tag:blogger.com,1999:blog-28046577808578171192024-02-19T08:52:27.925-08:00Cinema DirectivesThoughts on meaningful cinema - old and new - from an avid film devotee. Tributes to directors, composers, cinematographers and other craftsmen. - Tom Hylandtom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.comBlogger180125tag:blogger.com,1999:blog-2804657780857817119.post-72456703914413718432017-02-06T10:29:00.001-08:002017-02-06T11:48:32.607-08:00A Test of Faith<div class="separator" style="clear: both; text-align: center;">
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Faith is a virtue that can help us get through some difficult times in our lives. But what happens when our faith seems to come up short in a critical situation? Do we abandon this doctrine or do we maintain our fundamental beliefs?</div>
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That is one of the principal questions asked in Martin Scorsese's latest film <i>Silence</i>. Based on the 1996 novel of the same name by Shusaku Endo, the film covers the journey of two Jesuit priests in the 17th century that travel to Japan to find Father Cristovao Ferreira, a fellow Jesuit who wrote a letter detailing the tortures that local Catholics had to endure in Japan, where Buddhism was the only religion that was allowed at that time. The two priests, Sebastiao Rodrigues (Andrew Garfield) and Francisco Garupe (Adam Driver) are emphatic with their elder Jesuit that they need to find Ferreira, who has disappeared and is rumored to have renounced God. Despite the elder's warning that this journey would be meaningless as well as dangerous, Rodrigues and Garupe know in their hearts that they must undertake this mission, as their Jesuit beliefs tell them they cannot abandon one of their own.</div>
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Scorsese has reportedly been trying to make this film ever since the novel was released; the wait was certainly worth it, as he has made one of his finest and most personal films. Much of the story deals with Father Rodrigues, who is captured and must witness the torture of local Catholics who look to him for spiritual enlightenment. His captors are unwilling to bend as far as allowing Catholicism to endure, but they are intelligent people that cater to the priest's will. They do not mean to harm him, he is told, but unless his followers renounce their Catholic beliefs, they will be tortured and in some cases, put to death.</div>
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This message holds the principal meaning in the film. Rodrigues is driven by the fact that his Jesuit education tells him to stay strong at all times, even in the face of unspeakable horrors. Yet, he is told repeatedly that his faith - in this case, his silence when asked to influence local Catholics - is the root of the problem. If he stubbornly refuses to change his beliefs, then that behavior will mean death for others. Is his devotion to God worth all the suffering that will take place?</div>
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Scorsese treats this story with intelligence and subtlety, both in the screenplay that he adapted along with longtime collaborator Jay Cocks, as well as in his direction. His work here is extremely fluid, a departure from some of more innovative camera tricks (such as the signature tracking shots as in <i>Raging Bull</i> and <i>Goodfellas</i>) he has employed in the past. In <i>Silence</i>, Scorsese take a more relaxed approach to telling his story; as he features numerous panoramic images that highlight both the beauty of the seaside as well as the foreboding nature of the jungle. In this regard, he is immeasurably aided by cinematographer Rodrigo Prieto, who delivers a palette of cool blues and greens, along with deep browns. Prieto, who worked with Scorsese on his last film <i>The Wolf of Wall Street</i>, and has also been director of photography on such films as <i>Argo</i>, <i>Babel</i> and <i>Brokeback Mountain</i>, is one of the most talented directors of photography working today, and his compositions here are often breathtaking in their beauty, while some shots are heartbreaking in their impact.</div>
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At two hours and forty minutes, some will find this film to be overly long; I did not have that problem. The question of Catholic guilt, especially presented in this light, is a complex and troubling one, and cannot be treated on a surface level. Andrew Garfield's performance is first-rate, as he gives us a man that is obsessed and outraged, yet one who must keep his feelings to himself at critical times (we hear his thoughts in voice over narration at several moments in the film). His appearance, especially later in the film, when he has grown a full beard, is Christlike; Garfield embraces this and answers his enemies in a restrained, religious fashion. Together with his Oscar-nominated performance earlier this year in <i>Hacksaw Ridge</i>, Garfield has become a leading contemporary actor; it's nice to see his star on the rise.</div>
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There is a marvelous moment in <i>Silence </i>that delivers a significant message in a beautifully elegant, visual manner. Rodrigues is on his knees, drinking water from a local spring, when he sees his reflection; suddenly his face is transformed into that of Jesus and then back again to his own appearance. Just then, the face of one of his captors appears in the water next to his; all of this takes place in a matter of a few seconds. These images seem to connect Rodrigues with both God and his enemies; perhaps in their worship of a higher being, the priest and his conqueror are not so different after all.<br />
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<i>Silence </i>is a superb film, the work of an accomplished filmmaker that wants us to examine our beliefs, while presenting a story with a timeless message - are our convictions unshakeable? Can we look beyond our own creed to help others?</div>
tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-42931576787503592552017-01-24T09:42:00.001-08:002017-03-01T19:40:50.657-08:00Looking Out for Number One<div class="separator" style="clear: both; text-align: center;">
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<i>The Founder</i> is a cautionary tale about the American Dream in all of its guises. Come up with an original idea, develop it, and you can be a success. But the real victor, at least according to this tale, is the individual that follows up on someone else's accomplishments by making them his own. That may be a brutal message, and if the film doesn't quite have the hard edge it needs to be totally satisfactory, it is an entertaining, fascinating work that does a fine job of detailing the remarkable narrative of Ray Kroc, who would become one of the 20th century's most famous entrepeneurs.<br />
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The film opens in 1954 with Kroc (Michael Keaton), a marginallly successful businessman from Arlington Heights, IL, selling his MultiMixer machines that could mix five milk shakes at once, from his car. It's not easy to get restaurant owners to listen to his pitch, so when his secretary tells him over the phone that he received an order for six of these machines, he is dumbfounded. Believing this was a mistake, he calls the owner of the restaurant about the order; it so happens that this is a hamburger shack in southern California called McDonald's, named for the two owners, brothers, Dick (Nick Offerman) and Mac (John Carroll Lynch). Mac tells Kroc during this call that indeed the order for six MultiMixers was an error. "Better make it eight."<br />
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Kroc, now disbelieving, drives all the way to California to see this restaurant and meet the brothers. He parks his car, drives up and orders his food, which comes to him in about 30 seconds. He's never seen anything like this, and he introduces himself to Mac, who gives him a tour of the inner workings of the immaculate kitchen, with its specialized ketchup and mustard dispensers, along with its assembly line-like organization. He tells the brothers that he wants to buy them dinner, so he can learn how their fast-food operation came about.<br />
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Their meeting is one of the most best parts of the movie; good ideas lead to one failure after another, but their persistence paid off with their most recent concept. During this sequence, we see a flashback scene of how the brothers planned out their kitchen, as they drew plans in chalk on a tennis court and had future employees move around, as they performed their various tasks. It's wonderfully choreographed - Mac calls it a "burger ballet" - and it is very well edited and photographed.<br />
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It's this persistence the brothers displayed that impresses Kroc; at the opening of the film, we see him listening to a recording of a lecture by a famous speaker about the power of staying positive. Kroc tried that on his own and met with little success; now that he has heard the brothers' story, the light bulb goes on in his head. Here is his chance at the big time!<br />
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I won't reveal any more of the plot, except to say that Kroc manages to take the idea of the brothers' restaurant and franchise it; yes, everyone knows how successful McDonald's became in the latter decades of the 20th century, but if you think you know this story, you don't. One step at a time, Kroc enlarges the scope of McDonald's, much to the chagrin of the brothers.</div>
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As Kroc, Keaton is marvelous. At times proud and focused, at other times unsure and nervous, his portrayal of Ray Kroc is multi-dimensional and is the center of this film. Keaton probably should have received an Oscar nomination for his performance - how the Academy loves actors that portray real-life people - but I'm guessing that the film was either under-promoted or was released much too late. Or it may be the simple fact that Keaton is the type of actor that doesn't emote; his strengths as an actor - especially when he is listening and not speaking - are more subtle than many performers that do receive award nominations.</div>
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I also want to single out the performances of Lynch and Offerman as Mac and Dick McDonald, respectively. Lynch is best known to most of us from his role on the <i>Drew Carey Show</i> television series, and he delivers a quiet performance, that ranges from good natured and trusting to regret. Offerman, (he was a featured performer on the tv series <i>Parks and Recreation</i>) truly nails his performance, as the more dominant and passionate of the two brothers. His scene with Keaton late in the film when they discuss final agreements on a contract, is evidence of his skill.<br />
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The movie is beautifully shot and lit by cinematographer John Schwartzman, who handled similar duties for director John Lee Hancock's last film, the underrated <i>Saving Mister Banks</i>. Schwartzman is an advocate of shooting with film, but agreed that one of the latest digital cameras (ARRI ALEXA) would work extremely well for this project, and he was right (I thought it was shot on film- the movie looks that good). His images of the American landscape early in the film are lovely, and he revels in the bright yellows and reds of the McDonald's logo, along with the bright blues of the American sky, capturing a beauty that at times is in contrast to the questionable behavior of Kroc. A snapshot of Schwartzman's expertise occurs during a brief scene when Kroc drives up to see a newly designed McDonald's restaurant; note the reflection of the golden arches on the windshield of Kroc's car. It's a mesmerizing, haunting image that shows how a talented director of photography can combine lighting and overhead composition to realize a visual that is stronger than the sum of its parts.<br />
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As for director Hancock, overall his work is fine, as he presents this story in an understated tone; it would have been easy to make this film heavy-handed. But while he succeeds at that level, he does tend to underline a few too many scenes (as in the restaurant when he spots a beautiful woman that will become his next wife) and does tend to dawdle a bit at times. Hancock's last film <i>Saving Mister Banks</i> was one of my favorites films of 2013, and if <i>The Founder</i> is not quite at that level, it is a very good film nonetheless.<br />
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As we walk away from <i>The Founder</i>, we can't help but think about the brothers, and how their hard work has become nothing but a footnote in history. Fortune may favor the bold, as one character famously quotes in the film, but perhaps it also rewards those who bend the rules a bit. While I wish the film had a tougher screenplay that focused more on that aspect, <i>The Founder</i> does has enough strong points in its overall approach to make this a highly entertaining look at not only a big slice of American history, but also an insightful view of capitalism, in all its good and bad realizations.tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-41991872527509555872016-08-30T12:11:00.001-07:002016-08-30T12:11:48.245-07:00Gene Wilder - A Gentle Comic Genius<div class="separator" style="clear: both; text-align: center;">
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<b>Gene Wilder, 1933-2016</b></div>
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<i>"Yea, but I shoot with this hand." </i>- Gene Wilder, as The Waco Kid in <i>Blazing Saddles </i>(1974)</div>
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How nice to see the tremendous outpouring of sympathy for Gene Wilder, who passed away at the age of 83. You don't often see this for a comic actor; in fact, it's one of the few things in recent news that has seemingly united Americans across the board.</div>
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Why has that happened? There are two main reasons, in my opinion. One, he was truly a class act, not only on the screen, but also in real life. It was well known that he married Gilda Radner, who died a mere five years later, the victim of ovarian cancer. Wilder, without much self-attention, began to become involved in ways to promote cancer awareness. He help found the Gilda Radner Ovarian Cancer Research Center in Los Angeles and was co-founder of Gilda's Club, a support group aimed at raising awareness of ovarian cancer. While other celebrities have done some kind acts over the years, few did it with so little fanfare as Wilder.</div>
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With Zero Mostel in <i>The Producers </i>(1968)</div>
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<i>"I'm in pain and I'm wet and I'm still hysterical." - </i>Wilder as Leo Bloom in <i>The Producers</i></div>
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The second reason why there has been so much love for Wilder is the fact that people were truly impressed by this man. Here was a comic actor, one who was absolutely brilliant. Maybe it was the fact that he played lovable losers or charming dreamers, but we could identify with this man onscreen.</div>
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He was a first-rate comic actor, easily one of the finest of the last fifty years. I wouldn't think it to be an exaggeration to list him alongside Chaplin or Keaton as one of the best cinematic comic performers of all time. Could anyone even think that about the so-called comic actors of the past two decades, many of whom emerged from <i>Saturday Night Live</i>? Many of these actors were marginally funny on television, and their film careers have rarely been an improvement. Chris Farley, Will Ferrell, Tina Fey? People know who they are and they sometimes delivered some mild laughs in the cinema, but would you put their movies on a list of all-time great comedies? I couldn't imagine! Meanwhile, Wilder starred in <i>The Producers, Blazing Saddles </i>and <i>Young Frankenstein</i>. Yes, Mel Brooks was the primary creative genius behind these films, but he needed actors to flesh out his best roles, and Wilder created performances that are simply unforgettable.</div>
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Then there was his arguably his most beloved performance as the title character in <i>Willie Wonks and the Chocolate Factory </i>(1971). It's been years since I've seen this film, but it's hard not to remember the charm and subtlety he lent to this role. What little boy or girl wouldn't love to be escorted around this wonderful fantasy world by this lovable, kind man?</div>
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Gene Wilder, R.I.P.</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-52329450436335104932015-12-29T10:13:00.002-08:002015-12-29T10:13:25.038-08:00Haskell Wexler, R.I.P.<div class="separator" style="clear: both; text-align: center;">
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<b>Haskell Wexler (1922-2015)</b></div>
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Photo ©Tom Hyland</div>
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Haskell Wexler, one of the 20th century's most talented and influential cinematographers, passed away on Monday at the age of 93. His son Jeff, told CNN that his father died peacefully in his sleep.</div>
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I met Wexler once, at a special evening at the Chicago International Film Festival in 2011; I wrote about that memorable occasion in this <a href="http://cinemadirectives.blogspot.com/2011/10/evening-with-haskell-wexler-chicago.html">post</a>. At 89, Wexler was engaging, direct and humorous; let's hope we're all that lively if and when we get to that age.</div>
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I've always been someone attracted to visuals; it's this sensation that gives a sense of wonder and magic to films, in my opinion. When a director of photography can create the proper mood with lighting as well as depth of field (no matter how shallow or deep) it adds to the emotional power of the movie. I can list numerous examples, but few accomplished this feat as well as Wexler.</div>
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He started out working on documentary films in the 1950s, eventually finding success in Hollywood, with one of his first notable accomplishments being the cinematographer for Elia Kazan's <i>America America</i> in 1963. It was only a few years later in 1966 that Wexler's work would be honored for his black and white photography for <i>Who's Afraid of Virginia Woolf</i>, directed by Mike Nichols. While Elizabeth Taylor and Richard Burton delivered searing performances, and Nichols directed with great urgency, it is impossible not to credit Wexler's work as any less important in this marvelous film. At times gritty, at times dreamy, at times stark, but always beautifully honest, Wexler's photography perfectly captured the raw nature of this work; he justly received an Academy Award for his contribution.</div>
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Wexler would work in color for most of his career; I especially loved his efforts on <i>In the Heat of the Night </i>(1967), directed by Norman Jewison. This particular scene, pictured above, has always been one of my favorites as far as photography, as the colors here are relatively cool, lending a tranquil setting to this moment. This serenity will soon be at odds with the characters in this scene, as Sidney Poitier, the detective, slaps the elderly gentleman for his bold statements; it's a jarring moment, one about racism that doesn't scream as such, thanks in large part to Jewison's staging as well as Wexler's lighting.</div>
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Wexler would win a second Academy Award for his color photography on <i>Bound For Glory </i>(1976), director Hal Ashby's at times laid back, at times stirring tribute to folksinger and activist Woody Guthrie. The setting of this film is the depression of the 1930s, and the spirit of the film owes much to John Steinbeck's <i>The Grapes of Wrath</i>, especially in the desolation of the land as well as the honesty and good spirit of the impoverished farmers and their families as they struggle with their everyday fate. The visuals are stunning, from a recreation of an apocalyptic dust storm that fills the screen to several scenes of Guthrie and others riding on top of trains, often to hide from the authorities. The color pallete that Wexler worked with in this film was based on earth tones, with dark browns and muted yellows; you feel at once transported to that era and its forlorn realization. </div>
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Wexler would use Steadicam, invented by Garrett Brown, in this film for a scene in a labor camp; it is a tracking shot that lasts about three minutes, taking Guthrie (and the viewer) through a heartbreaking tour of the conditions the migrant workers must endure. While Steadicam is a mainstay in filmmaking these days, be it a multi-million dollar epic or a moderate budget independent production, this use in <i>Bound For Glory </i>was the very first in a Hollywood film. </div>
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I was so impressed with Wexler's images in <i>Bound For Glory</i> that I wrote a separate post about it a few years ago (link<a href="http://cinemadirectives.blogspot.com/2009/03/visual-power-of-bound-for-glory.html"> here</a>). Roger Ebert also pad tribute to Wexler's work on this film when he wrote, "there are images in Hal Ashby's <i>Bound For Glory </i>so striking or so beautiful I doubt I'll ever forget them." (Ebert's full review can be found <a href="http://www.rogerebert.com/reviews/bound-for-glory-1977">here</a>.)</div>
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Haskell Wexler was also a director, most notably on <i>Medium Cool </i>(1969), a documentary about the turmoil in the streets of Chicago during the troubled 1968 Democratic National Convention. This was his most successful film as helmsman; he would also become involved in Latin American politics with documentaries such as <i>Brazil: A Report on Torture </i>(1971) and <i>Latino </i>(1985). Activism was part of his DNA; Wexler would also direct films about the Occupy protests in 2011 in both Los Angeles and Chicago (his hometown); he was also instrumental in changing work laws in Hollywood after a fellow director of photography fell asleep while driving home after a 20-hour day on the set. Wexler's 2006 film <i>Who Needs Sleep?</i> would tell the story of his colleague.</div>
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While I was continually impressed by Haskell Wexler's work behind the camera, I was also fascinated by the man. A striking portrait of the man emerged in the film <i>Tell Them Who You Are </i>(2004), directed by his son Mark; here was a riveting look at how Haskell carried himself in his everyday existence, perfecting his craft, but also looking out to make the world a better place. His socialist politics were at odds with his son, giving this film an unforgettable human element, but it is the elder Wexler's strong personality and unshakeable belief in justice for all that stayed with me as I watched this film.</div>
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Yes, I'll always remember Haskell Wexler for the images he created on screen, but his faith in his fellow man will also stir my memories of this remarkable individual.</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-54976356765063653362015-11-05T17:21:00.001-08:002015-11-05T17:32:37.737-08:00Serious - and not in the right way<div class="separator" style="clear: both; text-align: center;">
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<i>Spotlight </i>is one of those films with a serious story to tell; the problem is that is takes itself way too seriously. What could have a been an enlightening movie is instead a somber, rather dull film that preaches its seriousness at almost every turn.<br />
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The title refers to a small investigative unit at the <i>Boston Globe</i>; the time is 2001 and a new editor named Marty Baron (Liev Schreiber) has taken over. A quiet workhorse, he expects nothing less that the maximum effort from his employees, all the while realizing that he was hired to regain readership. With that in mind, he tells the editor of the Spotlight team Walter Robinson (Michael Keaton) that he wants them to look into the stories of abuse of young boys by Catholic priests. There are a few reports that the paper has been made aware of, but Baron and Robinson know that they cannot get into a "he said, he said" argument with the Catholic Church; rather they must get to the root of the problem and learn the truth about the Church's dealings with the scandal in the large picture.<br />
