.

Notable exceptions "Der Mude Tod" a.k.a. "Destiny" and "Die Nibelungen" a 2 parter telling the saga of Seigfried and "Woman on the Moon" if only to see how space travel might have been anticipated. The spaceship's dormitory sized rooms get a laugh out of me every time.

The Biggest Shock from the earliest film

2009-10-19T14:13:00.000-07:00

Viewing Luis Buñuel's "Un Chien Andalou" (1929) and "L'Age D'Or" (1930) was the point where I realized that "The Book" was going to take me on a wild ride. I had actually found full versions on line, that since are not as easily findable. Buñuel used the camera, subject and film like a paintbrush, model and canvas creating one of the earliest WTF moment. It's length alone makes it susceptible to multiple viewing in an attempt to interpret some kind of meaning. Good luck with that, though I have seen it several times, since I first opened the book, I am no closer to a full understanding. First off, I have no idea what this movie has to do with an Andalousian Dog. Collaboration with Salvador Dali is apparent. The King of Surrealism's influence can be seen in the focus on ants and the rotting carcass just as his actual physical presence can be seen as one of the monks being dragged with the piano. "The Age of Gold" though longer is no less enigmatic as many chapters seem to focus on a couple unable to comsummate their love, being constantly interrupted by pressure from family, society and the church.

Las Hurdes or Land Without Bread (1932) is an early documentary (though some consider it a parody) showing an area of Spain that has seen little or no progress who's sole livelihood is a locally made honey too bitter to be enjoyable. Abandoned by the Catholic Church, the inhabitants of the area are left to survive as best they can, with little help from a government that cares little for the region. As a political message, this film was effective enough to be banned in it's country of origin. As a cautionary tale it is at least interesting as a snapshot of a point in time for a certain area devoid of education and a caring influence, but as entertainment, it leaves a lot to be desired.

This is only the beginning of an introduction to the work of Luis Buñuel.

Monty Python flies onto the Big Screen

2009-10-09T12:59:00.000-07:00

As a fan of Monty Python's Flying Circus from their earliest American market (KERA in Dallas, Texas was the first American PBS station to introduce the show in 1975) any chance to see the troop was a golden opportuntity.

Monty Python and the Holy Grail (1975) The transition from short skit comedy to feature length comedy just worked well. Since the members each played major and minor parts, they found a way to tie a bunch of short skits together to provide a story from beginning to end.

Life of Brian (1979) Monty Python takes on the bible in this one and it is so full of great scenes and acting that I laugh just thinking about it, from the not-so-virgin birth in another manger on Christmas Night to the final musical number at Golgotha. Between Biggus Dickus and the legionaire that catches Brian in the act of defacing property with seditious graffiti and proceeds to give a Latin grammar lesson, this is probably the best of their big screen projects.

Notable Exception: If you are looking for items in the same vein as Monty Python, you can't beat "Yellowbeard". Graham Chapman in the spotlight as a womanizing pirate that tattooed his treasure map to his son's head. The only thing keeping him from cutting it off is the fact that he doesn't want to have to carry around a rotting head. Features just about every Python alum (with the exception of Gilliam) and other great comic actors, Cheech and Chong, Marty Feldman (died of a massive coronary within hour of filming his last scene) Peter Cook and Peter Boyle.

Man Bites Dog

2009-10-07T13:12:00.000-07:00

Originally released in Belgium in 1992, directed by Rémy Belvaux , "Man Bites Dog" follows a film crew following a serial killer (flawlessly played by Benoît Poelvoorde) for a documentary. Filmed in black and white in a documentary style, Poelvoorde is followed as he commits crimes, mugging for the camera and interacting with a society that does not understand his awkward personality. The film crew is not above the danger (two members are actually killed) and eventually acts as accomplices for the sake of their story. Don't ask the obvious questions. Where does one find an active serial killer that will allow a film crew to document their activities (in today's reality TV mentality, it is becoming less of a stretch), is there a moral obligation to stop filming and alert the authorities and is the film a document of the killer or is the killer a product of the documentary?

Steven Spielberg

2009-10-06T15:31:00.000-07:00

Jaws (1975) Spielberg's first real blockbuster. Three men and a boat against a humongous shark.

Close Encounters of the Third Kind (1977) Richard Dreyfus as a man that is dealing with the knowledge he has that aliens are coming to earth.

Raiders of the Lost Ark (1981) The movie that introduced the world to Indiana Jones. Spielberg collaborates with George Lucas, in an adventure that was inspired by the movie serials of days gone by. With three sequels under his belt (and talk of a fourth) while all of them may be at least worth seeing, he has not been able to match the success of the original. One of the perfect action movies.

E. T. (1982) Not a big favorite for me, but that doesn't mean that it's not good. Expands on his idea that space aliens would not necessarily be the kind that come to earth looking to dominate or destroy. If anything could be dropped from "The Book" it would be this one. I'll bet there are a lot of people out there that WOULD NOT agree.

The Color Purple (1985) After years of action and sci-fi, Spielberg returns to the human drama. I believe this is the point where Hollywood started taking him serious.

Jurassic Park (1993) Spielberg's adaptation of the Michael Crichton novel gave us an idea what could happen if man tried to reintroduce dinosaurs to the earth.

Schindler's List (1993) Liam Neeson is Oskar Schindler, a man using his position as a factory owner as a means of saving as many as possible from the concentration camps. Ralph Fiennes portrays a ruthless SS officer. Filmed in black and white.

Saving Private Ryan (1998) After surviving the landing at Omaha Beach, an Infantry squad is assigned to find a soldier, who is supposed to be sent home. A good story that portrays squad relationships on the edge of civility as they argue the validity of their orders and gives an eye-opening vision of D-Day. Makes you wonder how ANYONE could have walked away from the beach.

Avant-garde cinema, part 2

2009-10-01T08:07:00.000-07:00

Heaven and Earth Magic (1962) A sixty-six minute animation piece by Harry Smith, made using cut-outs from old catalogs accompanied by sound effects not necessarily related to the visual activities. I couldn't help but feeling that this may have been an inspiration for Terry Gilliam when he was creating those animated segments in Monty Python's Flying Circus. I found this title on Youtube (cut into 7 separate parts). May not be the greatest video quality, but for this film I'm not sure it took too much away.

Dog Star Man (1962) Stan Brakhage's short film is an assault on the visual senses. Full of flashes of light and color, this is 60 minutes of confusion that may or may not have something to do with a man walking his dog up a mountain. This idea of the screen as a canvas for splashes of light used as paint got real old, real quick. Something about having those pictures introduced so quickly just left me confused and a little disoriented. By the time that an image is recognized of something that might be noteworthy (or maybe even interesting) it is replaced by another that you have scant seconds to register, recognize and react to before another takes it's place. Short of the man walking up the mountain , the most interesting thing is that he looks an awful lot like one of the cavemen in the Geico commercials. By the time I had made it through the Prelude and the four parts (not sure what the reason for the part segments) I really could have cared less what was going on.

Koyaanisqatsi: Life Out of Balance (1983) Part of a trilogy of films by Geoffrey Reggio, now this type of avant-garde is a bit more to my liking. While story and motive is still a bit of a mystery at least I was able to get clear extended views of the relationship between man, technology and the natural world. Brilliant, vivid photography leave you with no doubts of what you are seeing. None of those flashes that could possibly lead to epileptic seizure. Well worthy of viewing, with Philip Glass's musical composition adds to a mood and styling.

Notable Exceptions: E. Elias Merhige's "Begotten". Upon first learning of this film (a trailer attached to the "Shadow of the Vampire" DVD), I went on a frantic search for a place to view it. Finding it posted, in it's entirity on the internet, I was transfixed by the story that played out, though not immediately understandable, the filming is mesmerizing. The unconventional processing of black and white film creates images that keep you transfixed, not always sure what is going on, but does not allow you to turn away. Not for the squeamish, since the film depicts graphic human pain and suffering.

James Cameron

2009-09-28T10:33:00.000-07:00

The Terminator (1984) James Cameron would introduce the franchise that would generate 3 sequels and a TV series. Arnold Schwarzenegger plays a cybernetic organism that in sent to the past (present day)to kill the mother (Linda Hamilton) of a rebel leader.

The Terminator: Judgement Day T2 (1991) Cameron follows up with what would be the best of the lot. This one really pushed the boundaries of special effect, often leaving you wondering how the hell that happened. Schwarzenegger gets to be the good guy in this one. Same kind of machine with different instruction manual.

Titanic (1997) The ultimate date movie. A man and woman from different sides of the tracks, come together and fall in love at the worst possible time, in the worst possible place. Cameron's attention to detail is uncanny. Although Leonardo DiCaprio and Kate Winslett give great performances, the star of this one is the ship. It is hard to imagine that they are not actually aboard The Titanic on it's doomed maiden voyage.

