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Scorpio (1973)
Amazing spy thriller with top-notch cast, dialogue, direction
Lancaster, Delon, and Scofield are amazing in this complex, character-driven spy thriller. For some reason, Winner's direction has come in for a lot of criticism, but I thought it was superb (at least here; haven't seen any of his other works). The big action sequence is beautifully shot, edited, and staged -- I liked it far better than "The French Connection"; indeed, "Black Sunday" is the only '70s thriller I've seen with better action. It's just so realistic!
The biggest flaw I can see is that the major action sequence is so exciting that all the stuff that comes after it can seem a bit dull and overextended by comparison. Still, it's good, thought-provoking material with a cynical Le Carre edge. Without spoiling the end, let's just say that whether or not you think it "works", it certainly has an emotional impact.
The supporting cast (Joanne Linville, John Colicos, J.D. Cannon, Frederick Jaeger, Shmuel Rodensky, et al.) is quite good, and the script (co-written by famed TV producer David Rintels) is filled with quotable dialogue and subtle bits that illuminate the characters, as well as clever pieces of "spy business" that feel authentic (whether or not they are).
Bottom line: One of the best films of its kind.
Warning Shot (1966)
I can't really say why I like this movie - I just do
It's a definite cult classic - that's all that I can say. But it does have an incredible cast, filled with once and future stars. The direction is quite stylish, and the theme is still timely. In many ways, _Warning Shot_ is rather like a film-noir shot in color. Like DOA, there's the theme of one man against the entire world - and the forces of time, also. There is emphasis on his need to prove himself - because he is a man. Like all noirs, the actual plot is irrelevant, although Whit Masterson (Touch of Evil) did think up some good twists. It's the atmosphere that you take away with you from this one.
The Railway Children (1968)
Delightful children's adventure
A very young Jenny Agutter is featured in this BBC serial; she would play the same role in the film version of Edith Nesbit's classic children's novel two years later. The IMDb lists it as a TV series, but it is actually closer to a miniseries, with a continuing story arc and well-defined beginning and end. It's in black-and-white, and the picture quality is poor; also, it was obviously filmed live, and some of the line readings are a bit awkward. None of this really matters, though, since the performances are so warm and the story is so good. The Faraday children (the IMDb gives the family name as "Waterbury," but that is a mistake) go off to live with their mother in the country after their father is unjustly imprisoned; they have a series of adventures, and all ends happily. I enjoyed this thoroughly even though I'm a cynical college student - I'm sure kids will absolutely love it. Considering that the novel was written in 1906, and this series dates from 1968, it's aged remarkably well. I haven't seen the 1970 version (or the 1957 or 2000), so I can't compare, but this version set the bar pretty high.
Rumpole of the Bailey: Rumpole's Return (1980)
Delightful entry in the series
This 2-hour telefilm, made after the second season of the Rumpole television series, was adapted by Mortimer from his novella. It begins with Rumpole retired to Florida, ogling bathing beauties on the beach, but he doesn't stay there for long; a mysterious murder case involving bloodstains (his area of specialty) calls him back to London. He now has to ingratiate himself into a Chambers that no longer wants him, all the while facing off against a dangerous cult. Mortimer is one of England's best TV writers, and he combines the usual well-drawn characters with a solid mystery plot with some nice twists and turns, as well as hilarious character-driven humor. The calibre of the acting is, as always, spectacular. Rumpole is in many ways the English Columbo (McKern, like Peter Falk, had only one eye!), and if you like one, you'll probably like the other; at any rate, if you're a fan of Rumpole, this film is a must-see. Rest in peace, Mr. McKern; you (and Rumpole) are sorely missed.
Unbreakable (2000)
Excellent examination of dharma
This movie is an excellent examination of the concept of dharma, which is central to the Hindu religion. It is an ideal introduction to Hindu thought for Westerners. The performances and story are wonderful, and while there are some places were it is hard to follow, the fact that the movie is one of the most intelligent and thought-provoking dramas to come along in years more than makes up for that. Shyamalan has become an expert at using style not as a set of empty tricks, but as a way to add depth to the narrative.
Tommy (1975)
An amazing masterpiece
I cannot understand why so many people hate this film. As far as I am concerned, it is a tremendous masterpiece, a feast for the eyes and ears. It does wind down a bit at the end, but that is a flaw so minor as to be insignificant compared to the film's virtues. Only a snob would consider this to be any different from "real" opera like Traviata or The Magic Flute; the only difference is that those were meant to performed onstage and Tommy is meant for the movie screen.
Ken Russell's direction is the best thing he has ever done, and it is amazing and influential. Ann-Margret threw herself into her role and she is sex appeal personified; her Oscar nomination was one of the few times the Academy had the good sense to reward a project that took risks that paid off. Oliver Reed and Jack Nicholson aren't the world's best singers, but their awkwardness is part of what makes the movie such fun to watch. Besides, both of them have incredible faces, and Nicholson conveys more with one raise of an eyebrow that most performers can with a Shakespearean soliloquy. Robert Powell also has a great camera face, and Russell uses him to full advantage.