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Thus the film starts off promisingly, as the reporters delve into their new assignment, while trying to deal with the whims of their new boss. On this level, the film has some life to it. But after that, it falls under its own weight of seriousness, as we get repeated scenes of the reporters looking up files, interviewing victims and answering phone calls. There's nothing particularly cinematic about this and Tom McCarthy's leaden, obvious direction does nothing to bring this film to life.<br />
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Make no mistake, this is an important story and bravo to the reporters at the <i>Globe</i> for their dedicated work in taking on the church, especially when Boston was (and remains) heavily Catholic. This could have been a gripping film, but about halfway through I couldn't wait for it to end. This is a talky film and while much of this is expository dialogue that helps explain the story and specific actions taken by certain characters, it's done in such a preachy way. There is a scene more than halfway in the film when one of the reporters, Mike Rezendes (Mark Ruffalo, in a ridiculous haircut), argues with Robinson about the getting their damaging reports in print before a rival local newspaper gets the jump on them. It's one of those ACTING moments that you see in lesser films and here it's treated as though we were hearing about the apocalypse. McCarthy directs this scene with a sledgehammer as he fills the screen with Ruffalo's face, basically hitting the filmgoer over the head with the message that what the actor is saying is IMPORTANT. It's just too much and it ruins the moment.<br />
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When I watched this scene, I couldn't help but wish that someone with a similar approach as the late Otto Preminger would have directed it. Preminger was famous for showing us multiple characters in a scene and only using closeups when necessary. Thus, we as a filmgoer can look at the image as we wish - we're not told to look at one particular character. But in this scene, we are force fed Ruffalo's diatribe and it's all too much, which ruins the moment, as the message is not as important as the image.<br />
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We are also treated to too many of the same shots of reporters sitting in their office, asking each other questions about the progress of their work. Again and again, we get this similar scene, or else we get them talking on the phone about the investigation. They may be collecting evidence necessary to the plot, but we sit there wondering when we will see something different. This kind of storytelling hems in the actors - here we have talented performers such as Keaton and Ruffalo not being given any breathing space. We don't get Keaton's personality in this film - contrast his performance here with his brilliant work last year in <i>Birdman</i>. In that film, director Alejandro Gonzalex Iñarritu literally let Keaton soar; here all Keaton can do is sit in meetings and recite his lines. It's not a bad performance, but there's no substance here, as too often we listen to him utter dialogue such as "Good work" or "We can't run it yet."<br />
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At the film's conclusion, I was tired of how smug and self-important the filmmakers came across. They tried to make another <i>All the President's Men</i>, but failed on a large scope, as this film has none of the visual flair or subtleties of that wonderful Alan Pakula film.<br />
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If the tone of this film wasn't enough to turn me off, the final title cards surely did the trick. These mention how many other cities had to endure similar child abuse scandals; these title cards go on for a few minutes. Then we see a logo for SNAP (Survivors' Network for Abuse by Priests); talk about getting hit over the head! We got the message, already!<br />
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Finally, when I left the media screening of this film a few weeks ago, I was greeted by a woman who was a member of SNAP, who handed me her card. Honestly, I was insulted by this behavior. Couldn't I just see the film and make up my own mind?<br />
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P.S. One of the few positives I can report on with this film is the performance of Stanley Tucci as Mitchell Garabedian, attorney for the victims. Giving us a character who can never be pinned down and whose alliances shift over the course of the film, Tucci gives us a complex character, the only one in the film. He is the single actor in this work who sheds the lead boot of McCarthy's pompous direction.<br />
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-74348273019004250332015-10-27T14:11:00.001-07:002015-10-27T14:11:04.492-07:00Kent Jones on Hitchock<div class="separator" style="clear: both; text-align: center;">
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Prominent film critic Kent Jones was in Chicago this past weekend for a screening of his new documentary <i>Hitchcock/Truffaut</i>, which was shown at the 51st Chicago International Film Festival. The film, which opens in theaters in early December is brilliant, a superb look not only at the details of the famous interview in 1962 between Alfred Hitchcock and French director François Truffaut, but also an examination of several scenes from Hitchcock's finest works, as analyzed by such notable current film directors such as Martin Scorsese, Wes Anderson, David Fincher, Arnaud Desplechin and several others.<br />
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Per agreement with the film's distributor, I cannot post my full review until the film's theatrical release, but I was able to conduct a brief phone interview with Jones. While technical issues on my end precluded me from transcribing the entire interview, I can give you some highlights.<br />
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I mentioned to Jones that I thoroughly enjoyed the musical score by composer Jeremiah Bornfield; subtle, quiet and edgy, the music recalls the spirit of Bernard Herrmann's finest work for Hitchcock without ever borrowing from it.<br />
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"That's interesting, " Jones commented, after thanking me. "We purposely didn't want a Herrmann-like score for this film. I was looking for something like what Johnny Greenwood wrote for <i>There Will Be Blood</i>. "But I'm extremely pleased with Bornfield's score."<br />
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I asked Jones, about his beginnings in film- did he go to film school? "I did, but I didn't stay very long- film school and I weren't meant to be," he replied. He mentioned, however, that he was stirred on by the tv documentary series in the 1970s, <i>The Men Who Made the Movies</i>, produced by film critic Richard Schickel. "It influenced me greatly," he told me. "I discovered there was such a thing as a director and an editor."<br />
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I asked Jones, who has just turned 55, about his first viewing of a Hitchcock film. "It was a 2-D print of <i>Dial M for Murder</i>," he replied, which he saw in college. Later on, his mother took him to see old prints of such Hitchock classics as <i>The 39 Steps</i> and <i>Psycho</i>.<br />
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In <i>Hitchcock/Truffaut</i>, there is a sequence in which Martin Scorsese describes one particular shot in the film <i>Topaz</i> (1969), in which a character turns his head a little to answer a question. Scorsese points out the slightly overhead angle of the camera so that we, the audience, can see this person's eyes faintly shift; for Scorsese, this shot tells us that we know the character is lying. It's a remarkable piece of analysis by Scorsese and of course, a marvelous, subtle piece of directing by Hitchcock.<br />
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I asked Jones if he thought that any evaluation such as this was being taught in film schools today. "I can assure you that it is not being taught in film schools," was his reply. I mentioned that this sort of analysis was not something the average film goer would pick up on. Jones agreed, but added, that Hitchcock, "was doing something that wasn't going to be noticed. It's just a fabric of what he was trying to achieve." Excellent scrutiny by Jones, as well!<br />
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I also asked Jones if he interviewed everyone he wanted to for commentary in this film. He said basically he did, except for Brian de Palma, whom he had asked, but opted to decline, as there is a new documentary coming out about him; thus de Palma was reserving his comments. When I asked Jones as to why he didn't talk to Mexican director Guillermo del Toro, who has written at length about Hitchcock's films, Jones basically told me that del Toro's work is in print for anyone to read.<br />
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Jones concluded the interview by stating that he is not into the idea of Hitchcock's perversity, as was suggested by critic Donald Spoto in one of his books (written, incidentally, after Hitchcock had passed away.) "There is so much moralizing throughout the culture today," Jones stated. "People love to point the finger." He continued on this topic by saying that "these conversations about women - they're not real issues in the film."<br />
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Clearly, Kent Jones admires the art of Alfred Hitchcock; his documentary is solid proof of that. It's also arguably the finest film ever about the great director. I highly recommend it - congratulations, Kent!<br />
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-70857469719501058412015-10-23T10:15:00.002-07:002015-10-23T10:15:50.742-07:00The Man Behind the "Madnesses"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXxLKq8NXZ047T_zKK2FmJy9f7jm7a_uu3CCLBq174RPj9ht2Z42GqkAScKqPPYKeu_c8I_-0giASd03BiBanbusnoKZsvym0cAsaveZxhQBr-mR-sx9pxRjwfNVuQ8BvkT1R_DASX4YQx/s1600/_IGP8157_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXxLKq8NXZ047T_zKK2FmJy9f7jm7a_uu3CCLBq174RPj9ht2Z42GqkAScKqPPYKeu_c8I_-0giASd03BiBanbusnoKZsvym0cAsaveZxhQBr-mR-sx9pxRjwfNVuQ8BvkT1R_DASX4YQx/s320/_IGP8157_z.jpg" width="211" /></a></div>
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<b>Jeremy Carr</b> (Photo ©Tom Hyland)</div>
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Writer/director Jeremy Carr was in town recently for a showing of his first feature film <i>Other Madnesses</i>, which was screened at the 51st Chicago International Film Festival. The film is the story of a New York City tour guide named Ed Zimmer (James Moles) who may or may not be imagining evil deeds taking place in the immediate world around him. Reminiscent in some ways to <i>Taxi Driver</i>, this is a highly effective film about an individual and his private hell, stylishly directed by Carr.</div>
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I sat down with him for a one-on-one interview to learn about his experience in the movie business, the realities of making this movie and if he was influenced by the film <i>Taxi Driver</i>, when he made this work.</div>
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<b>Tom Hyland: </b><i>Are you from New York?</i></div>
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<b>Jeremy Carr: </b>I grew up in New Jersey, the town of Westfield, nearby New York City.
I went to school at Boston University and attended film school there.
Afterwards I moved to New York City, thinking this was going to be temporary, this will
be a pit stop on my way to Los Angeles and I ended up staying in New York for
sixteen years.</div>
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It’s just something that happened. It’s like New York has a way of
pulling you in and keeping you there.
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<b>TH: </b><i>What did you do for 16 years in New York?</i></div>
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<b>JC: </b>Initially I came out of film school and I wanted to keep
making films. In school, I had made several short films. At this point, I was
shooting a film in 16mm and came out of film school and the reality was that I
had to get a job, so my first job was at Miramax. I started out as a temp at
Miramax and worked my way into a job in their post-production department. So it
gave me a sense of what was going on in the industry and how a film company
actually works. It allowed me to meet a lot of interesting filmmakers.</div>
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<b>TH: </b><i>Is that still owned by the Weinsteins? They now have their
own company, right?</i></div>
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<b>JC: </b>Right. I believe the Weinsteins sold it. I think there is
new ownership.</div>
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<b>TH: </b><i>The question that I’m sure you have been asked a lot and
will be asked a lot is “were you influenced by Taxi Driver when you made this film?” Tell me about this film. Is
any part of this autobiographical? What about the main character Ed? Is he
based on anyone you know or is he a composite of people?</i></div>
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<b>JC: </b>Sure. The impetus for the story came from my own
experiences. I lived in New York City for sixteen years and at that point, I had been
living there about eight years. It was a combination of things. One, was I kept
a journal and I would write down anecdotes about things I observed in the city.
Usually bizarre things, things that I thought were strange or surreal, or
creepy. I would collect those little anecdotes. </div>
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At the same time, I was going through a period in my life
where I was having really bad recurring nightmares. So I started researching
lucid dreaming, how to use lucid dreaming to overcome nightmares, which was a
technique that I picked up from a book called <i>On Lucid Dreaming</i> by Stephen LaBerge. It actually really helped me.
It helped me figure out how to become aware and conscious while I was dreaming,
and I was able to stop the bad dreams from happening. </div>
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<b>TH: </b><i>Did the dreams start in New York?</i></div>
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<b>JC: </b>Yes. Mostly I think it had to do with my general state of
paranoia of living in the city, surrounded by people all the time. Coming close
to getting mugged a couple of times. Mostly having these dangerous moments that
I compiled, but I worked through it using this dream therapy. </div>
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That’s when I started writing the screenplay. I had this
idea for a character not like me, necessarily, but going through a similar
thing I was going through, having recurring dreams and wondering what that
means. I wanted to take it to the extreme level of what if you started to think
your dreams were more than fantasies, what if they actualy signified something?
What if you had a character that was becoming unhinged and thinking that the
dreams were premonitions and were somehow important to his life, and they were
like puzzles and he needed to understand them, what they mean and what to do
about them.</div>
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So that’s where I started from and your question is about <i>Taxi Driver</i>. I consider myself a bit of
a cinephile and I do watch a lot of films and I went to film school and I
certainly love that movie. I would say I wasn’t super conscious… it wasn’t as
though I was writing an updated version. I felt like I thought I had a good
first draft of the script, I remember having a moment where I questioned, “is
this too much like Taxi Driver? Am I doing anything new? Is there anything new
I am bringing to the table?</div>
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What I decided what I really liked about the story was that
it did have sort of a nod to T<i>axi Driver</i>,
but it felt more contemporary. The character felt different to me. The
character of Ed, unlike Travis Bickle, who was a Vietnam vet, Ed Zimmer is
college educated, he’s sort of a college dropout. But in the movie, I like this
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And that puts a new spin on it and obviously, once we
started filming, you start pointing the camera and you find really interesting
locations in New York City in all five boroughs. What I wanted to do was
contrast, thing such as Times Square, the Statue of Liberty and all the iconic
landmarks of NYC and contrast that with the seedier moments you might find in
the Bronx or in Brooklyn or in Staten Island. Once you start doing that and
point the camera at those places, you can’t help but feel, is this the <i>Taxi
Driver</i> vibe?</div>
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<b>TH: </b><i>I like the idea of having Ed be a tour guide on a bus, so
he’s everyman, so those fears and nightmares become more real. Also the fact
that he’s seen all of the city, he’s seen all the sickness; he’s not some
advertising agent working in an office on Madison Avenue.</i></div>
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<b>JC: </b>Right, well, he’s seen both sides that the tourists aren’t
seeing. And it’s through the eyes of a tour guide that he spends all day
talking to tourists, saying, “on your left is the Empire State Building and he
says “New York City is the greatest city on earth” and he repeats it as it’s a
mantra. “The greatest city on earth. The greatest city on earth.”</div>
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And then we see him go home at night. It’s anything but the
greatest city.</div>
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<b>TH: </b><i>I like how you use space, as you have that cramped
apartment where Ed can barely think as opposed to the skyscrapers of Manhattan,
although there is a certain claustrophobic effect to that as well.</i></div>
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It is, and NY has so many interesting locations. What I
tried to do was to frame each scene to be a reflection of Ed’s state of mind.
In large part, it’s a story about loneliness and the lonelieness of living in a
big city such as New York. And even though you’re surrounded by people, sometimes
it’s the loneliest place to be, because you’re anonymous and they’re strangers.
I wanted to show that element that Ed lives in. </div>
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<b>TH: </b><i>I love the opening shot as well, with the lightbulb flickering
in the dark apartment. It sets the tone for the film perfectly. Now when you’re
making this film, how are you hiring these actors? Are these people you had
known or were they recommended to you or did you work with a casting director?</i></div>
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<b>JC: </b>To backtrack a little bit, this is a truly independent
movie. Very small crew. Dawn Fidrick and I produced it together. It took us
eight years essentially from beginning to end. We shot for six years in the
city and we did put out ads. Six years, as people’s schedules would allow us,
as we would raise finds and shoot when we could. Then we would work day jobs. </div>
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One of the trickiest parts was keeping the continuity
straight. James (Moles, who plays Ed) was great at that, keeping his hair a
certain length. The basic part was his acting, becoming that character again
and again. Not only sustain that role for that long period of time, but we were
shooting out of order – you don’t shoot in continuity. We would talk about it a
lot when we were preparing to do a scene. He had a real knack for keeping in
mind where his character was on the arc. For example, his character is a
different personality by the end of the movie that he was at the beginning of
the movie and there’s a whole range in between. I give him credit. I didn’t know if he could do it, but James could pinpoint where he was in that spectrum. He
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He comes from the theater, which really helps. His background
is a stage actor, so I think for him, doing that sort of mental preparation. He
likes to rehearse a lot and work on a scene.</div>
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<b>TH: </b><i>I thought that Natia Dune, who plays Lucya, was great. How
did you happen to hire her?</i></div>
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James had become a friend by this point, as I had seen him
do some theater work. To answer your previous question, Ed Zimmer is an amalgam
of different people, James a little bit, maybe myself a little bit. Also <i>Crime and Punishment</i> plays into the
story, so I wanted that Raskolnikov in the character, that sort of paranoid
Russian character and then I’ve done tons of research on true crime. It’s
something I’m fascinated with. This sort of ties in more with the kilers in the
story. Researching from everyone from Ted Bundy to Jeffrey Dahmer, pulling from
their personalities. </div>
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But Natia Dune is someone I met from doing auditions. I
auditioned 200, 300 actresses and she just rose to the top.</div>
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<b>Jeremy Carr </b>(Photo ©Tom Hyland)</div>
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<b>TH: </b><i>As far as Ilya Slovesnik who plays the stranger, how did that
character come about?</i></div>
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<b>JC: </b>That ties in with the Crime and Punishment angle. As you
know, Ed becomes obssessed with reading the book <i>Crime and Punishment</i>. When I was writing the script, I was sort of
obsessesd with <i>Crime and Punishment</i>
and that’s how it came into the story.</div>
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I had this idea that when Ed is reading<i> Crime and Punishment</i>
he would be also walking around Times Square observing things. He sees a
prostitute working on a street corner. He sees a sign in the window that says,
‘just one buck.’ All these little things that are clues to what’s going to
happen later. The film is very subtle.</div>
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It all kind of works together. In a way that he’s connecting
things and elements of <i>Crime and
Punishment</i> keep resurfacing in real life. </div>
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And one of the things… this character called the Insepctor
that Ilya Slovesnik played.. when I was writing it, my approach to
writing the script was that I didn’t want to follow the standard three-act
structure, like the old way of writing screenplays. Not that there’s anything
wrong with that, but I wanted to take a more novelistic approach to it. So let
me start with this character and the dilemnas he’s having and the nightmares
he’s having and doesn’t know what to do about them and let me just follow him
around and see what he does.</div>
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So the story begins with that problem and we just follow Ed
on a strange journey that just sort of meanders about. I wanted it to feel more
realistic. I kept asking myself.. I didn’t want this to be a genre, horror type
movie in the sense of having things jumping out at you to scare you. I didn’t
want to fall into those tracks. I wanted it to be more character driven than
that.</div>
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That’s how I got to the third act. I felt like we needed to
turn the pressure up a little bit. We need to have a reason why Ed would
abandon this vigliante mission he is on. I felt that the cliché would to be to
intrdocue this cop character, somebody that is trying to capture him. I felt it
would be much more interesting to have a stranger, this mysterious character
turned up and statred talking to him and stalking him. And we don’t really know
who he is and Ed doesn’t know who he is. And it would feel as though he stepped
right out of the pages of <i>Crime and
Punishment</i>.</div>
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Again, it ties in with this idea that Ed might be imagining
this and might not be – it might be real, it might not be real.</div>
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<b>TH: </b><i>You seem like a confident person, but were there ever
moments of doubt over the years you took to make this?</i></div>
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Oh, there were definite dire moments, but time was on our
side. There was no real deadline for the film. The only deadline was would the
actors stick around?</div>
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<b>JC: </b>Time was on our side and it also allowed me to have more
creative control. We had a studio in Brooklyn and we built the sets in there.