A Woman Under The Influence

2009-09-24T11:40:00.000-07:00

John Cassavettes directs Gena Rowlands and Peter Falk in the story of a couple that are going through a bit of strife, accentuated by the wife's manifestations of ODD BEHAVIOR. Maybe just obssesive-compulsive, with a little nervous exhaustion and manic depression thrown on to boot. When the wife is institutionalize for her breakdown, we don't get to see what the wife is put through but are left to watch the husband try to carry on. His love for his wife does not prevent him from chastizing her in public for her OCD like behavior or even striking her. Unfortunately, the homecoming after her release show that the healing may not be complete, since the brutish husband is unable to show empathy. The melt down of the nuclear family.

Gangsters, Hollywood Style

2009-09-23T08:08:00.000-07:00

The 30s ushered in gangsters. Whether Hollywoods version of organized crime was authentic or not, it helped make stars.

Little Caesar (1930) Mervyn Le Roy directed Edward G. Robinson in his signature role as "Rico" Bandello. A two-bit hood who rockets to the top of the underworld, only to descend to the lowest depth with equal speed. Robinson would continue in hundreds of movies, but his work here is the one he is most remembered for.

The Public Enemy (1931) William Wellman directs James Cagney in the role that made him a household name. Much like "Goodfellas" this film follows Tom Powers, who's life on the streets leads him to a life of crime and easy money.

Scarface, The Shame of a Nation (1932) Howard Hawks directs Paul Muni. Muni is Tony Camonte, a gangster loosely based on the story of Al Capone. This one encountered stiff opposition from the review board, requiring censorship. The final edited product was disowned by producer Howard Hughes, who the took his original version to states without strict censors.

Angels With Dirty Faces (1938) Directed by Michael Curtiz, follows Rocky Sullivan and Jerry Connelly, two kids on the road to nowhere. Caught in an act of mischief, Rocky is caught while Jerry gets away. Rocky spends time in reform school returning to the old neighborhood as James Cagney, who has no intention of going straight. Jerry, seeing the error of his ways, has become the priestly Pat O'Brien who has opened a home for wayward boys. Humphrey Bogart and George Bancroft launch a failed attempt to "rub out" Rocky which leads to homicide that sends Rocky to Death Row.

Force of Evil (1948) Abraham Polonsky's crime drama stars John Garfield as a lawyer working for a crime boss. What starts as a spotless reputation is easily marred by association with the bosses numbers rackets that is being managed by his brother.

White Heat (1949) Raoul Walsh's brings back Cagney, as Cody Jarrett a cold blooded, gang leader who loves his mother. Cody is not above killing to get what he wants and actually does go up in a blaze of glory.

Notable Exceptions: The Roaring Twenties (1939) Final team up of Cagney and Bogart. A look at the rise of criminal element created by the Volstead Act.

Häxan

2009-09-21T14:29:00.000-07:00

Benjamin Christensen's "Häxan: Witchcraft Through The Ages" (1922) What starts looking like a documentary about the belief in witchcraft and demons in medieval culture goes on to become a much more revealing story, portraying devils and demons consorting with villagers, tormenting nuns and monks, and rites of the witches sabbath. Christensen even gets to play the role of Lucifer in a campy way that could only be taken seriously in a silent movie. This film was actually banned for many years in the US, for graphic violence and sexual perversion. It's kind of hard to imagine nowaday just how shocking it could have been, retrospectively. It would eventually be allowed for viewing in the 60s when a shorter version would be narrated by William S. Burroughs. It even does so far as to associate acceptance of demonic possession as a means of dealing with psychological condition that were just not yet understood. When it comes down to it this movie is pretty darn good even by today's standards.

The Brothers Coen

2009-09-21T07:30:00.000-07:00

If anyone is under-represented in "The Book" it would have to be the Coen Brothers. Their quirky comedies are laugh out loud hilarious while their more serious films explore crime from many different views. When they find a way of putting them both together, you are in for a wild ride.

Raising Arizona (1987) A repeat offender (Nicolas Cage) falls for the police mugshot photographer (Holly Hunter). Upon release from his latest incarceration, he proposes going straight and marriage. When they are diagnosed incapable of conceiving a child of their own, they devise a plan to kidnap the one of the sextuplets born to the Arizona family.

Fargo (1995) A salesman for a Minnesota automobile salesman (William H. Macy) hires a couple of thugs (Steve Buscemi and Peter Stormare) to kidnap his wife, in hopes that his wealthy father-in-law will pay the ransom, that he hopes to use a portion to solve the problems of his embezzlement that is in danger of being discovered. When an investigation is conducted by the pregnant Brainerd Police Chief Marge Gunderson (Frances McDormand) behind the killing of a state trooper, the investigation leads to the kidnapping and beyond ending with a woodchipper. McDormand's performance justifiable earned her an Oscar.

Notable exceptions: "Blood Simple" Their first film, about an affair that leads to murder and an extortion attempt by a sleazy private eye.

"Miller's Crossing" A Irish gangland crime drama, with great performances by Gabriel Byrne and Albert Finney.

"O Brother Where Art Thou" The Coens retell Homer's "Odyssey" by placing Ulysses in Depression-era American Dust Bowl.

"The Big Lebowski" Jeff Bridges' portrayal of "The Dude", the ultimate slacker who gets caught up in the life of an over-acheiving Lebowski.

John Ford

2009-09-17T11:05:00.000-07:00

Many of the great movies of early Hollywood were directed by John Ford. He had a great eye for scenery and was very loyal to his troop of actors. His stable consisted of many great and sometimes underrated performers like Henry Fonda, John Wayne, Victor McLaglen, Ward Bond, Ben Johnson, Harry Carey Jr, Pedro Armendariz, Linda Darnell, John Carradine just to name a few.

Judge Priest (1934) Getting a chance to view this one, I was really surprised that it would even be considered a worthy recommendation. The only thing it seems to have going for it is that it may be one of very few films featuring Will Rogers. The man who "never met a man he didn't like" contributes a bit of his homespun humor but the film is riddled with stereotypical portrayals of blacks, magnified by Stepin Fetchit who made a fortune playing into the Hollywood system stereotyping. Not sure he really paved the way for others.

Stagecoach (1939) This one raised John Wayne out of the rut. His earlier cookie cutter Hollywood westerns that were a dime a dozen. John Ford taps into characters with depth, exploring good and evil, right and wrong.

The Grapes of Wrath (1940) One of the great performances for Henry Fonda, as well as John Carradine and Linda Darnell. The Dust Bowl takes it's toll on the mid west and farmers leave their homes for the beaconing land of plenty, California. Unfortunately, the welcome mat is pulled out from under them as the number of people making the sojourn bring large shares of problems than prosperity. Ford actually ended his movie about 3/4 of the way through the book because he wanted a happier ending.

How Green Was My Valley (1941) A family in an English mining town goes through changes. The family is divided, the sons looking for respect and greater compensation for their labor while the father retains his loyalty to the company in spite of the employer's track record.

My Darling Clementine (1946) Ford portrayal of the Gunfight at the O. K. Corral may not be historically accurate but it is still a great film thanks to performances by Fonda, Walter Brennan and Victor Mature.
Rio Grande (1950) The last feature of John Ford's "Cavalry Trilogy" along with "Fort Apache" and "She Wore A Yellow Ribbon" . I found is one to be the least impressive with "Fort Apache" being the best with wonderful performances by John Wayne and especially Henry Fonda. I bet you are seeing a pattern here. I'm fond of Fonda.

The Quiet Man (1952) John Wayne plays an ex-boxer returning to Ireland to reclaim his family homestead.Only the Duke Wayne can see a brawl with his girlfriend's father as a necessary part of the courtship ritual.

The Searchers (1956) Probably Ford's greatest movie. As with so many of his western's filmed in Monument Valley, Utah. Ethan (John Wayne) searches for his niece that has been captures and raised by the "injuns". Ethan is a very complex character who may or may not be planning a "rescue".

The Man Who Shot Liberty Valance (1962) James Stewart is a lawyer coming in to town, who recognizes Liberty Valance as one of the bandits that robbed and pistol whipped him as he came into town. Unfortunately the law in town is pretty relaxed and Liberty has been allowed to run rough-shod. The only man that Valance will not mess with is John Wayne (of course). When the law doesn't work Stewart attempts to take the law into his own hands, facing down the bandit. And the rest is history, actually it's legend.

Notable Exceptions
The Informer: A great story of an IRA member that rats on another member for the £20 reward. Victor McLaglen's performance is superb.

Tobacco Road: Based on a play based on a book by Erskine Caldwell. The Lester's are a shiftless, ignorant lot, who would rather save the work for another day and would ruin any good thing that they have then complain about the fact that it didn't last.

Mister Roberts: The story of a U. S. Naval officer on a freight transfort ship who wants nothing more than to get a reassignment into a combat area. Great performances by Fonda, William Powell, Jack Lemmon and James Cagney as the Ship's Captain.