The music is excellent, the performances are excellent, and the imagery is second to none. There is a message, but Tommy is also one of the most purely entertaining and fun movies I've ever seen. All in all, a masterpiece, one of my favorite movies, and one of the few movies that I can watch again and again, because I see something new every time I watch it. (I know that's a cliche, but it's actually true in this case.) Try to avoid "edited" or pan-and-scan versions; they are butchery!
Abre los ojos (1997)
An amazing film
Just when I had lost all faith in cinema, this film proves that it still possible for intelligent, sophisticated, profound, and very entertaining movies to be made - just not in today's Hollywood. Amenabar tops his previous film - the exciting but not very deep Tesis - with this one. Like many great movies, it is unclassifiable in terms of genre. Is it a romance? Yes. Is it a mystery? Yes. Drama? Yes. Sci-fi? Yes.
Penelope Cruz looks great, but that's just a bonus in terms of this movie, since everything else is great also. The script, the performances, the music - everything is nearly perfect. Eduardo Noriega is great; the anger he brings to the role keeps his character from being just a pathetic monster and allows us to identify with him. Cruz, Fele Martinez (who looks _nothing_ like he did in Tesis), Chete Lera, Najwa Nimri, and Gerard Barray also give excellent performances. Amenabar obviously has many influences (including Vertigo, which he pays specific homage to), but he and screenwriter Mateo Gil put them together in a way that is consistently surprising, original, and thoughtful. Even after you know the twist at the end, the film stands up to repeat viewings quite well.
I can only hope that The Others is as good, and I can't wait to see it. Vanilla Sky, the American remake, might be okay (Cruz is in it too), but it can't possibly be as good as this one. Since American remakes tend to chase the original out of the market, _please_ make every effort to watch "Open Your Eyes" before Vanilla Sky comes out in December. PLEASE. You won't be sorry. This is an all-time classic.
Medium Cool (1969)
Hardly perfect, but a must-see
This is not a film for those who like comfortable Hollywood polish, production values, and formulas. It was shot in a documentary-style, and thus has an immediacy and intensity at a level that can only be found in a handful. It is completely unique in its blending of fact and fiction. The kitchen scene is brilliantly staged and carried off, and the ending is definitely chilling, although more than a little abrupt. (Did they run out of film?) But the truly exciting moment in this film comes when you are watching the demonstrations outside the Chicago convention, and it suddenly sinks in: This is real. It isn't staged for your benefit. The city really was an armed camp, and the police did beat up civilians. The film has a lot of pointless scenes, and the outer story is rather mundane, but the scenes at the convention are an unprecedented achievement - simply brilliant. This film is a must-see for any student of film or history.
Ed Wood (1994)
One of my favorite movies - more than just a comedy
This movie was excellent! The screenplay, direction, and period flavor were nearly perfect, and Martin Landau, Johnny Depp, Jeffrey Jones, and others were all perfectly cast. The film is by turns comedic, dramatic, and inspiring. Perhaps only film lovers such as myself can truly appreciate this film, but it should be seen by all. Seeing Plan 9 From Outer Space prior to viewing Ed Wood helps a lot in getting many of the jokes, but it's not 100% necessary. The scenes from Wood's films are painstakingly recreated, and the black-and-white cinematography is beautiful to look at. Francois Truffaut once said that he was only interested in films that show the joy of making cinema or the agony of making cinema - this film does both. Warning: not to be mistaken for a documentary recreation, since it plays fast and loose with the facts of Wood's life.
Medium Cool (1969)
Hardly perfect, but a must-see
This is not a film for those who like comfortable Hollywood polish, production values, and formulas. It was shot in a documentary-style, and thus has an immediacy and intensity at a level that can only be found in a handful. It is completely unique in its blending of fact and fiction. The kitchen scene is brilliantly staged and carried off, and the ending is definitely chilling, although more than a little abrupt. (Did they run out of film?) But the truly exciting moment in this film comes when you are watching the demonstrations outside the Chicago convention, and it suddenly sinks in: This is real. It isn't staged for your benefit. The city really was an armed camp, and the police did beat up civilians. The film has a lot of pointless scenes, and the outer story is rather mundane, but the scenes at the convention are an unprecedented achievement - simply brilliant. This film is a must-see for any student of film or history.
Warning Shot (1966)
I can't really say why I like this movie - I just do
It's a definite cult classic - that's all that I can say. But it does have an incredible cast, filled with once and future stars. The direction is quite stylish, and the theme is still timely. In many ways, _Warning Shot_ is rather like a film-noir shot in color. Like DOA, there's the theme of one man against the entire world - and the forces of time, also. There is emphasis on his need to prove himself - because he is a man. Like all noirs, the actual plot is irrelevant, although Whit Masterson (Touch of Evil) did think up some good twists. It's the atmosphere that you take away with you from this one.