We could pre-light the sets, film a rehearsal of a scene and then take that
film to edit it and look at what was working, to be able to test it out. It
became a really interesting process of crafting and refining the film.</div>
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<!--EndFragment--><br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-35390695046678928452015-10-12T11:50:00.003-07:002015-10-17T14:58:17.209-07:00Chicago International Film Festival 51 - Initial Thoughts<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlUwnG3eOv_vH4c1ULRpBrVPs3W98CDQ8bkTyRSqhw5GXKh_M0PK1KoKo4ZpEQBpsrH60H6qypwbQKsVOPoCueqZZOUGpppcX7WpAkSUmlgbfRhfEVSwdqb7gzLTKtar6mss-EI9V4o5Nc/s1600/filmstrip_150.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlUwnG3eOv_vH4c1ULRpBrVPs3W98CDQ8bkTyRSqhw5GXKh_M0PK1KoKo4ZpEQBpsrH60H6qypwbQKsVOPoCueqZZOUGpppcX7WpAkSUmlgbfRhfEVSwdqb7gzLTKtar6mss-EI9V4o5Nc/s1600/filmstrip_150.gif" /></a></div>
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<b><i>Chicago International Film Festival 51 - opens this week!</i></b></div>
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The longest running international competitive film festival in the United States returns for its 51st edition, starting this week in Chicago. Opening night is Thursday, October 15 with the screening of the Italian film <i>Mia Madre</i>, directed by Nanni Moretti. </div>
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I have seen this film and will review it soon. Here are notes on the first three films I have seen from this year's festival:</div>
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<i>Breakfast at Ina's - </i>directed by Mercedes Kane. This is an uncomplicated documentary about a lovely woman, Ina Pinkney, who managed Ina's, a breakfast restaurant in Chicago's West Loop, that became a local institution. The film covers the action of the final month - December 2013 - of the restaurant, which Pinkney was forced to close due to her health; she contracted polio in her youth and still suffers today from post-polio, as she has trouble walking. </div>
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If this film is not as gripping as it should be, it is a very good and even-keeled look at Pinkney's life, which has had many ups and downs. The most engrossing part of this documentary has to do with Pinkney recalling her marriage in the 1960s to a black man; interracial marriage of course, being somewhat of a taboo at that time. Clearly, Pinkney's experience with this matter, both in Brooklyn where she lived at the time and soon after, when she moved to Chicago, shaped some of her outlook on life. </div>
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This is a film with a good heart, as it keeps things simple, offering us Pinkney talking about her management style, the everyday travails of running a breakfast restaurant and her future. She comes across as one of the most genuine people you'll ever meet. </div>
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<i>Breakfast at Ina's</i> will be shown on Sunday, October 18 at 3:30 PM; Thursday, October 22 at 12:00 PM and on Friday, October 23 at 4:00 PM</div>
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<i>How to Win Enemies - </i>directed by Gabriel Lichtmann. The less said about this film, the better. This is a movie for the Facebook crowd, as the characters are two-dimensional at best, the actors are all young and look beautiful, the lighting is bright, with saturated images, and worst of all, a silly story with a puzzle. The puzzle has to do with one of the main characters being robbed of a good deal of money, but we never believe for a second that his life will be all that difficult. While the dialogue isn't embarrassing, neither is it particularly clever and it adds up to very little. This isn't a disaster, as it's moderately watchable, but there isn't much substance, style or wit to this very short (78 minutes only, thankfully) film from Argentina.</div>
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<i>How to Win Enemies </i>will be shown on Wednesday, October 21 at 5:45; Thursday, October 22 at 9:30 PM and Monday, October 26 at 2:45 PM.</div>
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<i>Other Madnesses - </i>directed by Jeremy Carr. Much more ambitious than the previous two films I discussed, this is a harrowing look at an everyday citizen of New York City and how he views the horrors of the city. That makes <i>Other Madnesses </i>sort of an alternative version of <i>Taxi Driver</i>; clearly Carr was influenced by that seminal film when he made this work. A bus tour guide named Ed Zimmer (played by a somewhat gaunt and ghoulish-looking James Moles) charms tourists with his knowledge of Manhattan during the day (he is asked several times by tourists to have his picture taken with them - a nice touch), but is haunted by his nightmares, once he is back in his dingy apartment. The question the film raises on the surface level has to do with whether his visions are real or merely extensions of his fevered imagination. The film also asks us if we would do what Zimmer sets out to do - to right these wrongs. This is the first film directed by Carr and his imagery is often haunting - the first shot in the dark sets the proper tone for this film - and he takes time to slow the story down to give us an unusual relationship between Zimmer and a female tourist he meets on the bus named Lucya (nicely played by Natia Dune). While the film does not totally come to a full resolution, it is a fascinating journey into the hellish vision of one lonely man. </div>
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<i>Other Madnesses </i>will be shown on Saturday, October 17 at 9:30 PM and on Monday, October 19 at 9:15 PM.</div>
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Note that all films will be shown at the AMC River East Theatres at 322 E. Illinois Street</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-47697480615143048132015-08-20T15:30:00.001-07:002015-09-24T07:17:25.405-07:00Sex, Love and God<div class="separator" style="clear: both; text-align: center;">
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More than fifty years after its release, <i>The Night of the Iguana</i> (1964), still has the power to move, amuse and shock us in its frank examination of how the human animal deals with sex, love and its belief in God. A journey into one man's hell and ultimately his resurrection, <i>Iguana</i> may not fully answer the questions it raises, but it is a film that takes us along a bumpy ride (literally and figuratively) that challenges us to refocus our ideas about our everyday existence.</div>
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Directed by John Huston and based on the famous 1961 Tennessee Williams play, <i>Iguana</i> tells the story of the Reverend T. Lawrence Shannon (Richard Burton), an Episcopal minister who, after suffering a nervous breakdown, has taken a sabbatical from his religious duties and now leads tours in Mexico and the southwest United States. In the film's memorable opening scene, Shannon gives a sermon to his congregation that has packed the small church. After a few minutes, he understands they are in attendance not to listen to the word of God, but rather as a curiosity, as they have heard rumors that he had sexual affairs with a young woman. Shannon lashes out at them, and the crowd rushes out of the small worship room. We soon learn that Shannon was locked out of his church after this; we next see him, asleep in a square in a small town in Mexico, where he is overseeing a tour of mostly middle-aged women from a Baptist female college in America.</div>
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While the majority of the women are in their 40s or 50s, there is one 16 year-old named Charlotte (Sue Lyon, who had played the role of <i>Lolita</i> in the Stanley Kubrick film two years earlier) that has a crush on Shannon. Having been pushed out the door of his parish for his previous behavior, Shannon nominally wants no part of this young blond nymph, but he is tempted nonetheless. This is immediately noticed by Judith Fellowes (Grayson Hall), who is the den mother of the group; her attitude toward Shannon, a bit unsure from the start, becomes more untrusting as the journey continues.</div>
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Knowing that he is losing control, Shannon takes over the tour and drives the bus not to their appointed hotel in Puerto Vallarta, but instead to a oceanside resort run by an old friend Maxine Faulk (Ava Gardner). He is expecting to find her husband Fred, but is told by Maxine that he died; she now runs the resort, which is nominally closed as it is summer, the down time for travel in this part of Mexico. </div>
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Into this scenario comes a self-described New England spinster Hannah Jelkes (Deborah Kerr) and her elderly grandfather Nonno (Cyril Delevanti), whom we are told is "the world's oldest living poet." Nonno is at work on his latest poem and Hannah is a sketch artist; neither has a peso to their name, so they must appeal to Maxine's kindness for a room.</div>
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<b>A publicity photo for <i>The Night of the Iguana -</i> Richard Burton with (l. to r.), Sue Lyon, Deborah Kerr and Ava Gardner</b></div>
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This mix of characters is a memorable clash of wills, from the feisty Maxine and the lustful Charlotte to the repressed, angry Miss Fellowes (Shannon at one point calls her a "butch vocal teacher") as well as the turned-down Hannah, who is more or less, the moral center of this tale. It is Shannon's uneasy relationship with each of these women that give the story its passion and occasional fireworks. </div>
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Huston, who adapted the script along with Anthony Veiller, keeps turning up the heat and venom, while directing appropriately (he was spectacularly aided by the stark, moody, black and white photography of Mexican cinematographer Gabriel Figeuroa). The helmsman elicited some wonderful performances here, especially in the scenes between Miss Fellowes and Shannon (Burton was rarely better, while Hall was nominated for an Oscar as Best Supporting Actress). She hates his supposed moral looseness and never lets an opportunity to threaten him slip by; he does his best to deflect her criticism, assuring her that things will be fine. Also, he must thwart the advances of Charlotte as well as help Hannah and Nonno in their plight, while also enlisting the trust of Maxine.</div>
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A major focus in this story is how each of the main characters has difficulties in dealing with sexual behavior. A brief analysis reveals:</div>
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<b>Shannon</b> - A man of the cloth - "the grandson of two bishops" we are told - should be above earthly temptations, but he is weak of flesh, tempted especially by young women. "People need human contact," he tells Maxine at one point.</div>
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<b>Miss Fellowes </b>- Humorless and uptight, the screenplay makes no bones that she is a lesbian (this is 1964, remember, so this is done somewhat discreetly). Her disgust toward Shannon's behavior with Charlotte may have to do with the fact that she herself is attracted to - and desires - Charlotte.</div>
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<b>Maxine</b> - Her sexual frustrations arise from the fact that her late husband, more than 25 years older than she, rarely made love to her late in their marriage; he preferred spending his time fishing (an obvious phallic reference). "I still got my biological urges," she tells Hannah; this is evidenced by her two young, tanned beach boys who serve the cravings of this saucy 40 year-old. </div>
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<b>Charlotte</b> - All of 16, her sexual awakening began with a young man at her hometown in America; that failed and now she does everything in her power to lure Shannon.</div>
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<b>Hannah </b>- Never married, she has no need for sex in her life. In one of the film's most telling scenes, she reveals to Shannon her previous sexual "encounters," which were rather tame and more than a little sad. </div>
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It seems that sex is a destroyer of human relationships for these individuals and that love is secondary, if achievable at all. A more immediate problem is conquering one's inner turmoil. When Shannon dives into the sea - "the long swim to China", as he calls it, his path of escape from his demons - he is captured and then tied up on a hammock at the resort. While both Maxine and Hannah try to settle him down as he struggles with his restraints, it is Hannah who tells him that in order to bring his life back to some sort of order, he must face his own problems and encounter them head on. She refers to "the blue devil" she once encountered and how she "showed him I could endure him." This explanation seems a bit simple, given the complexities of her - and everyone's life in this story - but it has given her inner peace. </div>
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The symbolism of God is a strong one in this tale. On the surface level, Shannon is an Episcopalian minister and the women in the tour group are from a Baptist college - there is a natural struggle between these two (one wonders if Williams was arguing against religion in general here). Beyond that, Shannon talks of playing God when he agrees to cut loose an iguana that has been tied up at the resort, much as he himself was constrained a few moments earlier. He is cutting loose "one of God's creatures at the end of his rope," he tells Hannah. His life - and perhaps the lives of everyone here - is similar to a jungle animal, moving about any which way, yearning only for freedom. For the iguana, this freedom is spatial, while for the humans, it is freedom from failure and disappointment. Each character carries around a trunk load of baggage, and as they open up to each other, we see that only Hannah and her father, who yearns to finish his final poem, have freed themselves from their daily inner struggles; they are clearly at peace with themselves and the world. </div>
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The scene of capitulation between Shannon and Maxine that marks the end of the film - how will she manage the resort following the death of her husband - is elegantly handled; the final shot is one of the most touching in all of Huston's films. Shannon's night of self discovery, under the lightning strikes (the hand of God?), tied up, listening to Hannah explain her path to inner peace, has given him a clear vision of the road ahead. That in turn lets Maxine transform her anger - she is mad at the world for any number of matters, not the least of which is her turning 40 - and see her future in simple, loving terms. </div>
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The closing lines of dialogue between Maxine and Shannon are quite touching and serve as a lovely conclusion to this film. Now at peace, she tells him that they should go down to the beach, as the temperature is not too hot. "Well, I can get down the hill, but I'm not sure about getting back up," Shannon remarks. "I'll get you back up," says Maxine. "I'll always get you back up."</div>
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-73350377633200164802015-03-30T18:59:00.001-07:002015-03-30T18:59:18.850-07:00Great Movie Quotes - Part Seven<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcbM2Mm-kHZwKv9BF7bTaaUwr4Kd4lcNp5dzCJNS_2LChj9-GvUvYQJ6dGhOc6ZAAoP63p3If4UuxE5ivz7pfwe-7W8XtIqh2mSTrOpsAiVOz6tvQJqffJHdHT3XFr1doLHVZWoizErkNC/s1600/Malaya-1949.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcbM2Mm-kHZwKv9BF7bTaaUwr4Kd4lcNp5dzCJNS_2LChj9-GvUvYQJ6dGhOc6ZAAoP63p3If4UuxE5ivz7pfwe-7W8XtIqh2mSTrOpsAiVOz6tvQJqffJHdHT3XFr1doLHVZWoizErkNC/s1600/Malaya-1949.jpg" height="225" width="400" /></a></div>
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It's been some time, but back by popular demand (well, popular to me) - is my collection of Great Movie Quotes. You know, not the <i>"Here's looking at you, kid" </i>type of quote, but ones that are perfect for the moment in the movie and deserve to be better known.<br />
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So without further ado...<br />
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<i>"No man can ever know a woman as much as he can love her." - </i>John Royer (Spencer Tracy) <i>- Malaya </i>(1949)<br />
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<i>"Modern marriage... Once it was see somebody, get excited, get married. Now it's read a lot of books, use a lot of four-syllable words, psychoanalyze each other until you can't tell the difference between a petting party and a civil service exam." - </i>Stella (Thelma Ritter) - <i>Rear Window </i>(1954)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqRpB38RzLltLpC0dtZSjDI5ixIB0KbvA4RrDNYzNH8VeAAiLCXH1UTL3U7anyfZJj6bPoIt_6Ssq20MbTiYCopYjLpFRAl7wWV-gsMJv4sS1v-AGTmQb8PlnVVkNlygAJx0oxrLntqRcU/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqRpB38RzLltLpC0dtZSjDI5ixIB0KbvA4RrDNYzNH8VeAAiLCXH1UTL3U7anyfZJj6bPoIt_6Ssq20MbTiYCopYjLpFRAl7wWV-gsMJv4sS1v-AGTmQb8PlnVVkNlygAJx0oxrLntqRcU/s1600/maxresdefault.jpg" height="225" width="400" /></a></div>
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<i>"A man that gives away $26,000 you can't talk to. "I'm going to tell you one more thing. I wouldn't give 26 cents for your future." - </i>Nick (Rod Steiger) - <i>The Harder They Fall </i>(1956)<br />
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<i>"There's much else to be done, Mr. Wilson, but if I may say so, the question of death selection may be the most important decision in your life." - </i>Mr. Ruby (Jeff Corey) - <i>Seconds </i>(1966)<br />
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<i>"God, you people are just like the mob - there's no difference." </i>Angela de Marco (Michele Pfeiffer), speaking to an FBI agent<br />
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- "<i>Oh, there's a big difference, Mrs. de Marco. The mob is run by murdering, thieving, lying, cheating psychopaths. We work for the President of the United States." - </i>FBI<i> </i>Regional Director Franklin (Trey Wilson) - <i>Married to the Mob </i>(1988)<br />
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<i>"Tell me one good thing that's a secret." -</i> Jean Tatlock (Natasha Richardson) - <i>Fat Man and Little Boy </i>(1989)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcgg7KMkF8il3Tibayahru8eVDTZgmZP1f4TvBmr8nJ54TBXjTmt12D8gV5Y8ZHMbfRgXRwrRy3Gbi-_TlltTDU0rewzRI1upvVgSdO8WmHg-9vj0fqv3ldq5Q8fRuTcPDKnrYdGl46DoJ/s1600/theimmigrant-750x400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcgg7KMkF8il3Tibayahru8eVDTZgmZP1f4TvBmr8nJ54TBXjTmt12D8gV5Y8ZHMbfRgXRwrRy3Gbi-_TlltTDU0rewzRI1upvVgSdO8WmHg-9vj0fqv3ldq5Q8fRuTcPDKnrYdGl46DoJ/s1600/theimmigrant-750x400.jpg" height="212" width="400" /></a></div>
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"<i>You think there's goodness in everybody, but there ain't." </i>- Bruno Weiss (Joaquin Phoenix) - <i>The Immigrant </i>(2013)<br />
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<i>"You know how you know can tell you're </i><i>really </i><i>getting old? No one ever says the word 'death' around you anymore." -</i>The Writer<i> (</i>M. Emmet Walsh<i>) - Calvary </i>(2014)<br />
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<i>"Sometimes it's the people who no one imagines anything of who do the things that no one can imagine." - </i>Alan Turing (Benedict Cumberbatch) - <i>The Imitation Game </i>(2014)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8kSDEaBRfUMsHNHqMsIlAiASSWp3T2wCCxcCpStPowvwegGnYAl61ivgGY3snNP0uVd-5CdDvIknu8uVPlJSR57lT460ZKG2tsTfXCqfWnmVM5Puwc9Uo_BvUvbcmyTmDdoujRB8tHGMQ/s1600/20141022__20141024_C6_AE24SCWHIPLASHKENNEDY~p1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8kSDEaBRfUMsHNHqMsIlAiASSWp3T2wCCxcCpStPowvwegGnYAl61ivgGY3snNP0uVd-5CdDvIknu8uVPlJSR57lT460ZKG2tsTfXCqfWnmVM5Puwc9Uo_BvUvbcmyTmDdoujRB8tHGMQ/s1600/20141022__20141024_C6_AE24SCWHIPLASHKENNEDY~p1.jpg" height="266" width="400" /></a></div>
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<i>"There are no two words in the English language more harmful than 'good job.'" - </i>Terrence Fletcher (J.K. Simmons) - <i>Whiplash </i>(2014)<br />
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-20098399321743065322015-02-10T14:36:00.001-08:002015-02-10T14:36:10.686-08:00International Online Film Critics Poll- The Winners Are...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzKMQYNzFCMhLeMYepHGyZu40TJ7-_aRYRcR25dcEMFEcXKLzwxUr_CzrwhK8v846u5Ano8cvZi7ruTEXX4pJOlYdd3j1XbcxrxsnXbJ2T1k0f860aLvbxgU7NCo7htDYQv7a7nI4cmdd/s1600/birdman-festival-morelia-652x336.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzKMQYNzFCMhLeMYepHGyZu40TJ7-_aRYRcR25dcEMFEcXKLzwxUr_CzrwhK8v846u5Ano8cvZi7ruTEXX4pJOlYdd3j1XbcxrxsnXbJ2T1k0f860aLvbxgU7NCo7htDYQv7a7nI4cmdd/s1600/birdman-festival-morelia-652x336.jpg" height="205" width="400" /></a></div>
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Here are the results of the <b>International Online Film Critics Poll</b>, which I voted in for the first time this year. These film awards are different than most, as they are for two years - not one- of films; thus this year's awards were for films from 2013 and 2014.<br />
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The winners are listed in <b>bold</b> - my selections are in <i>italics</i>.<br />
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<b>Best Picture</b><br />
<b><br /></b>
12 Years a Slave<br />
Birdman<br />
<b>Boyhood</b><br />
<i>The Grand Budapest Hotel</i><br />
The Wolf of Wall Street<br />
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<b>Best Director</b><br />
<b><br /></b>
Alejandro Gonzalez Inarritu - Birdman<br />
<b>Richard Linklater </b>- Boyhood<br />
<i>Wes Anderson - The Grand Budapest Hotel</i><br />
Paolo Sorrentino - The Great Beauty<br />
Roman Polanski - Venus in Fur<br />
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<b>Best Actor</b><br />
<b><br />Michael Keaton - Birdman</b><br />
Ralph Fiennes - The Grand Budapest Hotel<br />
Mads Mikkelsen - The Hunt<br />
<i>Benedict Cumberbatch - The Imitation Game</i><br />
Leonardo DiCaprio - The Wolf of Wall Street<br />
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<b>Best Actress</b><br />
<b><br />Cate Blanchett - Blue Jasmine</b><br />
Adele Exarchopolous - Blue is the Warmest Color<br />
Rosamund Pike - Gone Girl<br />
Julianne Moore - Still Alice<br />
<i>Marillon Cotillard - The Immigrant</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsZQqxtqjnoqOt_r175X5xukpnoSe4-H9YThPL2Jz42UV_pRTKjvb2d9yasi6X8yQwvnQ1V1tK8rO4w00Iw-Hf6Prg5NQLLTDJ1GEF9PEA4tXto0u6I3pxdJYKj-KAa3QSg8Zd0e0oUKnC/s1600/whiplash-mv-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsZQqxtqjnoqOt_r175X5xukpnoSe4-H9YThPL2Jz42UV_pRTKjvb2d9yasi6X8yQwvnQ1V1tK8rO4w00Iw-Hf6Prg5NQLLTDJ1GEF9PEA4tXto0u6I3pxdJYKj-KAa3QSg8Zd0e0oUKnC/s1600/whiplash-mv-4.jpg" height="266" width="400" /></a></div>
<i><br /></i>
<b><br /></b><b><br /></b><b>Best Supporting Actor</b><br />
<b><br /></b>Edward Norton - Birdman<br />
Ethan Hawke - Boyhood<br />
Jared Leto - Dallas Buyers Club<br />
Mark Ruffalo - Foxcatcher<br />
<i style="font-weight: bold;">J.K. Simmons - Whiplash </i>(My vote meshed with that of the final results)<br />
<b><br /></b><b><br /></b><b>Best Supporting Actress</b><br />
<b><br /></b><i>Lupita Nyong'o - 12 Years a Slave</i><br />
Emma Stone - Birdman<br />
Sally Hawkins - Blue Jasmine<br />
<b>Patricia Arquette - Boyhood</b><br />
June Squibb - Nebraska<br />
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<b>Best Ensemble Cast</b><br />
<b><br /></b>12 Years a Slave<br />
Birdman<br />
Boyhood<br />
<i style="font-weight: bold;">The Grand Budapest Hotel </i>(another category where my vote and the final result were the same)<br />
The Imitation Game<br />
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<b>Best Original Screenplay</b><br />
<b><br /></b>Birdman<br />
Boyhood<br />
Calvary<br />
<b>Her</b><br />
<i>The Grand Budapest Hotel</i><br />
<b><br /></b><b><br /></b><b>Best Adapted Screenplay</b><br />
<b><br /></b><i style="font-weight: bold;">12 Years a Slave </i>(I voted for the same film the other critics did)<br />
Gone Girl<br />
Snowpiercer<br />
The Imitation Game<br />
The Wolf of Wall Street<br />
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<b>Best Cinematography</b><br />
<b><br /></b>Birdman<br />
<i style="font-weight: bold;">Gravity </i>(again, I agree with the other critics)<br />
Ida<br />
Nebraska<br />
The Great Beauty<br />
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<b>Best Production Design</b><br />
<b><br /></b>Gravity<br />
Her<br />
Mr. Turner<br />