The Man Who Fell To Earth

2009-09-16T12:27:00.000-07:00

Nicholas Roeg's 1976 Sci-Fi film stars, David Bowie as Thomas Jerome Newton, an alien that comes to Earth in search of water for his dying planet. He uses his technology to amass a fortune on earth that will allow him to create a means of returning to his home. This is not a big special effects movie, coming 8 years after Kubrick's 2001 and preceeding Star Wars by a year, it is quite old school in much of it's visions of another planet. For the sake of the movie we are asked to believe that assimilation of an alien into our culture would be pretty simple. However when his ALIEN STATUS becomes known, his plans are thwarted and he is subjected to all manner of testing. As a whole this was a pretty interesting movie as long as you surrender to the suspension of disbelief. I found this one on the Independent Film Channel.

Avant-garde cinema

2009-09-15T11:49:00.000-07:00

Is Avant-garde another way of saying "apiecea-crappe"?

Flaming Creatures (1962): . Watching this one was like watching a train wreck. If you are into drag-queens, restraints, male genitalia and female mammaries flopping around and half-naked people mixed with awkward silences, show tunes and 50s pop songs, then this one is worth a look. I guess I am looking for a whole lot more from film as art. Missing this one is no crime. I am glad to get it out of the way. I might look into some of his (Jack Smith) other works that are available without the outlay of money, just to see if he had anything else to offer but I kinda doubt it.
http://www.ubu.com/

Blonde Cobra (1963): Are you kidding me? Immediately upon learning that this was somehow related to Jack Smith I wasn't expecting a lot. This one basically plays out like the story of a few guys with a movie camera, who are stuck in a cabin in the snow with an old Victorola and a bunch of 78rpm records to pass the time, getting drunk while cameras roll, they talk about the weirdest things, one of the narrators sounding amazingly like Miss Piggy. That's about it.
http://www.ubu.com/film/jacobs_blonde.html

Meshes of the Evening (1943): Maya Deren. An experimental film following a woman who may or may not be dreaming. She walks into an apartment, goes upstair only to look out the window and see herself chasing after a grim reaper who looks a bit like the ghost of Christmas to come in "Scrooged". Plays a little like a very short version of Groundhogs Day. Was originally silent but later provided with a soundtrack which adds a significant ambiance.
http://video.google.com/videoplay?docid=4002812108181388236&ei=S8UBScXhF5nc-AGnuYH-Dw&q=Meshes+of+the+Afternoon#

Scorpio Rising (1964) Kenneth Anger's film about guys in leather and chains, motorcycles and a bevy of 50s pop hits. Between the dressing rituals, the partying and motorcycle racing with a mingling of film about Christ and his disciples and Adolph Hitler, I am left wondering about the meaning.
http://video.google.com/videosearch?hl=en&source=hp&q=scorpio%20rising&um=1&ie=UTF-8&sa=N&tab=wv#

Hold Me While I'm Naked (1966) George Kucher's film that if I hadn't read it somewhere would have never guessed it was about sexual frustration. A small film director's lead actress quits a film because she is tired of performing in all her scenes naked.
http://www.ubu.com/film/kuchar.html

ubu.com appears to be a good place to go if you want a sampling of avant-garde films. Those I found in this post are just the tip of the iceberg. There are a few more from "The Book" available there as well as SO MANY OTHERS.

Quentin Tarantino

2009-09-14T13:08:00.000-07:00

Quentin Tarantino has revitalized the film industry. His work is not really meaningful, but appeals to movie goers on the basest of levels. Recreating the love for cinema by recreating genres to the point of art. His visual style is spectacular, while his characters are colorful and gritty. His use of non-linear story telling runs rampant through much of his work. With his use of popular music, Tarantino has the ability to elevate one hit wonders to the point of classics.

Reservoir Dogs: With characters names immediately disguised, he makes it easy for us to distinguish good guy from bad guy, even when they are all bad guys. No Honor Among Thieves, takes a new meaning in this one with great performances by Harvey Keitel, Tim Roth and Michael Madsen as the sadistic Mr. Blonde.

Pulp Fiction: So many stories to tell, somehow you come out liking everybody, even though no one is a real pillar of society.  Revitalized the stagnant career of John Travolta. My head just spins as I try to imagine how to tell the story chronologically. The story of the Gold Watch as told by Christopher Walken is a Hoot.

Kill Bill Vol. 1: An homage to the Martials Arts film, this one about a league of assassins, who set out to kill one of their own, only to fail, leading to an obsessive need for revenge. Lots of great choreographed fight sequences (hand-to-hand and sword play) elevate genre to amazing spectacle.  The Bride gets her day.
One of my favorite scenes comes from this movie. When Uma Thurman opens a door looking for Lucy Lui, we see a very peaceful Japanese garden with snow falling. A clapping is heard as the soundtrack rolls to Santa Esmerelda's Latin disco cover of "Don't let Me Be Misunderstood".

Notable Exceptions: Of course, my volume of "The Book" was printed prior to the release of "Kill Bill, Vol 2" its inclusion as a notable exception is absolute.  This being said, "Inglourious Basterds" was released in September, where Tarantino recreates the genre of "Secret Mission War Movie" not really popular in a few decades.  It has more in common with the fantasy genres, since it rewrites history with a great big "if only this could have happened". Brad Pitt's Major Aldo Raine is the kind of role that he is meant to play. The over the top, half prize fighter, half mental patient with a little stand-up comic added for good measure.

Tarantino has collaborated with Robert Rodriguez many times, who's El Mariachi/Desperado movie have been fun, but his filming of "Sin City" was a masterpiece not so much in story or dialog but in the overall look of the production that almost seemed to have been pulled directly from the sourced graphic novel by Frank Miller.

F. W. Murnau

2009-09-11T10:03:00.000-07:00

F. W. Murnau was one of the most influential directors of the early German Expressionist wave that started in the 1920s alongside Robert Weine and Fritz Lang. "The Book" really spurred my interest in Murnau's work since before reading it I was familiar only with Nosferatu.

Nosferatu, A Symphony of Horror (1922) Meant to be the first film adaptation of Dracula, negotiations with the estate of Bram Stoker broke down requiring Murnau to rename the characters. Dracula became Count Orlok. As a kid, I was not a big fan of this movie, preferring my vampires as portrayed by Lugosi and Christopher Lee. I would become a bigger fan as my love for silent movies grew, influenced by my older brother Steven.

The Last Laugh (1924) A hotel doorman (Emil Jannings) is given great respect for his position which is prompted by the military style uniform. When the doorman is demoted to the position of washroom attendant, we see his life change as he mourns the respect and position that he used to receive.

Sunrise, A Song Of Two Humans (1927) The first film by Murnau after being lured to Hollywood by William Fox. A story of marriage, infidelity and finally reconciliation when the couple leave the farm for a trip to the city. This trip may have been the time when the man intended to kill the wife to clear the way for the city girl.

Tabu (1931) Murnau's last film. A story of Polynesian culture involving a young pearl diver in love with a girl who is destined by the tribal elders to be the the bride of the god that they worship. They unsuccessfully attempt to run away but the elders have a long reach. Not my favorite of Murnau's films, if I had to pinpoint why I have to say because it is so bright, the darkness and shadows that Murnau is so effective at manipulating, is just not available on the island of Bora Bora. Regardless it is certainly well worth seeing.

Notable Exceptions: Phantom (1922) has come up on TCM a couple of time. It is a story about man's obsession for a woman he sees on the streets, and Faust (1926) with a perfect performance by Emil Jannings and Mr. Scratch himself.

Umberto D (1952)

2009-09-09T12:46:00.000-07:00

Vittorio De Sica's story of a retired man who tries to get along as his meager pension has reached a point were it will not pay for his basic needs. As an animal lover (I bet you never would have guess if I hadn't come out and said it), I identify with the relationship the title character has with his dog, a terrier named Flike. His pride is not enough to keep his landlady from wanting to kick him out of the room that he rents especially since she has plans for it that exclude a renter. As

SPOILER ALERT: Not sure I really need to say this for a movie made in 1952, but i guess if you haven't seen it yet...

Show me a movie that has a dog that dies for any reason and I am a blubbering blob (I was a mess at the end of "My Dog Skip" and have not seen "Marley and Me" for the same reason). The sentiment does not usually transfer to snarling guard dogs or your basic demon hounds from hell. I actually stopped the movie when it became apparent to me that the dog was going to meet his end. Short of the last 5 minutes, I figured the movie was seen and could be stricken from the list. Imagine my surprise as I looked it up in Wikipedia to refresh my memory for a few details, and I found out the old man and the dog lived.

Victor Sjöström

2009-09-09T12:01:00.000-07:00

Victor Sjöström began his film making career in Sweden. As happens so often, especially in the early days of commercial film making, the big money of Hollywood, U.S.A. called out to him and he released some very good movies, using the name Victor Seastorm. We would work with, Lillian Gish, Lon Chaney as well as Greta Garbo before he would quit directing in 1937.

The Phantom Carriage-Körkarlen (1921) What an idea, the last person to die before New Year is required to drove the carriage of death for the coming year. Sjöström presents a haunting story full of saints and sinners. I had first found this on youtube (someone had place it their in it's entirity). Since my first viewing there, it has come up on Turner Classic movies, giving me an opportunity to record it onto dvd for a future viewing pleasures.