Age to Age (1999)
Surprisingly effective low-budget independent
This low-budget sci-fi thriller was shot on location in North Carolina. It features an unknown cast, including my former English professor, Neill Clark, in a major role. Hampered by a lack of budget, it nevertheless is tremendous fun to watch. References to Hitchcock films abound (especially North by Northwest), and the plot echoes Kubrick's 2001: A Space Odyssey. The scripting is quite competent, and certain unresolved ambiguities only add to and deepen the meaning. The ending is quite ambitious and works remarkably well. The film is, overall, TONS more entertaining than the average overblown Hollywood production.
Black Sunday (1977)
Intense action film from master director
John Frankenheimer's second masterpiece (after _The Manchurian Candidate_) features excellent performances in every role, and also brilliantly staged and edited action sequences. More than that, it has an extremely dense and sophisticated political subtext, touching on several complex issues in a non-simplistic manner. This is a film with enough violence and suspense to please the action fans, but also a great deal of character development and buried moral issues. But one of the most remarkable elements is the fact that producer Robert Evans (who had made _Chinatown_ 3 years earlier) got permission to film the final sequence at an ACTUAL Super Bowl game. Announcers, players, coaches, cheerleaders, and actual fans in the audience appear as themselves. The line between fiction and reality is dissolved as it has been in no other mainstream Hollywood film (although Haskell Wexler's independent _Medium Cool_ (1969) has a similar effect). I bought _Black Sunday_ after watching it once, and I believe it to be a masterpiece and one of the top films of the 1970's. It's a shame it's been overlooked.
Dog Day Afternoon (1975)
Most realistic film I've seen
This amazing film somehow manages to capture the dense texture of real life. Improvisational acting, no artificial lighting, no costumes or makeup other than what was essential to the character, and no musical score help make it that way. So do intense performances from Al Pacino, John Cazale, and Charles Durning. Frank Pierson's screenplay was well-constructed, although 60% of the dialogue was improvised. It allowed room for moving drama, so-surreal-it-could-only-happen-in-real-life comedy, and quite a bit of suspense. The characters are sketched out incredibly well, with even minor ones having their own "moments." Director Sidney Lumet deserves kudos for orchestrating the whole thing, and proving himself a master of the open form. The film also carries an excellent message of tolerance.
Chinatown (1974)
Plain and simple: A Masterpiece
Every element works in this complex film-noir: director Polanski, screenwriter Towne, actors Nicholson, Dunaway, and Huston, cinematographer Alonzo, composer Goldsmith, and art director Sylbert. Every single element evokes the period and advances the plot and characterizations. Every role is perfectly cast. The story is extreme powerful, with many twists and turns. (I notice something new every time I watch this movie.) The pacing is slow at the beginning, but then gets absorbing. It's difficult to believe that this was Robert Evans' first try at independent producing - his third film, Black Sunday (1977), is another masterpiece.
Long Day's Journey Into Night (1962)
Tremendous, staggering dramatic achievement
It takes patience to sit through a 3-hour long movie, even if it is a re-creation of the greatest work of drama written in this country during the 20th century. I personally took a break in the middle of this film, ate dinner, and then came back and watched the rest of it. But Act IV I saw intact. Thank God. It was one of the most intense and insightful moments I have ever seen in a movie, revealing exactly how the present is inextricably bound up with the past. The lives of the characters are representative of OUR lives. Ralph Richardson and Jason Robards were powerful and shattering. Dean Stockwell was also quietly intense, and only Katharine Hepburn struck an incongruous note with her grotesque performance. Then again, in the context of the film, it makes sense for her character to be split off from the others. Have patience with this film - it takes a _long_ time to get to where it's going, but once it gets there, it has the potential to change the way you look at the world. Andre Previn's brief but haunting piano theme is incredibly effective; Sidney Lumet's direction is stagebound but competent. While it is true that O'Neill may never have written this masterpiece if he weren't a dissolute drunkard, think how many masterpieces he could have written if he'd been sober!
Mon oncle d'Amérique (1980)
Intelligent, thought-provoking, mesmerizing
I've seen this film twice. The first time, it told me how to view the world. The second time, it represented my view of the world. Everyone's actions are determined by a small number of forces, it says. Everyone's behavior fits into only four categories, it says. And yet, it presents such a wide range of emotions, actions, and thoughts that it seems to contradict its very hypothesis. And yet, it doesn't. Turn your brain on and watch this; give it time to sink in, then watch it again. I guarantee it will change your way of looking at the world. The editing is top-notch, and Resnais is at the top of his form, as he was 20 years earlier with Hiroshima Mon Amour. The ending is a stunner, and it encapsulates the film while at the same time extending its meaning. The cinematography and message will remind you of Resnais' Night and Fog. Brilliant performances from all three leads and Laborit. Give it time, use your brain, and view it multiple times. You will be rewarded.