<i style="font-weight: bold;">The Grand Budapest Hotel </i>(another agreement with the other critics and myself)<br />
The Imitation Game<br />
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<b>Best Editing</b><br />
<b><br /></b>Birdman<br />
Boyhood<br />
<i style="font-weight: bold;">Gravity </i>(ditto)<br />
The Grand Budapest Hotel<br />
The Imitation Game<br />
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<b>Best Original Score</b><br />
<b><br /></b>Gravity<br />
Her<br />
Interstellar<br />
<b>The Grand Budapest Hotel </b><br />
<i>The Imitation Game </i>I voted for The Imitation Game- the winner was Grand Budapest - both scores written by Alexandre Desplat!)<br />
<b><br /></b><b><br /></b><b>Best Visual Effects</b><br />
<b><br /></b>Dawn of the Planet of the Apes<br />
Interstellar<br />
<i style="font-weight: bold;">Gravity </i>(concurrence with the other critics)<br />
Guardians of the Galaxy<br />
The Hobbit: The Battle of the Five Armies<br />
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<b>Top Ten Films (alphabetical list)</b><br />
<b><br /></b>
12 Years a Slave<br />
Blue is the Warmest Color<br />
Birdman<br />
Boyhood<br />
Her<br />
Ida<br />
The Grand Budapest Hotel<br />
The Great Beauty<br />
The Imitation Game<br />
The Wolf of Wall Street<br />
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<b><br /></b>tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-50464450834615918912015-01-13T08:21:00.001-08:002015-01-13T11:46:37.991-08:00Online Film Critics' Poll - The Nominees Are...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBH_22LD4DB_8OEKkqEqyzyZIwALGuQyxaSln7o30hm7QJC9N7NVr-XpIu4QwigYyuaGiVXp0DnOPJds4fLw1FgpTdSzOO7wdflHpEzdS8DOFavZG_bCrYKTTNGqGvh1hVngTLV5YQGSWA/s1600/Grand-Budapest-Hotel-The-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBH_22LD4DB_8OEKkqEqyzyZIwALGuQyxaSln7o30hm7QJC9N7NVr-XpIu4QwigYyuaGiVXp0DnOPJds4fLw1FgpTdSzOO7wdflHpEzdS8DOFavZG_bCrYKTTNGqGvh1hVngTLV5YQGSWA/s1600/Grand-Budapest-Hotel-The-poster.jpg" height="225" width="400" /></a></div>
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Just after the Golden Globes ceremony and only a few days before Oscar nominations are announced, we have the nominees for the International Online Film Critics' Poll. These film awards like the others mentioned, award excellence in all the major categories, such as Best Picture, Actor, Actress, Director, Cinematography, etc. But what makes them different is the fact that this is a biannual award, so for this year, the eligible films are from 2013 and 2014. That means along with such current films as <i>The Imitation Game</i>, <i>Foxcatcher</i> and <i>Birdman</i>, such celebrated films from last year such as <i>12 Years a Slave, Nebraska </i>and <i>Her</i> are also eligible.<br />
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This is the fourth time for these awards and this is the first time I have been asked to vote for them. I'm honored to be part of this process and it was quite a difficult decision coming up with only five nominees for each of the 14 categories. It was even more difficult to select a winner in many of these categories, although a few of them were relatively easy choices for me (such as Best Editing, see below). As a critic involved in these awards, I was able to nominate the films a few weeks ago and now this week, vote on the final nominees. Again, with only five nominees from each category over the course of two years, there were going to be numerous omissions. Take Best Actor for example. Steve Carell (<i>Foxcatcher</i>) and Timothy Spall <i>(Mr. Turner</i>) were not even among the final five choices - talk about a strong category!<br />
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So without further ado, here are the nominees. My selection is in bold:<br />
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<br />
<b>Best Picture</b><br />
<b><br /></b>
12 Years a Slave<br />
Birdman<br />
Boyhood<br />
<b>The Grand Budapest Hotel</b><br />
The Wolf of Wall Street<br />
<br />
<br />
<b>Best Director</b><br />
<b><br /></b>
Alejandro Gonzalez Iñarritu - Birdman<br />
Richard Linklater - Boyhood<br />
<b>Wes Anderson - The Grand Budapest Hotel</b><br />
Paolo Sorrentino - The Great Beauty<br />
Roman Polanski - Venus in Fur<br />
<br />
<br />
<b>Best Actor</b><br />
<b><br /></b>
Michael Keaton - Birdman<br />
Ralph Fiennes - The Grand Budapest Hotel<br />
Mads Mikkelsen - The Hunt<br />
<b>Benedict Cumberbatch - The Imitation Game</b><br />
Leonardo DiCaprio - The Wolf of Wall Street<br />
<br />
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<b>Best Actress</b><br />
<b><br /></b>
Cate Blanchett - Blue Jasmine<br />
Adele Exarchopolous - Blue is the Warmest Color<br />
Rosamund Pike - Gone Girl<br />
Julianne Moore - Still Alice<br />
<b>Marillon Cotillard - The Immigrant</b><br />
<b><br /></b>
<b><br /></b>
<b>Best Supporting Actor</b><br />
<b><br /></b>
Edward Norton - Birdman<br />
Ethan Hawke - Boyhood<br />
Jared Leto - Dallas Buyers Club<br />
Mark Ruffalo - Foxcatcher<br />
<b>J.K. Simmons - Whiplash</b><br />
<b><br /></b>
<b><br /></b>
<b>Best Supporting Actress</b><br />
<b><br /></b>
<b>Lupita Nyong'o - 12 Years a Slave</b><br />
Emma Stone - Birdman<br />
Sally Hawkins - Blue Jasmine<br />
Patricia Arquette - Boyhood<br />
June Squibb - Nebraska<br />
<br />
<br />
<b>Best Ensemble Cast</b><br />
<b><br /></b>
12 Years a Slave<br />
Birdman<br />
Boyhood<br />
<b>The Grand Budapest Hotel</b><br />
The Imitation Game<br />
<br />
<br />
<b>Best Original Screenplay</b><br />
<b><br /></b>
Birdman<br />
Boyhood<br />
Calvary<br />
Her<br />
<b>The Grand Budapest Hotel</b><br />
<b><br /></b>
<b><br /></b>
<b>Best Adapted Screenplay</b><br />
<b><br /></b>
<b>12 Years a Slave</b><br />
Gone Girl<br />
Snowpiercer<br />
The Imitation Game<br />
The Wolf of Wall Street<br />
<br />
<br />
<b>Best Cinematography</b><br />
<b><br /></b>
Birdman<br />
<b>Gravity</b><br />
Ida<br />
Nebraska<br />
The Great Beauty<br />
<br />
<br />
<b>Best Production Design</b><br />
<b><br /></b>
Gravity<br />
Her<br />
Mr. Turner<br />
<b>The Grand Budapest Hotel</b><br />
The Imitation Game<br />
<br />
<br />
<b>Best Editing</b><br />
<b><br /></b>
Birdman<br />
Boyhood<br />
<b>Gravity</b><br />
The Grand Budapest Hotel<br />
The Imitation Game<br />
<br />
<br />
<b>Best Original Score</b><br />
<b><br /></b>
Gravity<br />
Her<br />
Interstellar<br />
The Grand Budapest Hotel<br />
<b>The Imitation Game</b><br />
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<b>Best Visual Effects</b><br />
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Dawn of the Planet of the Apes<br />
Interstellar<br />
<b>Gravity</b><br />
Guardians of the Galaxy<br />
The Hobbit: The Battle of the Five Armies<br />
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I'll report on the winners when they are announced in late January.<br />
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-60350067777327031462015-01-02T08:57:00.003-08:002015-01-02T08:57:54.030-08:00Genius at Work<div class="separator" style="clear: both; text-align: center;">
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<i>Mr. Turner</i> is a film about the energy and passion that drives a creative genius. For this film, that description refers both to its titular subject, J.M.W. Turner, famed 19th century British painter, as well as the film's director, Mike Leigh.<br />
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For most filmgoers - myself included - this is a work about an artist who will be a bit of a mysterious figure, as Turner is largely unknown outside of Britain. Born in 1775, he was a renowned painter of landscapes, often focusing on the subject of seascapes and ships. He was an artistic and to some degree, a financial success early in his career.<br />
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Interestingly, Leigh made the decision to only look at the last two decades of Turner's life in this film. We see a brute of a man, one who goes about his daily work with a certain flair, be it at his studio at home or at a gallery with his colleagues. He has great self-assurance of who he is as an artist, but his personal relationships, save for his father, are less than cordial. He has little time for his daughters, while he treats his devoted housekeeper with disdain.<br />
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One of the most fascinating things about this film is the focus on the work of Turner; reportedly Timothy Spall, who portrays the artist, spent more than a year learning how to paint. Turner is seen at every available moment either drawing something in his sketch pad or painting in his own distinctive way, sometimes spitting on the canvas, to add a bit of tone to the work.<br />
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The love of this period's paintings is detailed in great degree in the film. There is one marvelous scene in which Turner enters a gallery filled with canvases that line every wall, some of the works even approaching the ceiling. Other painters are there, some to view and debate the works of their colleagues, while others make final touches to their paintings. Ladders and wooden planks are part of this busy scene; this is a look at the beauty as well as the frenzy of the artistic scene in Britain at this time. This is one of the most revealing scenes in the film; it's also one of the most visually remarkable as well. The production design of Suzie Davies on this film is first-rate and marvelously detailed; her work is as much a part of the success of this film as anyone's efforts.</div>
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This film would not work however without a steady hand by the director and Mike Leigh provides such talent. At two and one-half hours, this is a movie that takes its time, yet it never feels dull or slow. We get to know Turner's work along with his relationships with others and it's the conflict in these scenes that give us an understanding into what he was all about. His scenes with his father, whom he dearly loved, are quite touching, as are the moments he spends with Sophia Booth (Marion Bailey, in a natural, engaging performance), an innkeeper whom he falls in love with. </div>
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Leigh gives us a world of complex colors; you're as likely to see a beautiful countryside shot as you are the muted tones of an artist's studio. Working with cinematographer Dick Pope, the director has created a stunning looking work that is always arresting. One particularly beautiful moment has Turner walking by himself in a field while a few hundred or so yards away, several wild horses gingerly make their way up a small hill; it's a scene worthy of a painting.</div>
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As Turner, Timothy Spall is brilliant - I'm not sure I can praise him enough for his work in this film. He grunts and deliberately ambles his large frame though many of his scenes; he's a big man, often seemingly ill-willed, one who goes through life with utter assurance of his brilliance. Yet he is not an egotistical man; at one point he turns down a fortune to sell his paintings. He wanted others to see his work after his death, so money meant little to him, as long as he was able to afford his lifestyle. Spall is utterly convincing at giving us a multi-layered character.</div>
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We do see him let down his guard and become a more tender human when he meets Booth; she understands his intensity and is attracted to him. His transformation is quite touching, especially as it's not stated in night and day terms; it's more subtle than that. Their relationship helps Turner grow and expand his vision as an artist, as well as letting him find happiness in his life. Spall gives us a Turner of some humor as well as gentle affection in these scenes and he's equally convincing here as in the rest of the film. </div>
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One other performance deserves praise - that of Dorothy Atkinson as Turner's housekeeper Hannah Danby. She is a quiet woman, physically troubled with psoriasis, going through her daily routine of tending to Turner's whims and needs, speaking only a few well-chosen words. She is in love with Turner, yet the only affection we see from him directed toward her are brief moments of lust. It's as though she is a human canvas to Turner, someone - or something - he can do what he wants to with. The fact that we are so moved by her performance in this unglamorous role is a testament to the work of Atkinson.</div>
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<i>Mr. Turner </i>is the work of a director at the height of his powers, one who makes us empathize with a man who displayed extraordinary talent while going through life with a less than sunny disposition. Mike Leigh treats us to a portrait of a unique individual who loved life and could find inspiration in simple beauty. After watching this film, one can say the same for Leigh; it's rare for a film biography to reach the emotional understanding this work has and we the audience should treasure it.</div>
tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-90795589400452420602014-12-22T10:47:00.001-08:002014-12-24T09:19:30.955-08:00Unraveling Mysteries<div class="separator" style="clear: both; text-align: center;">
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<i>The Imitation Game </i>is an engrossing film that deals with solving mysteries of various sorts. On the surface level, there is the puzzle of the German war code that must be solved if England and the Allies are to win World War ll. There is also the mystery of how Alan Turing, the leader of the team assigned to unraveling this code, has to deal with the fact that he is a homosexual, who must, for all intents and purposes, hide this fact, for fear of retribution and possible punishment. It's a valuable film experience, one that has its slip ups at times, but one that ultimately succeeds in its quest to tell the story of this complex and troubled individual.<br />
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Right from the beginning of this story, Turing (Benedict Cumberbatch) lets his superior know how valuable he is as a brilliant mathematician for the ultimate goal of solving the German Enigma machine that sends out coded messages that have proven impossible to decipher, as there are tens of millions of possible combinations of letters. Cocky and moody, Turing is disliked by his fellow team members; Turing himself believes that some of them are not worthy of this demanding task. He takes the step of contacting Winston Churchill to request that he be the leader of this project, thus enabling him to fire and hire others as he pleases. He is granted this request, as well as an appeal for funds, so he can build a machine that will read the coded messages; this machine was one of the first computers.<br />
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His method of hiring new agents for his project is to run a difficult crossword puzzle in the newspaper; those who solve it are invited to come on for another word test. One of the individuals who passes this test - in record time - is Joan Clarke (Keira Knightley), who will soon win the heart of Turing. It is her intellect and charm that win Turing over and help him continue with his work. She convinces Turing to be a bit more understanding with his fellow code solvers, so as to win their trust. Their relationship is at the heart of this film.<br />
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There have been any number of critics that have complained about historical inaccuracies in this film. For my part, I don't care if there has been some alteration of specific events; this is a filmed version of this story and not a documentary. The filmmakers are most interested in Turing's story and personality - how did he create his machine, how does he, as a gay man, handle himself in a relationship with a woman? Yes, I would have liked to learn more about the inner details of his machine - the reproduction is fascinating with all those wheels and wires - what is going on here and how does it work? That is a problem, but the screenplay more than makes up for this shortcoming by focusing more on Turing himself.<br />
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As Turing, Cumberbatch is brilliant portraying this complex and troubled man. His face captures us and makes us feel empathy for the mathematician; his voice is quiet, yet assured and his mannerisms avoid the usual clichés. He walks a tightrope between self-assuredness and doubt that he can solve this project; when he has moments of success, they are quiet triumphs for the most part; Cumberbatch communicates Turing's emotions beautifully, either by a subtle shift in posture or movement of his eyes. This is an outstanding performance - the actor's work is the strongest recommendation of this film. You never see his acting technique on display - he's simply believable every moment he's on the screen.<br />
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The other notable performance is by Knightley. The camera loves her face; she is able to win us over the first time we see her on screen. She has excellent chemistry with Cumberbatch (and in reality, everyone else in her scenes) and is the voice of reason and well as a warm ray of light as opposed to the coldness of Turing in many scenes. One wishes however, that she was given more to do than what's written for her in the screenplay.<br />
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The one major fault I have with the film is the implementation of flashbacks of Turing's school days as a young man. We learn that he was mistreated by many of his classmates, who found him an outsider, based on his odd behavior (one scene has him separating the peas from the carrots on his plate). We also discover his relationship with another quiet boy who has an intellect similar to that of Turing. These scenes really explain little - save for one defining moment; it would have been better to eliminate these scenes, as the screenplay as well as Cumberbatch's performance tell us all we need to know how singular the character of Alan Turing truly is.<br />
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Thankfully the strengths of <i>The Imitation </i>Game far outweigh its flaws. Morton Tyldum's direction is effective and concise, while the cinematography of Oscar Faura and the costume designs of Sammy Sheldon are particularly handsome and appropriate. This is a film of priorities; Turing had to sacrifice his personal pleasures for the good of his country; ironically, his country punished him later in his life. This idea carries the film and carries it well; life for all of us is full of disappointments. It's how we deal with them that makes the difference.<br />
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-36651079723501273382014-12-19T11:02:00.001-08:002014-12-19T11:02:18.319-08:00An Emotional Jolt - and an Amazing Film<div class="separator" style="clear: both; text-align: center;">
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When the final image of <i>Whiplash </i>faded to black, my head hit the back of my chair and I was jolted back into my seat - it was as though I was hit in the stomach. <i>Whiplash</i> has that type of emotional punch; it's pure cinema that grabs the viewer from the first frame and never lets go. It's the best film I've seen this year.<br />
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The story is quite simple, which is fitting for a film that is not plot-driven, but rather, one that makes the most of the emotions of its two main characters. Andrew Neyman (Miles Teller) is a college-aged young man who enrolls in the prestigious Shaffer Conservatory of Music in Manhattan (the actual name of the school is fictional, but certainly based on Julliard). He's a very talented jazz drummer with dreams of becoming the next Buddy Rich (we hear and watch old tapes of Rich performing at various times in the film; Neyman listens to these tapes and memorizes every note).<br />
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His instructor at the school is Terence Fletcher (J.K. Simmons), a crazed madman/genius, who instills fear and discipline in his students. He doesn't see that what he's doing is anything out of the ordinary, believing that he can drive a musician to his personal best, "beyond his limits" as he says in the film. One scene of Fletcher barking orders to Neyman about playing a particular section of one jazz composition faster and faster until it hardly seems humanly possible is a riveting moment in this film and a clear sign of both Fletcher's method as well as Neyman's drive to be the best.<br />
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Writer/director Damien Chazelle takes us on a wild roller coaster of a ride in this film; the title "Whiplash" a well-chosen one (it's also the name of a jazz composition heard several times in the film). Not only are the class sessions frantically hypnotic in the cross-cutting between the images of Fletcher hurling insults at Neyman and the young drummer doing all he can to follow his instructions, the mood shifts of the film are quite startling as well (editor Tom Cross performed brilliantly on this film).</div>
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"His bark is worse than his bite," is what one student tells Neyman, referring to Fletcher and indeed, there are two scenes in the film where we see a softer side of the man. He may be a bit of a madman, but he is human. Likewise, there are scenes of Neyman setting aside his drums for a moment or two, to attend a movie with his father or to nervously approach a young woman he has had his eyes on for some time.</div>
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But it is the relationship of teacher and student and the scenes in the classroom that form the heart of this film. Think of the most intense, the most difficult teacher you've ever had - and now multiply that times six - and you'll start to get an idea of the aura of Fletcher. His motives are clear - he demands the best from his students and if he has to, he'll belittle them. His insults are largely unprintable here, the sexual connotations and humiliating language he uses are extreme. He's also not above getting right in someone's face, at one point, reducing Neyman to tears. Simmons has a field day in this role, dressed in black turtleneck and slacks, his bald head giving him the look of a driven madman. It's a tour-de-force performance.</div>
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Teller has a less flashy role, but he is excellent, especially when we witness his confusion. Is he really willing to take all the abuse of his teacher? Teller is believable throughout the film, almost always presenting an air of remarkable self-confidence. That will alienate him from almost everyone in his life, but he realizes the sacrifices he must make if he is to be the best. This is a determined, yet scared individual and Teller brings this across very well in his portrayal.</div>
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The big band jazz performances in <i>Whiplash </i>are excellent; if you only went to see this film for its music, you'd probably be satisfied. But the process of how the final performances come about are what gives this film its drive and inner core. The relationship of teacher and student has rarely been more intensely examined on film.<br />
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Besides being a powerful, emotional, primal experience that succeeds brilliantly - the final musical sequence, some twelve to fifteen minutes in length is wonderfully realized - this is a film with a rich message. It asks all of us how far we are willing to go to realize our dreams. True success may actually result in us falling a bit short of those dreams - then again, we may realize out highest goals after all. <i>Whiplash </i>certainly poses the thought that whether or not we reach our ultimate goal, the journey, no matter how anguished or stress-filled, is an examination in our lives that helps us better understand who we really are. This is not the first film to ever make this type of analysis, but it's easily one of the best to ever do so. Bravo to Damien Chazelle for making such a powerful story that's told with such cinematic flair. I can't wait to see <i>Whiplash </i>again!tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-11663762153598308372014-12-18T10:10:00.001-08:002014-12-18T10:10:22.351-08:00Power - and all its horrors<div class="separator" style="clear: both; text-align: center;">
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<i>Foxcatcher</i>, the latest film from director Bennett Miller, is an absorbing examination into how often power can represent nothing more than fools' gold. Beautifully directed, with engrossing performances from the three lead actors, this is one of the most troubling as well as one of the richest film experiences of recent years.<br />