Notable Exceptions: TCM has shown several of his Hollywood films and I really liked "He Who Laughs" with Lon Chaney as well as "The Wind" and "The Scarlet Letter" both starring Lillian Gish who, if the story I remember is correct, worked with Swedish actors that DID NOT speak English.

When Actors Direct

2009-09-05T10:15:00.000-07:00

The Bigamist (1953) - Ida Lupino directed a few films and for some reason this is considered "MUST SEE". It is not a great movie, and maybe in the generation to which it was released it may have been a good movie. The best compliment that I can pay it is that it was interesting enough to no feel like a waste of time.

Night of the Hunter (1955) - Charles Laughton's one and only shot as a director. The shady characters are as shady as can be, straight out of a dime novel. This is one of those movies that gains popularity as time passes. Since it was not well received at the box office, Laughton was never given an opportunity to direct again. Night of the Hunter is now considered a film noir classic. It is said, and I certainly can see it, that Laughton was influenced by the early German Expressionist films like The Cabinet of Dr. Caligari, and possibly M.

Easy Rider (1969) - Dennis Hopper's fond farewell to the free love generation ushering in the capitalism of the seventies. What child of the sixties HASN'T seen this one?

Dances With Wolves (1990) - Kevin Costner's directed a movie, based on a novel originally an unsellable screenplay. This is one of those lavish, sweeping epics that people just love. Plenty of beautiful scenery providing a backdrop for a story of a soldier's means of coping with his demons after the Civil War.

Braveheart (1995) - Mel Gibson, an Austrailian, playing a Scotsman, at war with the English king with the French wife. Another epic with beautiful scenery and battle sequences that keep your head spinning. Makes me wonder how anyone stayed alive in that kind of warfare.

The Passion of the Christ (2004) -Mel does it again. As if filming the Battle of Stirling wasn't enough, especially in kilts, he takes on the crucifiction of Christ, with actors performing in Latin, Aramaic and Hebrew. I am an agnostic and though I may not see it as a spiritual film, I recognize that the feat is something to be admired.

Erich Von Stroheim-Cinematic Genius or Big Cry Baby

2009-09-05T06:17:00.000-07:00

Probably the first director to fall victim of a studio's controlling interests. An outstanding director with vision who preferred early retirement to having his artistic integrity compromised.

Foolish Wives (1922): A simple story, not a lot different from the story of one of his earlier films (Blind Husbands). Stroheim plays the part of a womanizing Count Karamzin, who's royal status is questionable and who's intentions are as plain as the nose on his face. In Monte Carlo, the Count latches onto a young married woman of means whom he hopes to take for a trophy as well as an economic windfall. Karamzin proves to be as much a coward as he is a cad.

Greed (1924): One of the truly great early films that the book has introduced me to. Turner Classic Movies airs a very worthy restoration of this film about once a year. The restoration attempts to get as close as possible to the original vision in a four hour run time (still far short of Stroheim's original 10 hour film, what was he thinking?) using production notes and stills where lost footage is unavailable. Though it takes a bit of patience, the final product brings his vision back to life.

Notable exceptions: After "retiring" from film directing, Stroheim would continue to act, most notably in Jean Renoir's "La Grande Illusion" and Billy Wilder's "Sunset Boulevard" Seek out "Queen Kelly". This is Stroheim's last directed full length feature and is the source of many of the clips shown, credited to Nora Desmond in "Sunset Boulevard".

Michael Moore or lesse

2009-09-03T20:36:00.000-07:00

Michael Moore as entertainer (if his films and subjects can actually be considered entertainment) has a knack for showing the simplest answers to the most profound question. Unfortunately, I'm not sure if the simple answers that he provides are always practical. They just have to work for the 2 hours while the audience watches the movie.

Roger and Me (1989): Michael Moore started with this film, his first feature where he attempts to save his beloved hometown. Moore never hesitates to show the victims of the devastation as the summary closing of GM plants in Flint, Michigan lead to catasrophic lose of jobs and economy.

Fahrenheit 9/11 (2004): Moore takes on the runner up in the 2000 Presidential Election. His analysis of events that followed the attack 0f September 11th (often quite meticuliously), from the moment the first plane touched the first World Trade Center tower until the troops are sent to Iraq looking for WMDs. This ends in Moore handing out enlistment papers to congressmen suggesting they are not really vested in the Iraq war since they do not actually have relatives serving there.

Note of interest: Moore is no slouch at editing and is not above finding the most unflattering video and running it in slo-motion for enhanced effect. However, his passion for each subject is unquestionable. I am a bit surprised that though his movie "Bowling For Columbine" is mentioned in both articles for the above listed movies, it did not warrant inclusion itself.

Sergei M. Eisenstein

2009-08-31T18:44:00.000-07:00

There are not many films by Sergei Eisenstein that ARE NOT listed in "The Book" and for good reason. This Soviet director, who's films show great love for his country and it's history , was a true pioneer of the medium, who's technics were still borrowed by film makers. The majority of his films are political in nature especially his earliest which seems meant to justify the need and the justice of the Russian Revolution.

Strike (1924) The first of what could be called his homage to the revolution, Eisenstein shows the cruelty and injustice that would lead to the the strike of a factory in Russia. Full of images of the rich industry owners as fat cats and weasels, and rats, he present the workers in much more flattering images.

Battleship Potemkin (1925) After a series of indignities rained on the men on a navy battleship, one of which is being fed spoiled meat complete with crawling maggots, a rebellion is orchestrated. While not completely successful, the deaths suffered inspire others to rebel against injustice. This rebellion results in an extremely graphic massacre on the Odessa Steps that could well be one of the most copied scene every filmed.

October 1916: Ten Days That Shook the World (1926): All that revolting had to lead somewhere and October is the point where Eisenstein stages the revolution providing glimpses of the leaders and the revolution that broke out in the streets.

Ivan The Terrible Parts I & II (1945): Eisenstein looks back a bit farther into Russian history the present a story of Czar Ivan as he comes to power. Story goes that Stalin really liked Eisenstein and loved the first part of this movie. However, upon viewing the second part, he felt that Ivan was portrayed as extremely paranoid and cruel. With all that government purging going on thanks the Stalin's own plans, he pulled all support for Eisenstein's planned Part III.

Notable exceptions: With WWII close to a starting point and the threat of German invasion very real, Eisenstein filmed "Alexander Nevsky" the story of a 13th century Russian noblemen who lead his people against an invasion by the Teutonic Knights. A true treasure especially for it's battle sequences,

No Man's Land

2009-08-31T14:02:00.000-07:00

Written and directed by Danis Tanović in 2001. This was one of those movies that makes your guts twist into knots. When enemies are forces into close quarters together, they eventually learn that they are not that different. This was an excellent story that places a face on the atrocities of warfare. When two Bosnian-Serb soldiers recon a trench, the leader rigs a booby trap (a mine under a corpse) that will explode the minute that the enemy tries to retrieve the body. Unfortunately, the leader is immediately killed leaving his subordinate in a face off with a Bosniak, the friend of the person that they set up. When the "corpse" awakens, they must now deal with his inability to move without being blown to bits. While the balance of power between the two shifts back and forth NATO is called in to assist in the matter in hopes of a resolution. 'Nuff said. This one really requires seeing.

Universal Monsters

2009-08-28T13:03:00.000-07:00

For the older generations of movie goers, the monster movies coming from Universal Studios were the best thing around. Although they were not really a product of my generation, (except for their availability on television back in the day when there were only three TV stations) I have a great appreciation for many of them and continue to watch them periodically.

"Frankenstein" (1931) James Whale directed Frankenstein and placed in the role of a monster, Boris Karloff (billed only as "KARLOFF"). No stranger to film making, he had been a supporting player (over 70 films, as early as 1916) but this movie, and Universal Studios, made him the man who's name would be synonymous with the Frankenstein Monster. If asked to name persons that have performed the role many could name a few, some may name one or two, but EVERYONE could name Karloff.

"Bride of Frankenstein" (1934) James Whale returned to the director's chair to finish the saga of Frankenstein. Karloff returned for the last time as the monster, and again in "Son of Frankenstein" but would bow out for the three more times that Universal would write the monster into a monster movie script.

"Dracula" (1931) Tod Browning directed Bela Lugosi. Again, the old movies somehow manage to insert a face into a character that will never be forgotten. It's not blood, gore or special effects that make this movie. Christopher Lee may have been the scariest, Frank Langella was more stylish, Gary Oldman provided the animal magnetism but it was Lugosi's thick Romanian accent and hypnotic delivery that make it unforgettable. While Browning's direction of Lugosi may have produced the best portrayal, the best production of Dracula in 1931 may well go to the Spanish Language version, directed by George Melford. Often filming at night and able to view daily shootings, the production team was able to make many changes that dramatically stand out. Although Carlos Villarias's Dracula is inferior by leaps and bounds, the overall visual affects compensated for lack of a star of Lugosi's intensity. If you have not had the opportunity to see it and appreciate the Browning film, you owe it to yourself to seek it out.

