Martin Scorsese

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

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

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

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

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

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

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"

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

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

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)

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)

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

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

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

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

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]

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

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

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.