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The film is based on the true story of the Schultz brothers, Mark (Channing Tatum) and Dave (Mark Ruffalo), both of whom won gold medals at the 1984 Olympics wrestling competition. The film focuses more on the plight of Mark, who despite his personal success, has played second fiddle to his brother Dave, who is happily married with children and is being wooed by the USA wrestling federation to be a national coach. Mark, meanwhile, is not married and is a loner, training in isolation and living on meager wages. The opening shot of him in practice with a dummy, is a marvelous cinematic moment that introduces us to the sparseness of his life.<br />
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One day, Mark receives a phone call, asking that he come to meet John du Pont (Steve Carell) at his expansive estate in Delaware. Du Pont, a member of the famed family that made a fortune in chemicals, is an avid wrestling fan and has built a state of the art training facility; he woos Mark with this as well as a generous paycheck and wants him to train there in order to win the upcoming World Championships as well as a gold medal at the 1988 Olympics in Seoul. For Mark, this is an opportunity he cannot pass up; not only will it help him focus more on his training, it will reward him with the chance to have a father figure in his life (his parents died when he was a young boy).<br />
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This is all based on a true story, one that is known to many people. I won't give away the conclusion of this film, if only for people that don't know all the juicy details, but one can tell watching the film that there are many problems that will arise in the relationship between du Pont and the Schultz brothers. While Mark is initially more than happy to be appreciated for his talents, his feelings about du Pont soon change, given du Pont's strange behavior. Dave, who at first turns down the chance to move into du Pont's facility - named Foxcatcher Farms, for the hunting grounds his mother owns - eventually does move in; the results will be tragic for him.<br />
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All three of these principal characters are well defined. Mark is the loner, looking for self-pride, hungry for appreciation. Dave is much more self-confident; indeed, he is the most normal of the three. Happily married and given the gift of being able to coach other wrestlers, he relates extremely well to others and can serve as a problem solver between Mark and du Pont. Du Pont himself is an obsessive, spoiled rich brat who believes that his wealth can buy him power, if not friendship.<br />
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The three leads are first-rate. Ruffalo has been delivering understated performances for years now; given the subtleties of his craft, he has been sadly under appreciated as an actor. Here he lends a calming voice to this stormy situation and it's fascinating to watch Ruffalo move from quiet satisfaction over his lot in life - he usually has smile on his face and a cheerful greeting for others in his early scenes - to a sad reservation that he is in the middle of a nightmare. In one scene, he is asked by du Pont's documentarian to say something nice about his boss. Ruffalo has trouble coming up with the words and can barely even look at the camera. He's great in this brief scene.<br />
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As Mark Schultz, Channing Tatum is a standout. He has the physical presence (he put on weight for this role) and he also delivers on an emotional front. His character is out of his comfort zone almost from the start of this story and Tatum is able to show us the frustrations and confusion of Mark Schultz as his world starts to spin out of control. Despite his successes on the wrestling mat, he remains confused about the larger world; his speech patterns are that of a man who lacks confidence, especially as he has no idea about the consequences of his decision to work with du Pont (at one point in a meeting with his brother Dave and du Pont, Mark can barely speak; Tatum psychically withdraws into himself at this moment, afraid to speak his mind; it's a marvelous scene). Given his work in previous films such as <i>21 Jump Street </i>and <i>White House Down</i>, I must admit I wondered if Tatum would be right for this role; boy, is he ever!<br />
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As John du Pont, Steve Carell turns in a performance that is 180 degrees from his comic turns in <i>The 40 Year-Old Virgin</i> or <i>Anchorman 2 </i>(or his most famous role as the boss on television's <i>The Office</i>). His physical transformation is stunning, as he wears a prosthetic nose and carries his head high, at a slightly tilted angle, to show his imagined power. He speaks in monosyllabic phrases, saying only what needs to be said, as though his words were instruments of power, as much as his money. Even the way he walks is creepy, gently stepping across a wrestling mat, as though every step was a momentous decision. Carell gives us a sad, troubled man who must dominate his world if he is to continue having meaning in his life. His performance is the centerpiece of this story and Carell is unforgettable.<br />
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Having now made three absorbing films, all about obsessive (or borderline obsessive) behavior of three men in America - Truman Capote in <i>Capote </i>(2005), Billy Beane in <i>Moneyball </i>(2011) and now John du Pont in this film - director Bennet Miller must be considered one of the most important filmmakers in America, if only for the subjects of his movies. Yet there is much more to his craft than the actions of his characters; Miller continually creates a small world that is moody and atmospheric, one in which his characters function amidst chaos. Miller is fascinated by individuals who take on challenges, intelligent men who fight until the end for their quest, be it the truth in a murder investigation or the right way to go about putting together a baseball team or a wrestling squad. There is great drama in these situations and Miller treats these stories with insight that offers us not only the visions of these men, but also the reactions of others who treat them as inferior or warped. It's not a pretty world in much of Miller's work, but it's one that is fascinating, especially in its questioning of how far these individuals can and will go to conquer their demons. I wrote that Miller must be considered one of the most important filmmakers in this country; I believe he is also one of our finest directors.<br />
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<i>Foxcatcher</i> is a layered film that thankfully is handled with great intelligence by Miller and his screenwriters E. Max Frye and Dan Futterman. Here is a film that could have been preachy or melodramatic, given the story's grim details. Yet, this film, in the final analysis, is a study in character relationships; the three principals are so well defined on paper and in the flesh by these fine actors. John du Pont, Mark and Dave Schultz are more than players in a bizarre true story; they are indeed power brokers who become lost in glory. For filmgoers that want to experience the work of a director that scrutinizes human behavior and shows all the warts, <i>Foxcatcher</i> is a must see.<br />
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-34687506764173615542014-12-12T09:24:00.003-08:002014-12-13T07:23:45.707-08:00Documenting the Life and Work of a Genius<div class="separator" style="clear: both; text-align: center;">
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<i>"I didn't know what you couldn't do. I didn't deliberately set out to invent anything. It just seemed to me, why not?" </i>- Orson Welles, speaking about <i>Citizen Kane</i>.<br />
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At the 1971 Academy Awards, John Huston, accepting the Honorary Oscar for Orson Welles, said that "Genius is a word that must be used very sparingly, especially in this world of films." Quite true, but everyone agrees Orson Welles was an artist who truly deserved the title of genius; his body of work is clear evidence of that. In a new documentary by Chuck Workman titled <i>Magician: The Astonishing Life and Work of Orson Welles</i>, we are treated to an in-depth look at the incredible path that Welles took en route to becoming arguably the most creative genius of American cinema - perhaps world cinema - during the 20th century.<br />
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Workman, an Oscar-winner, who is best known for his short films (he made a new one each year for more than two decades for the annual Oscar telecast), has crafted a painstakingly detailed work that denotes the special moments in Welles' life, from his schooling in Woodstock, Illinois as a youth to his work for the Federal Theater in the 1930s all the way through his final films in the 1960s and 1970s. Welles would constantly amaze those who worked with him; fellow actor Norman Lloyd recalls at one point in this film that when you were present at a play directed by Welles, "you had an experience in the theater you never had anywhere else."<br />
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Every famous moment in Welles' career is highlighted here, especially his memorable <i>War of the Worlds</i> radio broadcast in 1938, one that scared thousands of people from coast to coast. We read excerpts of letters to Welles about this event, some of them quite positive in their praise for his storytelling, others written in a pejorative tone ("inhuman" is the term used by one angry individual). There are clips of Welles himself being interviewed about the public's reaction; he was quite surprised to learn of the controversy he created. He recalls that there were police in the studio while the broadcast was going on looking for the proper person to arrest.<br />
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While this moment made Welles a household name across America, it was his work in films that cemented his reputation, as a true original, one who "freed the camera," as Martin Scorsese mentions in one clip. Workman has a good deal in the film about <i>Citizen Kane</i>, but he also devotes much time to his other films, especially works such as <i>The Trial </i>and <i>Falstaff: Chimes at Midnight</i>. Given that these two films are rarely seen works, this is a wise decision on Workman's part.<br />
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Workman also devotes time to several of Welles' unfinished films such as <i>Don Quixote</i>, <i>The Deep, The Dreamers </i>and <i>The Merchant of Venice</i>. What's fascinating about this section of the documentary is being able to watch scenes from these films, as we are reminded that Welles actually shot sections of these works, unlike other famous directors who also had unfinished projects. Unfortunately, Welles had so many of these unfinished movies - for reasons ranging from financial problems to personal ones - that his reputation suffered from this facet of his life. One illuminating clip has director Henry Jaglom recalling that while so many in Hollywood wanted to meet Welles and have lunch with him, too many people were worried that "he was not predictable." Welles himself says in one of this film's clips, "Do you know that I always liked Hollywood very much? It just wasn't reciprocated."</div>
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What I love most about this documentary is that Workman keeps the talking heads aspect to a minimum; there are insightful interviews with writers - especially Simon Callow, who wrote the most authoritative biography of Welles - as well as with a few directors - there is a hilarious moment of Paul Mazursky recalling his first meeting with Welles - that are entertaining and informative. But it is the inclusion of so many clips of Welles himself offering up his thoughts on one of his films or his struggles to complete a film that make this documentary so entertaining (in an interview with Workman, he told me that he was fortunate in this aspect, as Welles made so many television and industry appearances in his career, so he had much to choose from).</div>
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<i>Magician: The Astonishing </i><i>Life and Work of Orson Welles</i> is highly recommended not only because it is a complete look at the work of this genius; it also delivers great insight into the contradictions that were at the heart of Orson Welles' life. As with any great artist, the troubling moments in his career defined him just as much as the celebrated triumphs.</div>
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Here is the <a href="http://cinemadirectives.blogspot.com/2014/10/chuck-workman-on-orson-welles-tribute.html">link</a> to my interview with Chuck Workman about this film. I spoke with him at the Chicago International Film Festival this past October. His insights are a valuable companion piece to his documentary.</div>
<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-58608925987434501922014-12-09T14:46:00.001-08:002014-12-13T07:21:39.130-08:00Finding Answers amidst Despair<div class="separator" style="clear: both; text-align: center;">
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This time of year, a good number of films that have numerous things to say about inner strength premiere on screens across the country. Many of these works are properly noble, with stories of courage in the face of brutality; these are often big studio projects crafted to catch the attention of the Academy for Oscar glory.<br />
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Then you have a film such as <i>The Homesman</i>. Set in the Nebraska Territory of the 1850s, this is a film that is strikingly original in many ways. It's not a Western and it's certainly not a revisionist Western, though it has some of the trappings as such. Rather, it's a character study of two lonesome people, brought together by pure fate, who take on a difficult task, all the while trying to find meaning in their immediate lot in lives - as well as in their relationship with each other.<br />
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Tommy Lee Jones directed, co-wrote the screenplay and stars in the film; clearly his dedication and love for this project is heartfelt. Working together with the great cinematographer Rodrigo Prieto (<i>Wolf of Wall Street, Argo, Wall Street: Money Never Sleeps, Babel)</i>, Jones' direction is assured, as he takes his time with each scene, showing the absurdity along with the reality of this strange journey. At times reminiscent of the Coen Brothers' <i>True Grit</i>, at times displaying influences of <i>Night of the Hunter</i>, Jones directs with one eye on the past and one looking at a highly original vision of the heartland. The compositions are arresting, with Jones and Prieto shooting with long lenses, often showing the wagon that is at the center of this tale dwarfed by the wide-open prairie.<br />
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The story - one of the most unusual I've encountered in recent years - is how a strong, independent woman named Mary Bee Cuddy (Hilary Swank) must travel from her home in Nebraska in a covered wagon containing three young local women who have recently gone mad. Their husbands cannot handle them - one of the women cannot even speak - so it falls to Cuddy to take these poor souls to Iowa where a minister and his wife will care for them.<br />
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Shortly after her journey begins, she happens to see George Briggs (Jones) sitting upon his horse under a huge tree with a noose around his neck. If the horse moves too far, Briggs will hang, so he begs Cuddy for his life. She cuts him down, but only after he agrees to help her with her demanding task.<br />
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The film plays out on two levels: the physical and mental difficulties of transporting these three women hundreds of miles across the plains and secondly, the ongoing bond between Cuddy and Briggs. She is a God-fearing, hard-working woman who is not married; her plain looks and strong will have scared off her would-be suitors (as we see in early on in the film). He is independent, living only day to day, in search of a warm place to sleep, a decent meal and a drink or two of whisky. Their conversations rarely amount to much, but they do proceed from single syllables to at least a few words now and then, as each needs the other, if only to survive the trip.</div>
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He hates this job, but there's some good money for him at the end of the trail, while for her, it's a journey that is a self-examination of her soul. Will she pause long enough to consider how others view her? She is single-minded, which makes her an ideal choice for this journey, but she suffers from a lack of inner pride; perhaps Griggs can help her overcome that.</div>
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About thirty minutes before the conclusion, a plot twist brings Briggs to a new awareness of how cruel and unfair life can be; Jones is particularly good on screen at this moment. While there are times his performance seems like many others he has given in previous films, his portrayal of Griggs as a man wandering through a maze is excellent. Likewise for Swank, who has the steely presence to make her character come alive.</div>
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I mentioned director of photography Prieto before; the man is clearly at the top of his game. His use of light is magnificent in this film, from the flames of a fire in a cave late at night to the bright blues and muted whites of a bleak, cloud-filled winter's sky. He even slightly overexposes the prairie images a few times in the film; the effect is subtle, but perfect in keeping with the film's tone of nature overwhelming these individuals.</div>
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I previously wrote that late fall and winter is the time of year we get "important" films from Hollywood. This is <i>not</i> one of those sincere, uplifting films that takes itself seriously. Rather, <i>The Homesman</i>, thanks to its intelligent screenplay, beautiful direction by Jones, arresting photography by Prieto, and two notable performances by its leads, is a film of constant wonder at the role humans play in life. We may be insignificant in the large picture, but we can do good for others, even if we don't realize exactly how we need to go about it. <i>The Homesman</i> does not give us easy answers, but rather asks some tough questions and for that, it's a work that is at once haunting and at the same time, mysterious.</div>
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-84215851904039847732014-12-01T11:26:00.001-08:002015-08-10T17:13:00.497-07:00Hitchcock's 20 Best Films<div class="separator" style="clear: both; text-align: center;">
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Like most film lovers- serious or casual - I am a fan of the work of Alfred Hitchcock. For many of us, it's been an affair that has lasted decades; I first saw one of his films back in the 1970s in my teens and I was immediately hooked. I honestly can't remember which was the first of his movies I saw; I'm sure some of that comes from a blurring of memory with time. But this is also a credit to a phenomenal body of work; Hitchcock made 53 feature films in his life and I have seen 50 of them (one film, <i>The Mountain Eagle</i>, from 1926, has been lost forever except for a few stills). Of these 50, I am partial to more than 40 of them, but even in his lesser films - a relative term if there ever was one - I find moments of cinematic wonder.<br />
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Above all, Hitchcock was a master story teller, one of the best who ever made movies. On the surface level, there was the drama itself; the public knew and loved Hitchcock's work with greater zeal than almost any other director before or since. The stories were captivating, especially when the theme was that of the innocent man - here was an individual with whom we could identify.<br />
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The public also loved Hitchcock's style, as he could move us in ways that kept us riveted to what we were seeing on the screen. He was a visual director of the highest order, and many of his finest sound films can almost be watched with the soundtracks turned off, as the images were what grabbed us and shook up our emotions.Who didn't love the chase on Mount Rushmore in <i>North by Northwest</i> or watching Jimmy Stewart's character frantically yelling at Grace Kelly's character to get out of that apartment in <i>Rear Window</i>? These were edge-of-your-seat moments and no one did them any better than Hitchcock.<br />
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But what separates Alfred Hitchcock from other story tellers was his probe into human behavior, be it a man obsessing over a woman or a criminal planning and carrying out every last detail in some lurid deed? The fact that most of the characters who were the focus of his films were "normal" on the surface level, only made the viewer identify with them more and realize that the story they were watching could play out in their own lives - or their neighbors'.<br />
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I could go on all day about what made Hitchcock's films resonate so much with me, but instead, let me give you my list of his greatest films. Any list is a reason for debate and I'm sure there were be many who read this and disagree with me as the specific order or even why a particular film was even listed while another was not included. That's fine - as with any great artist, passion is a personal thing that cannot be explained easily.<br />
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<b>1) Vertigo </b>(1958) - Although not the most typical of his films, this was Hitchcock's most personal work. The story of a police detective who becomes obsessed with a woman he saw kill herself, <i>Vertigo</i> takes us along a heartbreaking journey of love than cannot succeed. Powerful performances from James Stewart and Kim Novak (she was never better) along with a complex, at times, exceptional screenplay by Samuel Taylor and Alec Coppel, combined with typical emotionally beautiful cinematography by Robert Burks and a haunting score by Bernard Herrmann.<br />
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There are several magnificently directed passages in the film, most notably the opening rooftop chase sequence along with the scene in the forest near the Pacific Ocean at Monterey, as well as the poignant episode at the Golden Gate Bridge when Stewart saves Novak. Above all, <i>Vertigo </i>is part dream, part nightmare and an unanswered question about our deepest desires and fantasies. Do we love someone for who they are or whom we want them to be? A highly original, deeply troubling work, this is an unforgettable film.<br />
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<b>2) Notorious </b>(1946) - A brilliant film on several levels, <i>Notorious</i> gives filmgoers a captivating mystery, exotic locations, romance and marvelous performances by its leading man and lady. If that isn't enough, this is also a look at the inner demons that trouble these two, a government agent (played by Cary Grant, in arguably his best performance) and a despondent woman (Ingrid Bergman, also outstanding) who seem destined for each other, yet must battle serious doubts about their life - will they ever be content with themselves or with each other? Excellent supporting work by Claude Rains and Leopoldine Konstantin, striking black-and-white photography by Ted Tetzlaff, and remarkably fluid direction from Hitchock (the crane shot that concludes with the shot of the wine cellar key in Bergman's hands is famous, but watch the final scene and how Hitchcock films the descent down the staircase and out of the house - just perfect!). One of the most notable combinations of a great story line imbued with the director's insight into the unbounded limits of love.<br />
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<b>3) Rear Window </b>(1954) - The purest of Hitchcock's treatments of pure cinema, <i>Rear Window</i> is perhaps the director's most satisfying suspense film. A photojournalist (James Stewart), who is laid up in his home thanks to a broken leg, entertains himself by watching the world outside through his camera lens. He spies on his neighbors day and night, much to the despair of his beautiful fiancée (Grace Kelly).<br />
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Transference of guilt was a favorite theme of Hitchcock and here it is explored as Kelly, in order to win Stewart's love, aids him in his adventure of voyeurism, as she puts herself in great personal harm. It is only then that Stewart sees her the full measure of her devotion for him. This sequence, when we the audience, watch through the eyes of Stewart (who is in turn, watching not with his own eyes, but through a lens) is primal in its emotional power as well as in its study of a relationship's unequal balance - he cannot appreciate her until she morphs her behavior into his. Tautly directed by Hitchcock, this is a thrilling to watch time and time again.<br />