The Wolf Man (1941) directed by George Waggner, stars Lon Chaney, Jr as Lawrence Talbot. While he was the son of "the Man of a Thousand Faces", who made an extraordinary career of creating extensive make-up devices, it was Jack Pierce who was responsible for the wolf man that would be the best ever for decades. It would take a lot of special effects and technology to knock it out of it's ranking. I have just learned that this is slated for a remake to be released in 2010.

Universal would also introduce viewers, to the Mummy, the Invisible Man and the Creature From The Black Lagoon. While Universal was an innovator in the field of monster movies of their time, they finally saturated the market producing inferior sequels and allowed their characters to be included in comedy spoofs that finally made them the object of laughs rather than screams.

Once was definitely enough

2009-08-27T18:18:00.000-07:00

“King Kong” (1933) Never mind the remakes, the door hadn’t stopped swinging shut from King Kong before RKO released “Son of Kong” in the hopes of riding on it’s success. I have seen the original a number of times. Though I enjoy it as a piece of film making history, I was SO IMPRESSED by Peter Jackson’s remake, I can’t watch the original any more.

“The Thin Man” (1934) Characters taken from a single novel by Dashiell Hammett. Nick and Norah Charles (William Powell and Myrna Loy) graced the screen 6 times. Although the THIN MAN is actually the character of focus in the original (a "thin man", missing after his girl friend is discovered dead), each following movie was title using “The Thin Man” (as in “After The Thin Man” and The Thin Man Goes Home”) it became the assumption that William Powell was in fact, THE Thin Man.

“Psycho” (1960) Based on the novel by Robert Bloch, Norman Bates is a fictional character patterned after Ed Gein, a serial killer in Wisconsin. Of course, Alfred Hitchcock’s filming original was so good that Gus Van Sant’s 1998 remake was a shot by shot recreation utilizing the same shooting script with little deviation from the original. Robert Bloch, wrote a sequel 1982 but the 1983 movie sequel was not an adaptation of his story.

“The Hustler” (1961) The story of “Fast Eddie” Felson a small time pool shark that longs for the big time only to find that the big time was more than he bargained for. Paul Newman would recreate the role for Martin Scorsese’s sequel which follows the hustler as he attempts to train a protege played by Tom Cruise. Not bad as sequels go.

“Shaft” (1971) Where Shaft may have been ground breaking, the sequels were no big deal. “Shaft’s Big Score” and “Shaft In Africa” just did not offer a lot.

“Superfly” (1972) Gordon Parks’ film account of a drug dealer attempting to leave the underworld business was meant to illustrate the negative aspects of the drug culture. “Superfly TNT” was a bomb.

“The Sting” (1973) One of the greatest con movies ever. Excellent cast. What could have gotten into a studio that would replace Paul Newman and Robert Redford, with Jackie Gleason and Mac Davis.

“American Graffiti” (1973) George Lucas’ coming-of-age film is all about 50s stereotypes (hot rods, letterman sweaters, drive-in diners) but is set in ’62. Almost as if the 50s were not quite over. “More American Graffiti” would follow much of the original cast as the real 60s come crashing down on them, with Viet Nam, the Kennedy Assassination and adulthood.

“The Exorcist” (1973) William Friedkin’s adaptation of William Peter Blatty’s novel was one of the greatest horror films of all-time, and would be followed by “The Exorcist 2: The Heretic” I’ve only seen it once and immediately put it into the “you got to me kidding me”category. Blatty actually wrote a sequel, LEGION that would later be adapted and directed by Blatty himself. A terrific story and great performances by George C. Scott, replacing the deceased Lee J. Cobb as Lt. Kinderman and Jason Miller returns as who we think is Father Karras. Wait, didn’t he die at the end of “The Exorcist”. Blatty’s film is a tightly woven story with some really creepy imagery that is the only worthy sequel for the original.

“The Rocky Horror Picture Show” (1975) The British Rock musical was a cult sensation becoming one of the most viewed midnight movie in history. The creative team of Jim Sharman, Lou Adler and Richard Hartley would follow up with “Shock Treatment” It flopped worse that the original which is really not a good thing (or is it???).

“Rocky” (1976) When it comes to boxing movies, “Rocky” is one of the best. The underdog gets his chance at the title. It’s a classic tale. I could even understand the reason for Rocky 2. But allowing it to continue for 3 more after that bordered on the side of caricature. I’m not really counting “Rocky Balboa”, since is actually paid to see it and kinda liked it as a chance of bringing it to a fitting end. Just, please, end it NOW.

“Saturday Night Fever” (1977) John Badham’s anthem for the disco age was followed much later as John Travolta’s Tony Manero leave the discotheque behind ant tries is luck at broadway. Sylvester Stallone directed “Staying Alive” in 1983, and though it was a financial success, it fell far short of the original in more ways than one.

“Halloween” (1978) John Carpenter’s original was followed by no less than 7 sequels following Michael Myers (not to be confused with Mike Myers) before the decision was made to cease and desist, and start working on remakes. Having seen the first remake directed by Rob Zombie, I am impressed. On a personal note, the first time I got to see “Halloween” it was on a black-and-white television. It was at least 10 years before I would see it in color and I thought that B&W made for a better film.

“Mad Max” (1979) For me, George Miller’s first installment in the Mad Max saga was a little less appealing than “The Road Warrior”. This one really drove home the feeling of total despair in a world where survival of the fittest, unmerciful bands of human monsters are looking for the gas required to keep going.

“Airplane!” (1980) This one ushered in the genre spoofing genre. Might be who we have to blame for “Meet The Spartans”

“The Evil Dead” (1982) Funny, I always thought Army of Darkness was the better of the three movies.

“A Nightmare on Elm Street” (1984) Freddy Kruger has always appealed to me as a really cool movie monster, the whole “kill you in your dreams” thing was great. Like so many other monsters, the endless supply of sequels diminished the effect.

“Beverly Hills Cop” (1984) Eddie Murphy’s sassy Axel Foley was good. His timing was great for the character, but the interest was lost pretty quickly, making the sequels unmemorable. Another one of those that I don’t think lives up to the “must see” status.

“Ghostbusters” (1984) Not sure why the first one is so much better than the second in this case, short of the novelty of the idea. Convincing the characters that they can do it is as funny as convincing the city of New York. When the second one came along, there was no need to convince.

“Back to the Future” (1985) I always liked this one and find all three to be equally enjoyable. Like with “Lord Of The Rings” if I make plans to watch one, I will clear out the calendar to watch them all. See the interlacing of the scenes between Parts 1, 2, and 3 is a big part of the fun.

“The Naked Gun” (1988) The follow up to the “Police Squad” TV series, was responsible for two sequels, each as hilarious as the others. Surely there’s only so far the bumbling Lieutenant can go. Don’t call me Shirley!

“Die Hard” (1988) Though I have yet to see the fourth one, with the first three under my belt, I found the first one to be the best. After the first one, John McLane just seemed to be a super hero that is no affected by explosions, machine gun fire and other objects that would cause serious injury to those not choreographed to deal with crashes, falls and being shot through a cockpit in an ejector seat.

“Batman” (1989) Long before Christopher Nolan, Christian Bale and Heath Ledger, Tim Burton created a Batman and Gotham City that was a fantastic version of the Caped Crusader by Michael Keaton (you got to be kidding me was my first reaction when he was picked, but he pulled it off quite well) and Jack Nicholson’s Joker that was inspiring. While Burton’s “Batman Returns” is on equal footing in the franchise as far as I’m concerned, the ones directed up by Joel Schumacher, though dazzling, fizzled out. Even Jim Carrey’s Riddler (still one of the best portrayal of a Batman villain in my book) could not save them as Bruce Wayne was portrayed by two different actors.

"Scream" (1996) Wes Craven’s film pokes fun at the genre that was his bread and butter, but continuing the franchise is really just poking fun at the audience.

“The Blair Witch Project” (1999) The last original, real independent hit of the 20th century. It is raw footage, with so little happening on camera while the audience reacts to the characters and situation rather then a visible horror. Giving the Blair Witch phenomenon a big Hollywood budget is kinda like giving Jack Kerouac a car and a gas card and expecting “On The Road” to be nearly as interesting as it was.

“The Matrix” (1999) After giving us one of the more fascinating special effects movies made for it’s time, the Wachowski Brothers followed up with more than my eyes and brain was able to follow. It took a few viewings for me to get the full gist of the story and it just exhausted me.

“Meet the Parents” (2000) After meeting the parents, “Meet the Fockers” wasn’t really necessary. But then I’m not sure I could really classify the original as a “must see” either. Can’t say I didn’t like it but c’mon. I liked “Tropic Thunder" but it has no place on this list either.

Martin Scorsese

2009-08-27T05:37:00.000-07:00

Martin Scorsese is one of those directors that gets my attention IMMEDIATELY upon release of a new film. So basically, there are not many that I have missed and certainly not from "The Book".