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<b>4) Shadow of a Doubt </b>(1943) - Reportedly the director's favorite of his own works, this is a study of "twos" - a theme that would appear in many of Hitchcock's films. The pair at the center of this film are Uncle Charlie (Joseph Cotten), suspected of murder, and his delightful niece Charlie (Teresa Wright). He has returned home to middle class America to be with his family, as this should provide a safe haven from the detectives that are pursuing him. Each Charlie admires the other, but their feelings change, once the truth is discovered.<br />
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Hitchcock succeeded in grabbing our attention in many of his films by featuring a villain, who instead of being ghoulish in appearance, was instead suave and quite charming; Uncle Charlie is one of the most prototypical of these characters and Cotten delivers a cool and refined performance. Imagine yourself being one of the members of his family - you wouldn't think for a second that he is capable of any wrongdoing.<br />
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Filmed on location in Santa Rosa, California, <i>Shadow of a Doubt</i> has a warm, comforting look to it at first, as this seems to be the all-American town where everyone is happy. It is in locales such as these - often in the brightness of the day - where evil can strike. Tapping into this fear was one of Hitchcock's most powerful themes; it's handled here in such a subtle fashion. This film, as with almost all of the director's works, is timeless in its message.<br />
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<b>5) Strangers on a Train </b>(1946) - Another study of "twos" as well as transference of guilt, this is classic Hitchcock. An idle playboy named Bruno Anthony (Robert Walker) and a tennis player named Guy Haines (Farley Granger) meet by chance on a train; Anthony discusses murder and dreams up a scenario where each will kill someone in the other's life; he believes this the perfect crime, as there would be no apparent motive for the murders. Haines at first laughs this off, but soon realizes that Anthony is serious and must deal with the crazed wishes of this lunatic.<br />
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Featuring some of Hitchcock's most famous set pieces - the cross cutting between the tennis match and Anthony trying to retrieve a lighter, along with the merry-go-round sequence (both dazzling moments) - make for a highly entertaining film; you get the idea that Hitchcock thoroughly enjoyed making this movie. Expert editing by William Ziegler and a delightful script by Raymond Chandler and Czenzi Ormonde ("I may be old fashioned, but I thought murder was against the law.") as well as a superb performance by Walker, as charismatic a villain as there ever was in Hitchcock's (or anyone's) films. Equally captivating for its unusual story as well as its troubling message of how easy it is to murder someone, this is a great film.<br />
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<b>6) The Birds </b>(1963) - I realize that some readers will wonder why I have rated this film so highly on my list, while others will question its inclusion at all. It is one of my favorite of Hitchcock's films and I think it is one of his most frightening - and at the same time - most hopeful films.</div>
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Technically brilliant - Donald Spoto in his exhaustive work <i>The Art of Alfred Hitchock</i> writes that the film featured 1400 shots, roughly twice what was normal for the director - this is a visual treat. The scene with Melanie Daniels (Tippi Hedren) sitting by the school playground, not realizing that slowly hundreds of birds are sitting on a jungle gym (how menacing Hitchcock makes a "playground" seem!) truly takes your breath away. Other unforgettable images include the terrible shot of a farmer who has had his eyes pecked out by birds who found their way into his home, and my favorite, the shot of various birds from above looking down on the havoc they have wreaked in the small town of Bodega Bay - literally a birds' eye view! (George Tomasini's editing throughout this film deserves a special mention.)</div>
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Sound is also of great importance in this eerie tale, as we hear the caws of birds on the attack as well as electronic reproductions of bird screeches. Two superb instances of the aural terror of this film happen during the attack on the school children, and the scene in the Brenner house at night when the power suddenly goes out and Melanie, Mitch, his young sister Cathy and his mother huddle together in darkness, forced to endure the terrible shrieks of the unseen birds just outside.</div>
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Hitchcock and his screenwriter Evan Hunter were smart not to give a reason as to why the birds were acting in such fashion - any explanation would lessen the overall effect. "It's the end of the world" utters one character at a restaurant in town and it may as well be for these characters, as the bird attacks are unpredictable. </div>
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The answer then is for humans to turn to each other. Melanie and Mitch distrust each other as the film begins, but by the end, they will survive only if they care for each other and their loved ones. The ambiguity of the final image as they drive away from a landscape filled with thousands of birds is one of the most remarkable and innovative of any Hitchcock film.</div>
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<b>7) I Confess </b>(1952) - Arguably Hitch's most underrated film, it is sadly also one of his least known and certainly one of his least critically analyzed. A priest hears the confession of a man who admits to murder; in the Catholic Church, a priest cannot divulge what he has heard in the confessional, so he cannot help the police, who ironically, believe the priest is himself a suspect. Beautifully photographed in shimmering black-and-white hues by Robert Burks - I think this is one of the most beauitful jobs of black and white cinematography of all time, not only in terms of light and dark, but also in terms of the visual mood that is achieved. </div>
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Hitchcock once again used the innocent man theme in this work, blending it with his insight into his Catholic upbringing. A moody, moving performance by Montgomery Clift as the priest - he is believable in every scene and an excellent supporting turn from Karl Malden as a police detective. The flashback sequence with Anne Baxter is a key to the background of this tale (Hitchcock mastered this story telling device a few years later in <i>Vertigo</i>); the slow-motion shot of Baxter walking down to meet Clift is remarkable.</div>
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<b>8) The Man Who Knew Too Much </b>(1956) - There seems to be a wide split on which version of <i>The Man Who Knew Too Much</i> is the better film - this one or the original 1934 work. I enjoy that film as well, but in almost every way, the remake is a far superior work, not only on a technical level, but also for its insight into the troubling relationship of the main couple, portrayed by James Stewart and Doris Day (Day was never better - certainly Hitchcock was able to tap into her insecurities, as she delivers a remarkable performance).</div>
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The couple's young son is kidnapped while on an overseas vacation, so the urgency of them rescuing their child has us on the edge of our seats, but the director delves further into their marital problems; the scene where Stewart informs Day that their son has been abducted has all of the emotional punch you would expect, thanks to both performers (Day is especially brilliant in this short scene) as well as Hitchcock's direction, which for much of the scene does not show both actors in the same shot, isolating their personal differences and emotional needs.</div>
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The famous 12-minue Albert Hall concert sequence is justifiably one of Hitchcock's most famous treatments of suspense - we hear the cantata performed by the orchestra, but there is no dialogue. The cross-cutting between Day, the assassins, the cymbal player who will sound the note that will trigger the assassination attempt and the closeups of the notes on the printed score is simply unforgettable and is a master class in how to drain every drop of emotion from the audience. Hitchcock was famous for remarking that suspense was not about a frenzied pace, but rather "slowing things down"; here he slows the action down to an agonizing pace that gives the viewer goosebumps on goosebumps. (The same sequence in the 1934 version is well done, but does not grip us, as it does in the remake.) This is a film that rewards you with repeated viewings, as it is so rich on many levels.</div>
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<b>9) Psycho</b> (1960) - Many will place this at a higher position on their own personal list of Hitchcock films; regardless, this is the most famous horror film of all time. There is, in reality, little I can add to the volumes written about this relatively inexpensive production - $800,000 as opposed to $4.3 million for his previous film, <i>North by Northwest. </i></div>
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There are so many of Hitchcock's themes that are explored in <i>Psycho</i>, especially transference of guilt as well as - in a strange way - the innocent man. Shocking - who can forget the moment when we first see the face of mother? - this is a descent into one particular hell for the characters as well as the audience.</div>
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<b>10) Young and Innocent </b>(1937) - So far, I have only listed Hitchcock's American films, but I do enjoy several of his British works. This, to the surprise of some, is my favorite of his British films. This is an early work that deals with many of the themes that Hitchcock would become familiar for in later years, such as the innocent man, bird imagery, random fortune (good and bad) as well as witty and sometimes dark dialogue at the dinner table. Co-stars Derrick de Marney and Nova Pilbeam have great chemistry together and there are some marvelous set pieces, especially the perilous happenings at an abandoned mine. The crane shot near the end of the film, which takes us from a wide shot of a ballroom up to the eyes of a drummer in a band is simply astounding. A similar shot would be implemented by Hitchcock in <i>Notorious </i>about a decade later; this shot is just as brilliant. Two years earlier, the director made <i>The 39 Steps</i>, which has received considerable praise. I find that <i>Young and Innocent</i>, which also has a plot device of a man and woman from opposite ends of the spectrum having to travel together to unravel the truth, is a superior work.</div>
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<b>11) The Lady Vanishes </b>(1937) - One of the reference points of Hitchcock's British era, this is a marvelously entertaining film, briskly paced and loaded with fun. The director would make several films where the action was primarily limited to one small area, as with <i>Lifeboat </i>(1943) and <i>Rope </i>(1948); here much of the story takes place on a passenger train. There is great charm throughout much of the film, especially in the scene that takes place in the luggage car, as the couple looking for the missing lady discovers all sorts of surprises, good and bad. There are no deep messages here, only a beautifully crafted tale that delivers on its title - why and where did the lady vanish?</div>
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<b>12) The Wrong Man </b>(1957) - Arguably Hitchcock's bleakest film and certainly one of his most disturbing, this work takes the innocent man theme to its limits. A jazz musician named Manny Balestrero (Henry Fonda, perfectly cast) is accused of a crime he did not commit. Yet as the story unwinds, there are several individuals that name him as the guilty party. At the same time, his wife, troubled by these developments, is slowly losing her grip on reality. Robert Burks' black and white photography is appropriately somber, while Hitchcock's direction is understated, emphasizing the little details that are adding up to create chaos in one couple. The theme of randomness in Hitchcock's works - Balestrero is in this predicament thanks in great part to his physical resemblance to the real criminal - has rarely been better explored.</div>
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<b>13) Rebecca </b>(1940) - Although Hitchcock was somewhat hemmed in on this film by famed producer David O. Selznick, who was in post-production mode at the time on <i>Gone With the Wind</i>, the director turned in an engaging tale, full of the repression of a couple in love that do not really understand each other. The character of Mrs. Danvers (Judith Anderson, in a striking performance) is one of the most psychologically troubled of any in the director's films; Hitchcock often filmed her from low angles to give her a more dominating and threatening appearance. The director also brought out a stellar turn from Joan Fontaine (the second Mrs. de Winter); these two actresses represent the emotional weight of the story and truly carry the film. (Certainly these two performances are in contrast to the widely-believed theory that Hitchcock disdained actors, particularly women). </div>
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Excellent production design led by Lyle Wheeler (the ocean cottage is particularly detailed and appropriately styled) along with affecting black-and-white photography from George Barnes. He would win an Academy Award for his work and the film itself was named as Best Picture at the Academy Awards, but Hitchcock was snubbed for the Oscar as Best Director, as the academy opted for John Ford for his work on <i>The Grapes of Wrath. (</i>Hitchcock would never win an Oscar as Best Director; the Academy finally gave Hitch an Oscar in 1968 - the Irving Thalberg Award, as sort of a lifetime achievement nod. Hitch famously accepted the award on stage, uttering two words, "Thank you," before walking off.)</div>
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<b>14</b>) <b>The Lodger (aka: A Story of the London Fog) </b>(1926) - Hitchock's strongest silent film and arguably the beginning of "the Hitchcock style" - emotionally and visually. This was his third feature film and in it, he kept the story simple, focusing on a lodger at a boarding house who is feared to be a serial murderer. There are several neat visual touches, most notably the use of a glass panel the Lodger walks on in one scene, emphasizing the sound of his footsteps to the his landlords below, giving him a more notorious edge. The innocent man theme is played out beautifully here and the final sequence is quite grand. Made more than 80 years ago, the film has held up beautifully.</div>
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<b>15) North by Northwest </b>(1959) - A superbly entertaining film with all sorts of Hitchcock themes, from the innocent man to the cool blonde to evil appearing in broad daylight. This is one of the best screenplays Hitchcock ever worked with - it was penned by Ernest Lehman - and he played this cross-country yarn to the hilt, taking us from the busy streets of New York City and Chicago to the wide-open prairies. One beautifully realized sequence after another from the amusing art auction to the crop-dusting scene to the unforgettable climax on Mount Rushmore - Cary Grant saving Eva Marie Saint by reaching out his hand, as she is ready to fall to her death, is a classic Hitchcock moment (and one he had used in films such as <i>Young and Innocent </i>and <i>Saboteur</i>). Great fun, classy production and perfectly toned Hitchcockian performances by many, especially Grant, Saint, James Mason and Martin Landau. For this work, Hitchock was in the midst of one of his strongest creative periods of his life - this film was preceded by <i>Vertigo</i> and followed by <i>Psycho</i> and then <i>The Birds</i> and his self-assurance was clearly sky high.</div>
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<b>16) Frenzy </b>(1970) - After the disappointments of <i>Torn Curtain </i>(1966) and <i>Topaz</i> (1969), Hitch returned to peak form with this story of a crazed killer who strangles women with his tie. The film was the director's return to England after thirty years and the experience must have lifted his spirits, as he turned in a dazzling film, worthy of his best work in the 1940s and '50s. Again the innocent man is a major theme in this work, but here, that individual is not particularly sympathetic; rather the killer is a charming man, one with wit and flair (a la the character of Bruno Anthony in <i>Strangers on a Train</i>). Although most of the violence is off-screen, a common approach with Hitchcock, he did show us one murder in brutal detail (resulting in volumes of text by dozens of authors about Hitchcock's supposed misogynist traits). An excellent screenplay by playwright Anthony Shaffer with one of the best final lines in any film; "Mr. Rusk, you're not wearing your tie."</div>
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<b>17) Sabotage </b>(1936) - A story of emerging from the dark into the light - finding the good amidst the evil in our lives. The plot revolves around a theater owner who has somewhat ruefully agreed to join in a conspiracy to cripple the British government - will his wife learn the truth about her husband and what will she do to stop him? The theme of darkness is explored in great detail; from the opening blackout to the final ugly murder. The sequence of the young boy unknowingly carrying a bomb set to detonate aboard a crowded public bus is extremely well directed and edited, although Hitchcock forever apologized about letting the child be killed. Notable performances by Silvia Sidney, who personifies common sense and Oscar Homolka, a simple man who is tripped up by his greed. The unusual ending - a murder is forgiven through a series of circumstances - was quite daring for its time.</div>
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<b>18) Marnie </b>(1964) - A highly debated Hitchock effort, as many find it a troubled film, while others (myself included) think this is an excellent work on several levels. A young woman (Tippi Hedren in the title role) is a kleptomaniac who also has a great fear of emotional contact with men. A wealthy businessman named Mark Rutland (Sean Connery in a typically charming and relaxed performance), falls in love with her, despite knowing that she robbed his company's funds. He desperately wants to cure her of her problems, even going so far as to marrying her, clearly against her wishes. </div>
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Pschyoanalysis is used to explain Marnie's behavior; in visual terms, Hitchcock uses red dots or patterns that fill the screen, representing her troubling memories of a childhood incident. Screenwriter Jay Presson Allen fashioned two long dialogue sequences between Mark and Marnie in order for him to try and find a solution for her anxieties. The free association scene on the boat during their honeymoon is very well written, as we learn how troubled Marnie clearly is in the company of a man ("Oh God, somebody please help me!," she screams.)</div>
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While the film does suffer from a long, drawn-out conclusion as well as some rather sloppy rear projection work (watch the scene of Marnie riding her horse late in the film), Hitchcock does deliver with many beautifully directed sequences, most notably the one when Marnie comes into Mark's office to work on a Saturday; the moment the tree crashes through the window is a highly charged one. The brief safe robbery, told with no dialogue and largely no sound, is textbook Hitchcock.</div>
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While slightly flawed, this is one of Hitchcock's most passionate films, one in which Tippi Hedren delivers a remarkable performance that was somewhat unexpected after her rather mannered debut in <i>The Birds</i>. Robert Burks, in his final film for Hitchock, turned in his usual superior job, instilling the film with deeply saturated hues, while at other times using filters to convey the troubled emotional state of the title character.</div>
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<b>19) Blackmail </b>(1929) - In this film, the first sound picture from Hitchcock, the director displayed marvelous creativity in both aural and visual terms. A young woman has a disagreement with her boyfriend, a detective, at a restaurant; she leaves with another man, who takes her up to his apartment. He then forces himself upon her; in self-defense, she kills the man with a knife. Hitchcock cleverly shows us her state of mind the next few hours, as she is deeply haunted by her experience. In one of the film's most famous moments, he alters the soundtrack in a brief scene the next morning, so that the woman only seems to hear the word "knife" in another woman's monologue. The young woman is clearly shaken up and drops the knife she has in her hand to cut a loaf of bread. </div>
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The director also displayed his German expressionist approach, often filming the woman and the detective in shadow; other images have them making their way alongside shadow-covered walls. The overall effect is rather chilling and even if the filmmaking is not as technically sharp as later films from Hitchcock, his story telling is first-rate. </div>
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<b>20) Foreign Correspondent </b>(1940) - While the first 25 minutes of this film are a pleasant, if rather ordinary introduction to the principal characters and the plot, things really get going after that, beginning with the murder of the diplomat on the rainy streets of Amsterdam and the pursuit amidst dozens of onlookers holding umbrellas (a visually stunning moment). The chase takes us to the windmill sequence, eerily troubling in its simplicity, as the main character, an American reporter (Joel McCrea) notices one of the windmills turning an opposite direction than the others.</div>
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This is more of a mystery than a typical suspense film for Hitchcock and it is a bit of a propaganda effort for the American government for the upcoming war (especially the epilogue, complete with "The Star Spangled Banner"), but the director glides us through this rousing tale with great finesse and charm. The airplane sequence near the end of the film, is a technical and emotional triumph.</div>
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<b>Rope </b>(1948) - Hitchcock's famous experiment in long takes. The director filmed this story, based on a stage play, in ten-minutes takes - ten minutes being the length of a reel of film at that time. Thus no editing in this film, except at the end of a reel, when the camera focused on a wall or the back of a man's suit and then cut to the same shot to start the new reel. This approach was contrary to Hitchcock's belief in editing and while there are certainly a few scenes that would have been better with some cross-cutting, this is still a very effective film, especially in the tone of this somber work (the story is about a thrill-killing along the lines of Leopold and Loeb). Very fine work from James Stewart and Farley Granger and an especially graceful performance from John Dall as one of the killers.</div>
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<b>Under Capricorn </b>(1949) - Immediately after <i>Rope</i>, Hitchcock continued his fascination with long takes in this film; the most beautiful of these is near the opening when Adare (Michael Wilding) enters the house of Flusky (Joseph Cotten); the seven-minute shot takes us through several rooms of the house and into the dining room and is remarkably fluid. </div>
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The scene near the end of the film where Bergman uncovers a deadly secret in her bedroom is beautifully handled by Hitchcock, both with the camera as well as on the soundtrack, as we learn of the ugly truth amidst a powerful thunderstorm. Although a bit slow moving at times, this is a fascinating work, better than Hitchcock and many critics give it credit for.</div>