Mean Streets (1973) Scorsese's first real film that would feature a signature style. Gritty street-wise characters, bloody-violence, guilt (especially Catholic guilt) and redemption. First of long string of films with Robert DeNiro.

Taxi Driver (1976) DeNiro isTravis Bickle. The anti-hero in this raw story of a confused man looking for an outlet for his disgust with the human race, especially as seen in New York City. Seems to have trouble relating to women. For Travis, the stock piling of an arsenal leads him to contemplating the assassination of a presidential candidate. While that doesn't come to pass, he turns his attention to a more noble cause as he tries to help a young streetwalker out of her situation.

Raging Bull (1980) The story of prize fighter Jake LaMotta (Robert DeNiro, of course) career. From highest to lowest. It is amazing to see Deniro's transformation from lean, mean punching machine to over-weight, wash up. An early film for Joe Pesci, who would play major roles in a few more Scorsese films.

The King of Comedy (1983) Rupert Pupkin (DeNiro, again) is an aspiring stand-up comic who is willing to kidnap a late night talk show host (played by a no nonsense Jerry Lewis) for a chance at the big time.

Goodfellas (1990) Probably the greatest underworld crime drama ever. Focuses on a character going from his teen years as a valet for the local pizza parlor that serves as the headquarters for the syndicate's operations through the end when he turns states evidence. It follow Henry Hill (Ray Liotta) with retrospective voice over, ending with Henry in the witness chair, who turns to the camera to finish his tale for the audience, not the court. DeNiro and Pesci add to the authenticity by providing tough performances as wise guys.

Casino (1995) Certainly a good film but I felt like it was just a continuation of previous mob film. Could easiliy have been "GoodfellasII, the Further Adventures of Jimmy and Tommy". The story leaves NY behind and focuses on the syndicates involvement in Las Vegas.

Gangs of New York (2002) An amazing period piece showing the rise of gangs in 1800's New York City. First time that Leonardo DiCaprio would work with Scorsese. It seems that DeNiro has passed the torch to Leo. Between portrayal of Bill "The Butcher" Cutting by Daniel Day-Lewis and the costume, setting it feels like some kind of alternate reality fable.

The Aviator (2004) A straight story about the life of Howard Hughes from aviation pioneer through his Hollywood years and his business aviation while shedding light on his germophobia and obsessive-compulsive disorder. Leonardo DiCaprio plays Hughes.

Notable exclusions: In my humble opinion, the absence of "The Last Temptation of Christ" is possibly the biggest flaw in "The Book's" represention of the best of Scorsese's career.

Old Stone Face

2009-08-26T14:05:00.000-07:00

For some reason, Buster Keaton has been my favorite when speaking of the BIG THREE of silent comedy, preferring him to Charles Chaplin or Harold Lloyd. “The Book” served to reintroduce me to Keaton, and I have gone whole hog into adding him in one form or another to my DVD library, pre-feature shorts (often an hour worth of laughs packed tightly into a 20 minute show) and even his talkies (the spark of his comic genius is not bright), though I hate to say it nothing is really missed by missing them.

"Our Hospitality" (1923) Buster’s character is introduced to his girl friend’s family. Unfortunately the families’ have been feuding for years (very much like the Hatfields and McCoys) and the brothers of the girl plot to kill the unsuspecting beau. However, their southern hospitality will not allow them to assault an invited guest. The entire movie revolves around the family trying to get him to leave the house so that they can proceed with their plans.

"Sherlock, Jr." (1924) Buster is in competition for the hand of a beautiful girl. When the other suitor accusses him of stealing from the girl’s father, he slips into a dream world where he is a Holmes-esque detective that must find a stolen pearl necklace.

"Seven Chances" (1925) A confirmed bachelor stands to inherit a fortune if he gets married. As Buster attempts to find a willing bride, he is continuously rejected until new gets around about the fortune at stake.

"The General" (1927) When railroad engineer, Johnny Gray (love that name) tries to enlist in the Confederate Army to impress his girl friend, his rejection by the induction board is seen as a spot of shame on his manhood. When the Union Army kidnaps his girlfriend, he uses his locomotive “The General” to chase down , rescue and return her to her beloved hometown. I got the chance to see this one at Fort Worth’s Bass Hall with the accompaniment of the Fort Worth Symphony Orchestra. If you ever get a chance to see a silent movie like this, take it.

"Steamboat Bill, Jr." (1928) Probably my least favorite of the films listed. Buster is the “dandy” son of a Steamboat captain that falls for the daughter of his father’s rival. Junior tries to warm up to the father that wasn’t there for him and bridge the gap between the competitors.

Noteworthy exceptions: "The Cameraman" is another from Keaton's silent era that is just as good if not better than "Steamboat Bill, Jr."

Stanley Kramer- The Conscience of Hollywood in the Dark Ages

2009-08-25T19:40:00.000-07:00

Many of the films of Stanley Kramer have been personal favorites of mine for years. His work as a producer and director made him responsible for some of the most reflective movies of the "Red Scare" era, race relations, nuclear arms and the place of religion in education.

"High Noon" was actually directed by Fred Zinnemann in 1952 and is considered by some as an allegory to the House UnAmerican Activities Commision that was running rough-shod through the entertainment industry, and written in part and co produced by Carl Foreman who was blacklisted and moved to the UK. When it comes to greatest westerns of all time not many lovers of the genre will not add it as one of the top 10.

"The Defiant Ones" directed by Kramer in 1958 starred Tony Curtis and Sidney Poitier as prisoners chained together that get their chance to break out when the truck transporting them crashes. It is clear at the very beginning that Curtis's character has racist views that are going to be addressed. Unfortunately, if they intend to get anywhere they must learn to work together for the benefit of both. Strong performance by both stars make this a great movie well deserving of a place in "The Book".

Other Kramer films that are worth finding are "Inherit The Wind" (which is my favorite of ALL his films) based on the events of the Scopes Trial, "On The Beach" from book by Nevil Shute exploring the effects of global nuclear war even on those that are not active participants in the exchange. And Edward Dmytryk"The Caine Mutiny" with terrific performances by Humphery Bogart, Fred MacMurray, Van Johnson and Jose Ferrer

My Night At Maud's

2009-08-25T12:30:00.000-07:00

Although I had hoped to see more from the French New Wave exhibit at the Fort Worth Modern Art Museum I was only able to get in the opening night and the closing night. The last film in the exhibit was Eric Rohmer’s “Ma Nuit Chez Maud” released in 1959.

When Jean-Louis sees a girl in church, he follows in the hopes of introduction. After losing the young lady in a low speed chase he runs into, Vidal, an old school friend. Invited to accompany the old friend to catch-up on old times, they spend the evening with Vidal’s girlfriend. Here is where Maud comes in. She is the divorced, mother of one and a bit of a free spirit. The kind of person willing to speak quite frankly to a person that until a couple of hours ago was a complete stranger, even comfortable with entertaining company in her PJs. When the boyfriend makes plans to leave, she seems concerned that the new guy could be hurt in a traffic accident resulting from an oncoming snowstorm (apparently the boyfriend lives in the same town while the stranger lives much farther away) leaving alone time with Jean-Louis, continuing conversations about the status of her relationship with Vidal and other icebreakers. Although the man exclaims his high moral values concerning relationships based on his faith, he allows himself to become infatuated with Maud regardless of any interest that his old school chum may have as well as starting a relationship with the girl from church.

An interesting look at how fragile a relationship can be especially at the very beginning.

Bloody Sam Peckinpah, the GOD of action film

2009-08-23T08:23:00.001-07:00

Anyone that enjoys the shoot-em up action that has become the fare of today's movie experience owes a debt of thanks to Sam Peckinpah. This man single handedly changed the way films were made. His slo-mo action sequences and graphic violence brought the traditional western out of the fifties and into the next century at least 30 years before the start of the new millennium. With action films by John Woo, Tony Scott and Quentin Tarantino giving us jaw dropping action, they are standing on the shoulders of a giant.

The Wild Bunch- The quintessential Peckinpah movie. Addresses his theory of "honor among thieves". Sam basically took the western genre back from Sergio Leone with this one.

Straw Dogs-The how far can a pacifist be pushed? What will he fight for and when he does, what will he do? Dustin Hoffman is the meek yank in a small English country town. He passively accepts the abuses of the local folk until he becomes the protector of a simple-minded man accused of murdering a local girl. When the towns brutes get all liquored up and decide to come for the man, Hoffman defends his castle from siege.

Pat Garrett and Billy The Kid-One of his most troubled productions. James Coburn and Kris Kristofferson play the title characters with an interesting screen appearance by Bob Dylan.

Bring Me The Head of Alfredo Garcia-Warren Oates gets to headline in this underworld drama about a man that sees a chance at some quick money without any real work. Alfredo Garcia is already dead. All he will have to do is exhume the corpse, remove the head and deliver it to "El Jefe" in some south of the border town to claim his reward.

If these interest you, then I would also suggest "Ride The High Country", an aging hero western with great performances by western staples Joel McCrea and Randolph Scott and "Cross Of Iron" a WWII film looking at the war on the Russian Front from the German perspective. The Germans are the good guys in this one as they fight the Russians and themselves. James Coburn as Sgt. Steiner, Maximillian Schell as Captain Stransky and a couple of German officers with prominent British accents (James Mason and David Warner).