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<b>The Paradine Case </b>(1947) - Hitchcock was famously unhappy with the final result of this film, which was the last time he worked with producer David O. Selznick (when Hitchcock was asked what the "O" in Selznick's name stood for, he replied, "Nothing"). The film is a bit talky, yet the director handled the lengthy courtroom sequence beautifully, emphasizing the strict, harsh geometry of the British trial setting and how the victim is put in an isolated position in the courtroom. Gregory Peck as the defending attorney is quite good throughout the film, especially in the scene when he admits his shortcomings in dealing with his client. There are also some fine acting turns from Charles Laughton, Ethel Barrymore and Leo G. Carroll, while Alida Valli as Mrs. Paradine was fine as a mysterious woman who may or may not have killed her husband.</div>
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<b>Spellbound </b>(1945) - The thought process of why someone committed a crime was often at the heart of Hitchcock's films; this is his most overt look at how psychology (Freudian in this instance) examines someone's behavior. Gregory Peck portrays a doctor who falls in love with a fellow physician at a mental hospital. But all is not as it seems - a typical Hitchcock theme - as Peck's character is, in reality, not a doctor, but someone with a hidden secret from his past. Although uneven and not entirely successful (the unveiling of the plot takes too much time), this is a very watchable and thoughtful film; the dream sequence created by Salvador Dali is a nice touch, though not as intriguing as one might expect (apparently some of the sequence was deleted - perhaps it was too extreme in its vision). Nice supporting performances from Leo G. Carroll as the head of the asylum and Michael Chekov as the charming elderly doctor.</div>
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<b>Topaz </b>(1969) - This has been roundly criticized as a failure, and it is ultimately a disappointment from Hitchock. Yet a good deal of the film is very well done, especially the sequences in New York City at the hotel and at the florist shop. The image of Juanita (Karin Dor) falling to the floor, as she is murdered by her Cuban military lover Parra (John Vernon), is one of the director's most visually creative moments. The first and last twenty minutes of this film are a bit sub-par and there is much too much explanatory dialogue, but Hitchcock does treat us to some memorable images.</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-12155900011707180872014-11-03T08:38:00.001-08:002014-11-03T08:38:51.440-08:00Connquering Your Inner Demons<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Times, Times New Roman, serif;"><i>Birdman </i>(or <i>The Unexpected Virtue of Ignorance</i>), the latest film from director Alejandro <span style="background-color: white; line-height: 18px;">González Iñárritu, is for anyone who's had to to tackle their inner demons at one point or another in their life (I think that includes just about everybody). At times very funny, at times introspective, the film features an excellent screenplay, first-rate work by the entire ensemble cast as well as imaginative and remarkable direction and cinematography. It's as original a film as I've seen in some time.</span></span><span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span><br />
<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">The film deals with an actor, Riggan Thompson (Michael Keaton), who is looking to shed his super-hero film image (he was the fictional Birdman in several films more than a decade before this story begins) and take on the Broadway stage. He's adapted a short story by Raymond Carver and is starring and directing in it as well. I love the way the story opens <i>in media res</i>, as we see him in his tiny dressing room, trying to sort out the craziness of a rehearsal, balancing his time and efforts among the other performers as well as his press agent Jake (Zach Galifianikis, in a nicely tuned low-key performance). Even now with his dream project about to take off, reporters still want to ask him about his Birdman days, though Thompson clearly wants to rid his psyche of that period in his life.</span></span><br />
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<span style="line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">The rehearsal and prevue performances are wonderfully handled in a very matter-of-fact style by </span></span><span style="background-color: white; font-family: Times, 'Times New Roman', serif; line-height: 18px;">Iñárritu. His camera tracks and flows across the stage and through the tiny corridors of the theater passageways, giving us a personal feel to what's going on, both for the audience as well as in Thompson's mind. That remarkable camerawork is that of Emmanuel Lubezki, who is one of today's most gifted and imaginative cinematographers (<i>Gravity</i>, <i>The Tree of Life</i>, <i>Children of Men</i>). </span><br />
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<span style="background-color: white; font-family: Times, 'Times New Roman', serif; line-height: 18px;">The film is presented as one long take and unless you are properly trained in this, it's very difficult to see any cuts (I only noticed two and hard to look hard for them). The setups for each sequence must have been incredibly painstaking, but the results are spectacular. There's one sequence on stage where we follow Thompson, who walks downstage to address the audience; at the same time his wife in the play is in bed with someone else. The camera moves with Thompson, but effortlessly and without a cut, the next moment, the camera is under the sheets, hovering over the characters in bed. It's just one example of the work turned in by Lubezki on this film; it's not simply a bag of tricks, it's innovative work that seems natural and heightens the emotional turmoil of Thompson's character.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">There are several excellent performances, most notably Edward Norton playing a vain, eccentric actor (a parody to some extent of his real-life persona?) and Naomi Watts, as a actress with a sweet naiveté about the acting business; this is among her finest performances. But the star here (literally and figuratively) is Keaton as Riggan Thompson. He just can't seem to get the past out of his mind; indeed we hear the voice of the Birdman character several times in the film telling Riggan that he's a bit crazy to take on his new endeavor, especially given the fact that he's still well recognized for his superhero film roles. Keaton has a balancing act in the film, moving back and forth between the present and the past, trying to convince himself that he's not entirely crazy, and yes, he is a good man who just happened to make a few mistakes along the way in regards to his daughter and wife. It's a roller coster ride of emotions and Keaton delivers in brilliant fashion.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Without giving away too much of the last section of the film, <i>Birdman</i> poses the belief that you can conquer your demons by literally soaring above your problems. It's a message that resonated with me and made this a memorable work. It's the best film for <span style="background-color: white; line-height: 18px;">Iñárritu since his captivating <i>Amores Perros </i>(2000). Highly recommended!</span></span></div>
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<span style="background-color: white; line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-80717906202578531832014-10-25T15:56:00.001-07:002014-10-25T15:56:23.661-07:00Favorites from the Chicago International Film Festival<div class="separator" style="clear: both; text-align: center;">
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<i><b>The President</b></i></div>
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Winner of the Gold Hugo as best Film of the 2014 Chicago International Film Festival</div>
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The 50th Chicago International Film Festival wrapped up its two-week run a few days ago and it was a smashing success! I attended the fest at the beautiful AMC River East theater complex and was amazed at the crowds on the weekend of October 17-19; the organizers were quite right in making the theme of this year's fest "Everybody Loves Movies," as thousands turned out to see the latest in world cinema. Founder and artistic director Michael Kutza and his team have made the Chicago Film Festival undoubtedly one of the finest in the United States.</div>
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There are so many films shown during the two weeks, that's it's impossible to see everything. Please keep that in mind as I write about my personal favorites from the fest, as I realize I missed out on some films that were highly praised. But I did try and make an effort to see many different types of films, be they dramas, comedies, shorts and documentaries.<br />
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<i>The President</i> (Georgia, France, U.K., Germany) - directed by Mohsen Makhmalbaf. This film was awarded the Gold Hugo as the Best Film of this year's festival; bravo to the jury for selecting such an original, provocative film! In an unnamed country (perhaps Georgia or a neighboring land), a dictator must flee for his life after the military overthrows his government. The president sees his wife and daughters off to the airport in the nick of time, but stays to fight for his regime along with his five-year old young grandson. At times funny, but mostly chilling, the film focuses on the desperate measures the former ruler must go through just to survive from one day to the next, as soldiers are out to capture him, dead or alive, for a large ransom. </div>
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Director Makhmalabaf masterfully brings an immediacy to the story, beautifully capturing small moments so well, as when the president and his grandson must pass themselves off as street musicians, with the young boy wearing a cardboard box while performing an impromptu dance. I have not seen other films by Makhamalabaf, but based on this single work, it is clear that he is an extremely talented director, one who understands the spatial boundaries of the screen (his compositions are at once beautiful and sadly heartbreaking). He has been called one of the leaders of the Iranian New Wave; this movie along with <i>A Separation</i> (director, Asghar Farhadi), which was awarded an Academy Award as Best Foreign Film in 2012, offer proof that some of today's most remarkable films are being made by directors from Iran.</div>
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<i>Stockholm </i>(Spain) - directed by Rodrigo Sorogoyen - A look at a chance affair at a bar between a young man and woman that turns into much more than a one-night stand. A very intelligent screenplay by Isabel Peña and Sogoyen that offers three dimensional characters who each practice their own particular dance; he (Javier Periera) will do anything to impress this woman, while she (Aura Garrido) is quite unsure of herself as well as his motives, yet feels drawn to him. This is such an impressive study of a male-female relationship that is only rarely seen in Hollywood; this is not a "meet cute" film that major studios routinely produce. Great work by the two principal performers, especially Garrido.</div>
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<i>Human Capital </i>(Italy) - directed by Paolo Virzi<span style="font-family: inherit;"><span style="text-align: center;"> (review <a href="http://cinemadirectives.blogspot.com/2014/10/human-capital-chicago-international.html">here</a>). A look at the excesses of the rich in northern Italy, set in the current day economic crisis of the country. The film is told in four chapters, as there are multiple viewpoints of a tragic roadside accident that sets the story in motion. Each chapter also provides insight into the emotions of the various characters, most of whom are not happy with their current lot in life. Beautifully written, directed and acted (the entire cast is first-rate), the film has received numerous awards in Italy; I believe it can also be a critical success in America (and perhaps even relatively popular at the box office).</span></span><br />
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<span style="font-family: inherit;"><span style="text-align: center;"><i>Fearless </i>(United States) - directed by Ted Kotcheff - A splendid short film (26 minutes) that deals directly with the question of the quality of life. An aging actress sees a young man outside her estate who is ready to kill himself; she challenges him and invites him in for tea, provoking him with questions about why he would do this. During their time together, we discover that she also has problems with her current existence; clearly her glorious past as a movie star is a thing of the past. An engaging performance by Fionnula Flangan; sensitive direction by the 83-year old Kotcheff and an insightful script by his daughter Alexandra. In its brief running time, the film treats serious questions about life and death with greater complexity than many feature films. Highly recommended.</span><span style="text-align: center;"><br /></span></span><br />
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<span style="font-family: inherit;"><span style="text-align: center;"><i>Sand Dollars</i> (Dominican Republic, Mexico) - directed by Israel Cardenas and Amelia Guzman. A dream-like film about the relationship of two women, one a young native of the Dominican Republic and the other a European in her 70s. The older woman (an outstanding performance by Geraldine Chaplin, who is not afraid to display her 70 year-old appearance) feels alive again with the tenderness shown to her by her young lover, while the young woman is attracted to her older companion, if only for the fact that she has money. This is a film of wishes and hopes, and while some of these desires are dashed, the characters have an eternal outlook that things will work out for them. Chaplin was awarded the Silver Hugo as Best Actress in this year's festival.</span></span><span style="font-family: inherit;"><span style="text-align: center;"><i><br /></i></span></span><span style="font-family: inherit;"><span style="text-align: center;"><i><br /></i></span></span><br />
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<span style="font-family: inherit;"><span style="text-align: center;"><i>Human Voice -La Voce Humana - </i>(Italy) - directed by Edoardo Ponti. Another short film (25 minutes), this a magnificently filmed telling of the Jean Cocteau eponymous short story in which an elderly woman (Sophia Loren) talks to her lover on the phone one final time, painfully realizing that she will never see him again. Loren, who was 79 years old when this was filmed (she recently turned 80) is brilliant in this role - you'd have to say that this ranks among the finest works of her career. There is an urgency in her voice and such primal emotions on display- she takes your breath away with this performance! Her son Edoardo tenderly directs this tale, while the brilliant cinematography is by Rodrigo Prieto, who is one of the finest directors of photography working today (recent credits include <i>Argo, Babel</i> and <i>The Wolf of Wall Street</i>). His deeply saturated blues and reds in the apartment scenes add irony to the film's plot and his compositions of the actors set against the Napoli seaside is stunning. I can't imagine the Academy nominating a short film for cinematography, but it would be a worthwhile nomination; I don't know if I'll see a more beautiful and professional job of cinematography this year (note, this was shot on film stock, not digitally). But perhaps the film will be nominated for an Oscar in the Short Film category; I would love that, as it would allow a good-sized audience to see this gorgeous film!</span></span><br />
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<i>The Look of Silence </i>(Denmark, Indonesia, Norway, Finland, UK) - directed by Joshua Oppenheimer. This is Oppenheimer's companion piece to his 2013 documentary <i>The Act of Killing</i>, which told the story of a select few of the individuals that committed brutal government-approved murders in Indonesia in the 1960s. While that film recreated the deeds of those individuals, <i>The Look of Silence </i>concerns itself with the story of the brother of a young man who was one of the victims. He confronts the murderers and asks them if they feel any remorse. Like the first film on this topic by Oppenheimer, this is a devastating film. One final note: many of the end credits - especially for assistant directors - read "anonymous"; clearly many of Indonesia's citizens are reluctant to talk about this terrible period in their recent history.</div>
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<i>Magician: The Astonishing Life and Work of Orson Welles </i>(United States) - directed by Chuck Workman. An excellent documentary about a true genius of cinema, this film is a great introduction to the work of Welles - theater as well as film - and will be appreciated by devotees of Welles. My full review will appear in December when the film hits theaters, for now, you can read my interview with Workman about this film <a href="http://cinemadirectives.blogspot.com/2014/10/chuck-workman-on-orson-welles-tribute.html">here</a>.</div>
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<i>Birdman </i>(United States) - directed by Alejandro Iñarritu. A highly original movie about an actor who has left his superhero days behind and is now tackling his first Broadway work, adapting, directing and starring in a dramatic play. He asks himself often in the film if he is crazy to do this; his life complicated by several others in his immediate family and in the play. (I'll write a full review in a few days.) Great lead performance by Michael Keaton, who was awarded the Founder's Award from the festival for his work in this film. </div>
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<i>I've Seen the Unicorn </i>(Canada) - directed by Vincent Toi (full review <a href="http://cinemadirectives.blogspot.com/2014/10/ive-seen-unicorn-chicago-international.html">here</a>). A film for the dreamer in all of us set amidst the world of thoroughbred horse racing in the small nation island of Mauritius. We follow the trials of an owner and a jockey who desperately want to win the country's biggest race; we also learn the story of a young boy who will do whatever it takes to become a jockey in a few years. A delightful film - only 60 minutes in length - full of simple pleasures as well as exciting race scenes.</div>
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<i>Algren </i>(United States) - directed by Michael Caplan (full review <a href="http://cinemadirectives.blogspot.com/2014/10/algren-chicago-international-film.html">here</a>). A heartfelt tribute to the famous Chicago writer, the champion of the dispossessed. Beautiful photos from the 1940s, '50s and '60 shot by Art Shay illustrate the life and times of Nelson Algren. There are many wonderful stories in this documentary, told by famous writers and directors such as William Friedkin, John Sayles and Philip Kaufman.</div>
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Other films I enjoyed included: </div>
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<i>Maestro </i>(France) - directed by Lea Fazer</div>
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<i>Joy of Man's Desiring </i>(Canada) - directed by Denis Coté</div>
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<i>The 100 year old man who jumped out the window and disappeared </i>(Sweden) - dir. Felix Herngren</div>
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<i>The Divide </i>(United States, short film) - directed by Ashley Monti</div>
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<i>Tir </i>(Italy) - directed by Alberto Fasulo</div>
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I would think the Chicago Film Festival team would have a difficult time topping themselves next year, but I'm quite confident they'll be up to the task. Here's to the 51st Chicago International Film Festival in 2015!</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-6080389627389341152014-10-21T12:49:00.001-07:002014-10-21T12:49:30.878-07:00Chuck Workman on Orson Welles - A tribute to a "Magician"<div class="separator" style="clear: both; text-align: center;">
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<b>Chuck Workman </b>(Photo ©Tom Hyland)</div>
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<i>Chuck Workman offers his thoughts about his new documentary on Orson Welles, the greatest American directors, and the first film he ever saw.</i></div>
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Academy Award winning director Chuck Workman was in Chicago the other day to premiere his latest documentary. Titled <i>Magician: The Astonishing Life and Work of Orson Welles</i>, the film is a marvelous study of this complicated, extraordinary man, who revolutionized cinema in America and around the world.</div>
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Due to an agreement with the film's distributor, I'm not allowed to review the film until its release date of December 12, but I can tell you know that it is a first-rate work, one that will please devoted fans of Welles as well as film lovers who only know of his reputation. I think it's a cinch to earn an Oscar nomination for Best Documentary, but even if it doesn't (one never knows about these things), it's a highly entertaining film, one in which Workman succeeded brilliantly in his pursuit to tell the remarkable story of Orson Welles.</div>
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Workman is best known as a director of short films, the most famous of which is <i>Precious Images</i> from 1986, which was honored with an Oscar as Best Short Film (Live Action). The director produced a short film for the Academy Awards for twenty or so years; these films were gems and displayed the love of cinema that in my opinion has been missing in recent years' ceremonies. He has also directed several feature documentaries including <i>Superstar: The Life and Times of Andy Warhol </i>(1990) and <i>What is Cinema? </i>(2014).</div>
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Workman agreed to a brief interview with me shortly before the premiere of <i>Magician.</i></div>
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<b>Tom Hyland: </b><i> I know you from all the
short films you made for Academy Awards, which I loved. One of those that
really stands out for me was the film about famous actors and directors
recalling the first film they ever saw. I remember Michael Douglas stating that
for him it was Lili and that he saw
it eighteen or nineteen times…</i><br />
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<b>Chuck Workman</b>: Oh, that’s one of my
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<i>TH: Yes, and Gerard
Depardieu mentioning Burt Lancaster and “the little bird” (Birdman of Alcatraz). So with that in mind, what was the first film
you ever saw?</i><o:p></o:p></div>
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CW: <i>Meet Me in St. Louis</i>. I remember that my parents told me that when
they sang “The Trolley Song” - they must have had a record that they played, because
I got up on a seat at a very young age and sang it with them. <o:p></o:p></div>
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<i>TH: How old were you at the
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CW: I don’t know. Maybe
four- I guess I was four. I was born in the mid 1940s, but MGM used to rerelease
these films, so I can’t remember exactly. Sometimes I see the year of a movie that
I remember seeing and I say, “Wait a minute, I wasn’t even born then!” <o:p></o:p></div>
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But apparently they
rereleased more than they were making. They would just start all over again. Funny
thing was, I did trailers many years later for rereleases for MGM of a lot of
movies, so it’s kind of ironic.<o:p></o:p></div>
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<i>TH: Do you have any ideas
how many movies you’ve seen? I imagine it must be in the thousands.</i><o:p></o:p></div>
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CW: Oh, I don’t know. I don’t
think as many as Martin Scorsese! Lately, I don’t go to that many movies. <o:p></o:p></div>
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TH: Is that because of work
or because the movies today aren’t what they used to be?<o:p></o:p></div>
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CW: I think that I get bored
pretty quickly. I don’t stay. I’m in the Academy, so they send me a DVD of
every movie, but I don’t generally watch them. There are major movies that I
don’t get around to seeing. They’re basically entertainment films; I’m more
interested in the art of cinema these days. I don’t try and catch up on every
pop movie.<o:p></o:p></div>
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I did it for so long.