Gold Diggers of 1933

2009-08-22T18:04:00.000-07:00

Mervyn LeRoy's "The Gold Diggers of 1933". The story of a well-to-do Boston blueblood deciding to go into show business and wishing to marry his co-star. His older brother, it seems, controls his inheritance and wants to show his brother what gold diggers ALL actresses are, INCLUDING his brothers fiancee. This type of musical with the elaborate sets and line, followed by line, followed by line of dancers dressed in tuxedos, evening dresses and some othe the craziest costumes that can be imagined was pure escapism during the Great Depression when they really thrived. By the late 40s to the early 50s they became passe as stars of the caliber of Gene Kelly and Cyd Charisse continued to keep the musical alive but made the movies story-based removing the numbers from the stage (or so they would have you believe). This type of movie just doesn't seem relevent to the world of modern entertainment. It may have appealed to MY parents at one time, but I remember their love of Rodgers and Hammerstein or "Singin' In The Rain" not so much Busby Berkley. Although I went into this expecting to dislike it, I actually came through enjoying it. I went into this movie intending to say that it probably has no real place in "The Book" but upon seeing it I'm not so sure. I am 50 years old and this doesn't hold a personal nostalgic place in my heart. How long can we expect that these kinds of movies will continue to be aired and really enjoyed as the older audiences become smaller and smaller? As long as TCM remains? I guess we can just hope that there will be reference like "The Book" that will always keep them from fading away. Unfortunately, as the years go by, unless the number of movies listed is allowed to increase sooner or later, I am afraid that it will be replaced. Although revisions of "The Book" so far to date, tend to eliminate newer movies (no earlier than 1988) sooner or later they will start reaching back.

Oscar Micheaux

2009-08-22T11:27:00.000-07:00

The first producer and director of race films made specifically for African-Americans back when "Colored" was an acceptable label. It beat some of the others that were circulating at the time. He made many films, but "The Book" lists only one.

"Within Our Gates" released in 1920, is a simple story of a young black woman who travels north to help raise money for a school for impoverished children. Unfortunately, she in not immune to the prejudices of society. Often sited as a response to D. W. Griffith's "Birth of a Nation" released in 1915. It can to be said that this film didn't really get around much. It certainly had no appeal to the mainstrean of the early 1900s, it played small theaters, that catered to the minorities. It was considered LOST until a copy was found in Spain in the 70s.

This one has been available on TCM a couple of times over the last three years along with others by Micheaux, most notably, the existing pieces of "Symbol of the Unconquered" which followed "Within Our Gates".

Bob Le Flambeur "Bob The Gambler"

2009-08-22T10:47:00.000-07:00

Directed by Jean Pierre Melville in 1956, "Bob Le Flambeur" is a salute to the gangster genre. Roger Duchesne is Bob, a high roller not quite as lucky as he wishes he was. When he comes up short, he begins a plan around the robbing of a casino, dragging in friends. Sound suspiciously like "Ocean's Eleven". For me, Duchesne seems to radiate the same kind of charm that would later be found in James Coburn, years before he would get his chance to play Derek Flint. As far as caper films go this is certainly interesting. Especially considering the French origin. I found this one on The Sundance Channel.

Woodstock

2009-08-20T15:56:00.000-07:00

With the 40th anniversary of Woodstock, I can cross this one off the list. Arguably the best concert film ever made. Of course, 2 hours can never explain 3 days of peace and music but if you were unable to go (I was 10 years old at the time) this is probably as good as it gets. With the invention of the internet, all kinds of video keeps coming up, but this was the first. Tonight I will be attending the "Heroes of Woodstock" concert at Ft. Worth's Bass Hall. Not quite the same but I'm looking forward to it.

post concert notes:

"all rock-and-rollers over the age of 50 look stupid and should retire." Grace Slick

Concert lineup

Country Joe McDonald playing sets between acts by

Edgar Winter

Canned Heat

Ten Years After

Jefferson Starship with John Constanten of The Grateful Dead

Not sure that I want to take as rigid a stand as Grace (Mick Jagger never ceases to amaze me) but it was a bit hard to see these people age, especially since many have been out of the mainstream public eye for so long. Every group was a mixture of old codgers and young whipper-snappers performing as faithfully as possible. Although the sound was a bit sketchy at times (worst offense being the inability to here the flute during Canned Heat's "Up The Country") it was still good to see so many of these people getting a chance to shine again.

Goodbye Lenin, Hello Capitalism

2009-08-20T04:47:00.000-07:00

A woman in East Berlin uses her many socialist duties (one involves the composing of letters meant to keep the machine working with just a touch of sarcasm to lubricate the gears) to cope with the fact that her husband has defected to the west, leaving her to raise her children in Communist controlled East Germany. After accepting an award for her service to the German Democratic Republic, she stumbles upon a unification rally being attended by her now grown son, which leads to fainting and a coma lasting several months. Upon recovery, the doctor instructs the son that any shock could result in a relapse. The son then goes to great measures to create the illusion of a still strong GDR even after the collapse of the wall and the in pouring of the capitalist west. This movie was a great find and without the recommendation of "The Book" I'm not sure if I would have found it.

The Cabinet of Dr. Caligari (1919)

2009-08-19T14:07:00.000-07:00

Das Cabinet des Dr. Caligari, or The Cabinet of Dr. Caligari directed by Robert Weine was one of the first of the German Expressionist movement. A story of hypnotism, somnambulism and quite possibly murder. The film uses sets that force the viewer to see reality the way that the director wants you to see it, with dark shadows, impossibly weird angles and forced perspectives. Seems to dwell in the dream world of a mad man (I guess) to create eerie atmospheres that are not easily forgotten. I have seen this one several times and may be the one that really established my love of silent movies.

The Cranes Are Flying (1957)

2009-08-19T09:55:00.000-07:00

Летят Журавли, Letyat Zhuravli, I found this one airing on TCM about a year ago. This is a Russian (Soviet) made film directed by Mikhail Kalatozov. The story of the effects of World War II on Russians, both on the line and at the home front. The story could easily have been French, Italian or even British. It really does a lot to humanize the monster that at one time loomed over the free world. The Communist threat seems almost tamed by seeing that the hopes and dreams of the people were no different then our own. As a former Cold Warrior, this was quite an awakening.

Clint Eastwood

2009-08-18T07:16:00.000-07:00

Whether in front or behind the camera, Clint Eastwood has been a real gem (the term "Diamond in the Rough" could not be more appropriate) . Making movies that address sweeping social issues like, is it stealing if you take gold bullion from Nazis caches and save the human rights for those who are deserving, his movies' focus have aged along with the man. He seems to have adapted a more sensitive view of humanity using his insight to show things are not always black and white. His two films showing the battle of Iwo Jima from both sides are a prime example.

"The Good The Bad And The Ugly" [1966] Who would have thought it would take an Italian director to breathe life into a fading genre, one that is as American as mom's apple pie. Sergio Leone did it with his "Man With No Name" trilogy as well as giving the world a Clint Eastwood different from the one that was offered on TV's "Rawhide". I really did not think much of this movie at first, it was my brother that really got me to appreciate it and just about everything by Leone.

"Dirty Harry" [1971] As much as I like this one and I'm not sure that I can justify the must see status. It certainly must have something if it could have spawned 4 sequels and tag lines that will be remembered for generations to come. "Feel Luck, well do you punk" and "Go ahead. Make my day" Who hasn't used them , themselves at least a dozen times in their lives.

"High Plains Drifter" [1972] A supernatural western. It seems to be a ghost story set in a small town that would not support their local sheriff. When he returns, apparently unrecognizable as the murdered law man , the drifter comes to get vengeance on those that killed him, putting the town through hell in the process.

"The Outlaw Josey Wales" [1976] Another "Vengeance is mine" tale that puts Clint in the saddle to fight for the Confederacy since Union troops, murdered his wife and child and burned down his house. It's not so much about fighting in the war as it is about trying to put it behind him when the war is over.

Unforgiven [1992]: This seems to be the point where Clint has begun to mellow. A western with a conscience. Not the first one that examined the validity of "Western Justice" (I would probably guess 'The Ox-Bow Incident" holds that honor) but certainly one of the more grizzled. Eastwood's ex-gunslinger turned widower pig farmer, Billy Muny, is old and tired but still leaves his motherless son behind when offered a bounty for killing a couple of guys that disfigured a prostitute. Three ride in to do the job, (Clint, Morgan Freeman and a wannabe that doesn't really have the stones for the job), one rides out and that one is Muny.

Million Dollar Baby [2004] A grizzled trainer takes a chance managing a young female boxer, that has all the heart necessary to go to the top. Hilary Swank, perfects the Hicksville accent and Morgan Freeman plays the sidekick that is probably more of a direct line to the trainers heart.

A guilty pleasure not listed "Kelly's Heroes" 1970.

Les Vampires

2009-08-17T14:57:00.000-07:00

Les Vampires [1915] directed by Louis Feuillade was actually a series of 10 short films that chronicles the exploits of a band of criminals and the reporter who tries to bring them to justice. I actually found this one online, someone had posted it on Google. It has since become hard to find. Though it was not the best source for the viewing, it did allow me to see it at no cost. Nothing spectacular about this but it was fun to watch. Especially in respect to economy of production. The same rooms used as different locations. Would not mind a repeat showing but not prepared to spend the money to bring it in.

It has left me with a wish to see other films by Feuillade including "Judex" and "Fantômas".

Lord of the Rings

2009-08-17T14:36:00.000-07:00

Whatever opinion I may have for one of these is valid for all. Though I was a bit of a nerd in High School and it had been a part of my library, I never got around to actually reading Tolkien until I heard that Peter Jackson was going to tackle it as movie. So the image was pretty fresh when it came time to actually see it. He was not the first to try (Ralph Bakshi tried to cram the whole story into one animated movie but it really didn't work, in my opinion) he was certainly the best. You can tell he had a fond love for the source material. Though there are certainly some parts omitted, he gave the story what it needed to be interesting. His sets and effects were amazing, and his ability to keep a production schedule that would allow the three parts to be released without more than a year between episodes made the excitement last.

The Fellowship of the Ring [2001]

The Two Towers [2002]

The Return of the King [2003]

I can't imagine the idea of sitting down to watch one of these, without actually scheduling the time to watch the entire saga.

D. W. Griffith

2009-08-17T07:49:00.000-07:00

Responsible for five of the first eleven entries, D. W. Griffith really was the greatest innovator of early film. His films, though often filled with negative stereotypes, were mammoth undertakings that are breathtaking even by today's standards.

"Birth of a Nation" [1915]: This one is probably the one he will be remembered for most. The story of two families that live on opposite sides of the North-South conflict. It really does not get objectionable until the end of the Civil War, when actors in black-face portray the evil freed slaves that would ruin the nation, if not for the protectors of family values, the Ku Klux Klan. I know it sounds ridiculous and believe me it is as hard to watch as it is to write, but the production value of this first Hollywood epic cannot be denied. I think he really did not fully understand the reason behind the outrage that followed it's release. If you are easily offended, I might suggest watching the first half, after all, the Civil War from Harper's Ferry to Appomattox may have been part of the "birth of a nation", but the events of the last half of the movie do not justify such a heightened place in history.

"Intolerance" [1916] After being publicly demonized for "Birth of a Nation" he followed up with this story of love, hate and, yes, intolerance as four separate stories are played through from ancient Babylon, Judea, the French Renaissance to the streets of New York. May actually feature one of the first fake decapitation ever filmed. Though the miracle of digital technology, frame by frame crystal clear pause shows the secret to be rather crude, my first immediate response was surprise.

Broken Blossoms" [1919] The story of a young Chinese man, (stereotypically portrayed by Richard Barthelmess who is as Chinese as I am) who falls in love with a white girl (Lillian Gish). When she is severely beaten by her pugilist father, Barthelmess takes her into his room to heal. Unfortunately, the man's Buddhist upbringing does not sufficiently prepare him for the actions of the father. This one was not as large in scale as many other Griffith films but is still quite effective for this story.

"Way Down East" [1920] May actually be the lesser of the Griffith entries in "The Book". This story focuses on a young girl who is taken advantage of by an unscrupulous cad. Left to raise a child out of wed lock. Her hopes for love after past experience return but are almost shattered for reasons that I will not disclose.

"Orphans of the Storm" [1921]. Griffith returns to the epics that he does so well. France at the time of the revolution in this story of step-sisters, separated. One blind and forced to begging on the streets of Paris. With all that revolting going on, the streets are a dangerous place.

Les Quatre Cents Coups "The 400 Blows" [1959]

2009-08-16T14:45:00.000-07:00

Inspired by the Fort Worth Modern Art Museum's feature, I decided to watch this one from Francois Truffaut. It seemed to be a retrospective view on the trials and tribulations of miss-spent youth. Although it does not sugar-coat the story. If this is indeed a semi-autobiographic, Truffaut did not try to justify his past. Filmed with the backdrop of 1959 Paris, it was well worth the time, even if it does hurt to watch Antoine alienating himself from the only people that are really obliged to even care about him.

French New Wave 50th Anniversary pt.1

2009-08-14T07:01:00.000-07:00

The Fort Worth Modern Art Museum is presenting an exhibit of French New Wave films. This year is being called the 50th anniversary. According to a speaker at the opening night event, Francois Truffaut's "The 400 Blows", released in 1959, is considered the start of the movement. Although many are being presented, I have picked three of particular interest to me based on description and their absence from my library.

"Last Year at Marienbad" by Alain Resnais [1961]. A surrealist film which seems to have no known meaning, short of a tryst that is put on hold and continues to play out like Bill Murray's weatherman "Groundhog Day". Not sure what I would have thought of this movie if it wasn't listed in "THE BOOK". Left to interpret it on my own, I might have given up on this one at the very beginning, but about 20 minutes in, I seemed to have been sucked into the hodge-podge of events, shown in no particular order, trying to piece together the sequence of events. However, I think part of the beauty in this movie, is the setting. A baroque style hotel, that must have been dazzling to behold in color, but we were forced to watch in black and white. According to introduction made by a film critic this film is revered and reviled for many of the same reasons. It's unconventional story and the fact that backgrounds, though visible are often without activity, with supporting actors seeming to pose while the foreground gushes in verbal gibberish. Camera sweeps actually framing on images of guests frozen in their activity, not stills but seemingly frozen. May seem a bit pretentious at first but eventually it becomes an effect for the entire mood of the film.

Viewing this movie reminded me of an earlier viewing of Maya Deren's "Meshes of the Afternoon" [1948] as well as Alexander Sokurov's "Russian Ark" [2002]. Could Resnais have been crafting an homage to Deren while Sokurov returned the favor decades later. The Mrs also noticed a similarity between, this work and many of those of David Lynch. Especially the most recently seen "Inland Empire".

The Journey Begins

2009-08-11T06:37:00.000-07:00

Long before bringing "The Book" in the house, I had acquired a love of silent films. Having seen many of the Hollywood basics (Chaplin, Keaton, and "Birth of a Nation") and the German impressions ("Nosferatu", "Metropolis" and "The Cabinet of Dr. Caligari"), the Mrs. gave me "Landmarks of Early Film, Volume One". It was an interesting collection, the crowning jewels being the first two films listed.

"Le Voyage dans la lune" 1902: "A Trip to the Moon" produced, directed and written by as well as starred Georges Méliès, a pioneer of early film that beat Thomas Edison to the punch when it came to realizing the potential of film as entertainment. Considered the first Science Fiction movie ever made, the story was loosely adapted from works by Jules Verne and H. G. Wells. I really like this film mainly for it's set design and effects. If compared to today's sophisticated special effects it is quite primitive, but still better than some that would come later. It's almost as if Méliès took his secrets to the grave, leaving the industry to start all over again.

The Smashing Pumpkins video for the song "Tonight, Tonight" borrows the look and feel of this classic.

"The Great Train Robbery" 1903: Directed by Edwin S. Porter for the Edison Studios, this film follows a group of outlaws from the start of the crime all the way to the end as they are chased and gunned down on a blaze of glory. Pretty straight forward story.

Edison Studios is also responsible for the very first adaptation of "Frankenstein" which is well worth finding and seeing.

Movie Life List

2009-05-29T09:49:00.000-07:00

For Christmas 2007 year, I gave the Mrs a book. (No, that wasn't the only thing, or the nicest thing.)
We are avid, movie watchers. We go to the movies weekly and are always looking for something good to watch. We are both 49+ years of age and have been exposed to movies for most of our lives.
The book is titled "1001 Movies You Must See Before You Die" (hereafter known as "The Book") edited by Steven Jay Schneider. We laughingly refer to it as "Marge's Bowling Ball", in reference to "The Simpsons" episode where Homer gives Marge a bowling ball personalized with "HOMER" lovingly engraved.

I have decided that "The Book" may be an interesting subject for my blogs (let's face it, there is really nothing else in my personal life I really wish to share with the world) as we attempt to see all of the movies that are listed and what we may have thought about their inclusion in such a important sounding list.

While I have probably seen as many as 30 percent of them over the course of my years of TV watching and movie-goings, and many are already in my DVD collection, this will be about finding the movies to be viewed, notes about my impression of the movie and other films that these may lead me to, for whatever reason. Often as I look at the list, I have to admit that I may not have actually seen the movie, and have just really heard so much about it that I have predetermined that the film can be checked off. If there are any doubts, I will look to re-view the title.

Ours is the 2nd edition and though I know that it has been updated often and with certain films removed while newer films are added, this blog will address only those in the second edition. The entries will be numbered and bunched in no particular order, or specific category.

Feel free to comment if you find this endeavor interesting.
Y'all Take Care, OK
Ken