Growing up, I knew all these movies. I’m much more interested – and still am –
in foreign films, in art films, not in Hollywood films.<o:p></o:p></div>
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<i>TH: When did the idea for a
Welles documentary first germinate for you?</i><o:p></o:p></div>
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CW: Over twenty years ago
when I made “Precious Images.” I opened (that film) with <i>Citizen Kane</i> and used it over and over. When Turner had owned the
film at its 50<sup>th</sup> anniversary in the early ‘90s…<o:p></o:p></div>
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<i>TH: They threatened to
colorize it.</i><o:p></o:p></div>
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CW: They threatened to
colorize it. I was there when he talked about it at Paramount and I even filmed
the little reception at Paramount for the 50<sup>th</sup> anniversary with the
idea, “maybe I’ll make a documentary about Orson Welles someday”, and then I
never did anything, I lost that film – I don’t know where it is. I was given
the opportunity when somebody asked me, “well, what are you interested in
doing?” I said this (an Orson Welles film).<o:p></o:p></div>
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Over the years, I worked with
present RKO on some of their films and I was always pitching it, but just never
got a chance to do it. I’m glad that it took this long because I think I know
more about film and important things in cinema that Welles was doing.<o:p></o:p></div>
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<i>TH: In this documentary, you’re
not treating Welles like a star, you’re treating him as the genius he was.</i><o:p></o:p></div>
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CW: I believe so. I often
say that there are three great American filmmakers; it’s Kubrick, Robert Altman
and Orson Welles. I have great respect for John Ford, etc., but I think they’re
making genre films. These other guys were looking at film as a certain kind of
art form. <o:p></o:p></div>
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<i>TH: What’s the biggest thing
that surprised you about Orson Welles while you were doing the research for
this film?</i><o:p></o:p></div>
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CW: What happened on this
film was I showed every single film. I tried to anyway, but there were a few
that got away that were not finished, but every finished film. How good they
were, the depth of artfulness in all the films. The filmmaking, the greatness
of filmmaking in the most minor of films. <o:p></o:p></div>
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Another thing that occurred
to me was chronologically how Welles would respond to one form or another of
filmmaking and kind of learn that on a film and incorporate that into what he
was doing. He never did much editing until his third or fourth film and then he
suddenly became a really phenomenal editor. I think things like that. It’s like
he would say, “Oh, I can do that,” and then he would do it. So I did get an
education there.<o:p></o:p></div>
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Also, I didn’t know myself
about all his unfinished films. I knew there were a bunch of them, but I didn’t
know there were that many.<o:p></o:p></div>
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<i>TH: If we could ever imagine
that someone as talented and as innovative as Welles existed today, could that
person even succeed in Hollywood today?</i><o:p></o:p></div>
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CW: Well, Jonathan Rosenbaum
said that Welles was an independent filmmaker, like Wes Anderson, like Richard
Linklater. So he would have probably done that, but one of the things I think he
would have done today, because of the influence of Brando and other actors, he
might have taken his acting much more seriously. Even though he kind of rose to
the challenge on various occasions.<o:p></o:p></div>
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<i>TH: I think his role in Compulsion, especially in the courtroom
scene, is tremendous. I wish you could have played a few more seconds of that
in your film.</i><o:p></o:p></div>
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CW: Yes, that’s a particularly
good one. He took his acting seriously. He would be a first class actor/director
now, actually more than that. He would have taken the acting more seriously
today than he did.<o:p></o:p></div>
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<i>TH: I love Charlton Heston’s
quote in the film about how Welles was a great filmmaker, but seemed to always
want to alienate the people who had the money. You can’t do that in Hollywood. </i><o:p></o:p></div>
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CW: You can’t. You have to
suffer fools and there are a lot of them, they all want to help you with your
movies. So everybody has the same problem and some people are just better at
it. I used to always ask well known directors, “what do you do?” Mel Brooks
used to say, “Oh, I tell then anything, because they don’t remember anyway.” <o:p></o:p></div>
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Fred Zinneman once told me
he’s European so he’s always very polite and they remember that. So now you get
notes and written pages and pages of notes and you have some junior executive that’s
following all those things for you. But often the hired executive doesn’t worry
about it- they understand what you’re doing, so it’s not that bad.<o:p></o:p></div>
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<i>TH: Finally, in this documentary, I thought your storytelling differed over the film. The first half was excellent, but very straightforward, while the latter part of the film was more Wellesian, if you will, as you told his story in a more innovative way.</i><br />
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CW: Well it's a documentary and you have to find a way to keep people in their seats. After all, there's no plot!</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-78876355871397918682014-10-15T07:25:00.002-07:002014-10-15T07:25:35.761-07:00Kathleen Turner in Person - Chicago International Film Festival<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcEmNy_wfBDoBlBJtE_RRPWtJ6cCvHTpJJiYH-4174gZXVUe6yw-9PXFqnXK7fFTFfISxU984yngEVhgG0AhQ2FOVIrMDKlNnwZCaSOSLoPtOdqbDHis1uw_Rj3spDLcqjjNZ6dtmmrI9i/s1600/_IGP6275_xy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcEmNy_wfBDoBlBJtE_RRPWtJ6cCvHTpJJiYH-4174gZXVUe6yw-9PXFqnXK7fFTFfISxU984yngEVhgG0AhQ2FOVIrMDKlNnwZCaSOSLoPtOdqbDHis1uw_Rj3spDLcqjjNZ6dtmmrI9i/s1600/_IGP6275_xy.jpg" height="320" width="211" /></a></div>
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<i>"One thing I want to make clear. It's always my choice of the roles I play." - </i>Kathleen Turner</div>
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Stage and screen actress Kathleen Turner appeared at the Chicago International Film Festival on Tuesday night for special session before a packed audience who were there to listen to the actress talk about her career, which has spanned more than three decades. British film writer John Russell Taylor was the host for the event and asked Ms. Turner all sorts of questions about her work over these many years; a Q and A session with the audience followed and clips from some of her most famous roles were also shown. </div>
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Interestingly Turner also appeared at a similar function for the Festival 22 years ago. She recalls saying back then (paraphrasing here) that she wondered about reaching a certain age where Hollywood might not care any more about her. "Well, I've reached it," the 60-year old proudly exclaimed.</div>
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Tuner regaled the audience with her charm and strong personality during the evening, as she recalled many of her favorite films in which she has been the leading lady. She certainly does not lack confidence, as evidence by a wonderful story she told about the making of <i>Peggy Sue Got Married </i>(1986), directed by Francis Ford Coppola, a role for which she was nominated for a Best Actress Oscar. The story had to do with a camera setup for a particular scene; Turner thought the camera should be in front of her, while Coppola had it positioned behind her. "I think the camera should be looking at me," she told Coppola. "Oh, you do, do you?" replied the director. The result was that Coppola made a deal - he would have Turner do as many takes as he thought necessary with his setup, while he would also shoot two takes with the camera positioned where Turner thought it was appropriate. As Turner finished telling this story, she beamed when she revealed, "In the film, they used my shot!"</div>
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She also revealed that she loves the theater (her notable performances include Maggie in <i>Cat on a Hot Tin Roof </i>and Martha in <i>Who's Afraid of Virginia Woolf) </i>and has never gone more than two and one-half years away from the stage. She said that she loves the spontaneous nature of the stage as "each performance is unique. We're not robots - we can't give the same performance each night."</div>
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Continuing with that theme, she commented that she does not have that option with film, as once it's done and once the editor has assembled the footage, her performance is fixed. She knows that she can discuss a scene with a director on a film and ask to do it a certain way, but in the end, the director's decisions are the ones that are final. "I don't choose the performance you see and that bugs me."</div>
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<i>"I'm stubborn, very." - </i>Kathleen Turner</div>
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She talked about directors she worked with in the past, mentioning two that were a bit, shall we say, distinctive in their own special way. One was John Waters, who directed Turner in the 1994 film <i>Serial Mom</i>, whom Turner said was "the sweetest, most wonderful man, but that he was crazy - and he knows it." She also recalled Ken Russell, who directed Turner in the 1984 film <i>Crimes of Passion</i>. The actress had heard that he would begin drinking scotch at 6 in the morning on the days of shooting, but when she met him for the initial set ups, he was drinking wine. "Well, that's an improvement, I thought," she commented.</div>
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Turner certainly seems comfortable in her own skin. "Guess what, "I'm not the object of desire anymore," she noted. "Why should I be so one-dimensional? Longevity is in character acting. That's what I am, a character actor."</div>
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The festival press office and the public relations firm of Carol Fox and Associates in Chicago set up a brief one-on-one interview session with Ms. Turner before she sat down in front of the public; I was one of only five individuals who was allowed to ask the actress a question or two. My thanks to these people for allowing me this privilege; special thanks to Nick Harkin.</div>
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Here is my brief interview:</div>
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TH: <i>Is there a historical character that you would like to play?</i></div>
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KT: That's an interesting question. I have a wonderful one woman show about Molly Ivins, a writer and humorist I loved. I'm taking it to Berkeley Rep now. I don't know if I'll take it to New York or not.</div>
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I don't like to say too much as I'm developing some ideas. I don't think I'd be right to play Eleanor Roosevelt, but I certainly admire her tremendously, but I'm not sure that's the role I'd be best at. </div>
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TH: <i>What about Joan of Arc?</i></div>
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KT: No, not Joan of Arc, but Elizabeth. Elizabeth l, of course.</div>
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TH: <i>What advice would you give to young women who would like to be an actress?</i></div>
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KT: There is a lot of advice to give, I think. To every young actor, I will say, be brave. Don't be afraid to make choices, don't be afraid to say no to a project that you don't believe in because what it costs your soul afterwards is not worth it. </div>
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But to young women - incidentally, I have a 27 year old daughter and today is her birthday. I'm often asked how to have a marriage, a child, a career, all of the above. Unfortunately, but truly, you or your partner or between the two of you have to make enough to hire a wife! That's the bottom line.</div>
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Thank you, Kathleen Turner for your time and thank you for the wonderful performances you've given us!</div>
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tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-66058867797697330292014-10-14T07:03:00.001-07:002014-10-14T07:03:47.614-07:00Human Capital - Chicago International Film Festival<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBm9fEsXT0I-nEin-eHe64OwX7_YKBGjHmm4DRvqvQG-M4XsvFb2cY-h76Np0KgxuTh618H5xmoRUXYjCOw2MAXoiImKZH-AaAXHXVbXEwVIvl-_oj9EpKJ976vcnHMb05pQnPZNNaUrFu/s1600/humancapital.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBm9fEsXT0I-nEin-eHe64OwX7_YKBGjHmm4DRvqvQG-M4XsvFb2cY-h76Np0KgxuTh618H5xmoRUXYjCOw2MAXoiImKZH-AaAXHXVbXEwVIvl-_oj9EpKJ976vcnHMb05pQnPZNNaUrFu/s1600/humancapital.jpg" height="218" width="400" /></a></div>
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Last year, Italy's official entry for the Best Foreign Film for Hollywood's Academy Awards (each country is only allowed one entry) was <i>La Grande Bellezza </i>(<i>The Great Beauty</i>), which did in fact, win the Oscar at this year's ceremony. At this year's David di Donatello awards in Italy (often referred to as Italy's Academy Awards), the prize for Best Film was given to <i>Human Capital</i>, directed by Paolo Virzi. Having seen both films, I'd say the di Donatello awards got it right; this is a wonderful piece of movie making and story telling.<br />
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The film's premise is a clever one; a luckless, unnamed individual rides his bicycle home one night after work, but is struck by an SUV, knocking him unconscious into a ditch. The film then tells us three different perspectives of what might have happened, as each chapter follows the fortunes of one individual, each of whom is linked to the other in various ways. This organization helps us understand the motives of not only these three people, but everyone else in the film. There's a great deal of deceit and self-centered behavior throughout the film, one that is populated largely by wealthy people (wealthy at least in terms of finances), yet there is at least one individual who has a soul and cares about the fortune of others.<br />
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As directed by Paolo Virzi, <i>Human Capital</i> unfolds both as a mystery as well as an examination into human behavior and in many ways, a look at the moral virtues of modern-day Italy. At the heart of the film is a story about the relationship of a wealthy capitalist Giovanni Bernaschi (Fabrizio Gifuni) and his wife Carla (Valeria Bruni Tedeschi). He is setting up a fund that he is certain will bring his fellow investors a great return, as he is basing this on the economic collapse of foreign countries. He is constantly in meetings and has little time for his wife, who is bored, yet cannot find the strength to do much against his lack of emotion for her; surrounded by wealth, she does not wish to rock the boat.<br />
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We also follow the story of Dino (Fabrizio Bentivoglio), a simple man with a small business who needs money as his wife Roberta (Valeria Golino) is expecting twins; he meets Giovanni through a friendly tennis match and asks to be allowed as an investor in Giovanni's fund. Dino has to borrow from the bank to come up with the staggering sum he needs to join this group; he does so without telling Giovanni or his wife.<br />
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Meanwhile, Dino's daughter Serena (Matilde Gioli) is attracted to Giovanni's son Massimiliano (Guglielmo Pinelli), whose vehicle was the one that hit the poor soul on his bicycle. Whether or not Massimilliano was actually driving his SUV is a crux of the story; if he did, will Serena still be in love with him?<br />
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There are many strengths here and great credit must be given to the screenwriters Francesco Bruno, Francesco Piccoli and Virzi himself (the screenplay is based upon the novel by Stephen Amidon). The authors give us a world of three-dimensional characters, ones whose lives are incomplete, regardless of how much money or earthly possessions they have. In a key sequence, Carla sees an old theater that has fallen apart and she wishes to bring it back to life and create a new acting company. Her husband argues against it, but gives into her, apparently as his way of pleasing her. For Carla, this is her way of having something to do besides shopping and showing up at society functions, merely to please her husband. For Giovanni, this is the least he thinks he can do to show his wife how much he loves her.<br />
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The acting is first-rate throughout, as there are at least five noteworthy performances, especially from Tedeschi, Gifuni and Bentivolgio, and in smaller roles, Golino and Gioli. Tedeschi uses her voice remarkably well, her hushed tones representing her lack of emotional strength. As Serena, Gioli displays a natural quality that serves as a nice contrast to all the glamour and posh surroundings on the screen.<br />
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It is Serena who is the moral compass of this tale, as she desperately wants to help Massimiliano and as well as another troubled young man she befriends later in the film. There is wealth that is represented by money and belongings, but Virzi seems to be saying that real wealth comes from basic human virtues such as compassion, kindness and honest affection. What does someone profit if they gain money, yet lose the common touch?<br />
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<i>Human Capital (Il Capitale Umano) - </i>directed by Paolo Virzi<br />
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To be shown at the AMC River East 21 Theater, 322 E. Illinois Street, Chicago<br />
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on Thursday, October 16 at 8:30 PM and on Friday, October 17 at 5:30 PM<br />
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<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0tag:blogger.com,1999:blog-2804657780857817119.post-82348675436516950692014-10-13T07:14:00.001-07:002014-10-13T07:14:14.358-07:00Oliver Stone - In Person - Chicago International Film Festival<div class="separator" style="clear: both; text-align: center;">
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(Photo ©Tom Hyland)</div>
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Oliver Stone was in Chicago on Sunday to talk about two of his films - <i>Natural Born Killers</i> (1994) and <i>Alexander </i>(2004) - that were bring shown in their director's cut to audiences. </div>
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Stone spoke after the first film and before the second, commenting on questions primarily about <i>Natural Born Killers</i>. He commented on how much he had to trim to please the film board ("155 cuts, 155 f****g cuts!"). He also noted that Warners Brothers, his distributor, was not thrilled with the film, so instead of waiting until the fall for its premiere, they "dumped it" (Stone's words), opening the film on a traditionally slow weekend in August. "We broke box office records for that weekend," Stone noted.</div>
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He mentioned how that film was eerily prophetic in its depiction of media coverage of violence in America and that set him off on a typical Oliver Stone rant about the media and how they treat stories in our country. "They (the media) create the bad guy, they simplify everything." </div>
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<i>Natural Born Killers</i> is an extremely violent film and the director had his say about media coverage of murders and other atrocities. "We instill violence (in this country)." </div>
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He also talked about the insistence of the media covering violent stories and the qualities that these broadcasts instill in some people. Commenting on the mass murders in Columbine and other cities over the past decade, Stone said, "I think if I grew up in a suburb with a mall, I'd shoot somebody."</div>
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I laughed as did many of the audience; Stone emphasized he was not serious, realizing of course, how anyone who has a twitter account can take someone's words out of context.</div>
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Over the past few years, Stone has been working on a lengthy documentary for television called <i>The Untold History of the United States</i>. "I'm very proud of it," he said. He recommended this series to the audience as a way of realizing for ourselves how screwed up our country is and how often our government has lied to us. "We have problems exercising the democratic rights we're supposed to have."</div>
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Agree or not with his take on these issues, you've got to admit that Oliver Stone is honest and fearless in his comments. To my way of thinking, there are too many individuals who are ready to criticize others, yet have little to offer. Stone volunteered to serve in Vietnam, so he was a first-hand witness to that sad time in our country's history. He had the courage to make <i>Salvador </i>and <i>JFK</i> and also make a brilliant film <i>Nixon</i> that was both a Shakespearean look at the downfall of a leader as well as an introspective look at the political crises that have defined Washington, D.C. for the past several decades.</div>
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I don't always concur with him, but thank goodness for a breath of fresh air such as Oliver Stone.</div>
<br />tom hylandhttp://www.blogger.com/profile/15059595835440742055noreply@blogger.com0