I have to be honest. I tried to write a regular review for this film, but I disliked the movie so much that I don’t care. On some level, I felt personally offended. Rather than try to write some long justification, I am just going to say I don’t recommend it and move on. I recommend Pinocchio, Star Trek: The Next Generation, and Battlestar Galactica. They explore the themes in this film far better, with a greater maturity and depth that won’t leave you feeling like you have been lectured to like a child.
I knew going into this film that it was not my kind of movie. I am not a fan of horror films. They are rarely done right, and often degenerate into torture porn or a gore fest. That’s why I was pleasantly surprised to find that director Takashi Miike made the film from the book of Hitchcock. It’s about a man whose wife has died. He is lonely and his son is bugging him to get remarried. A friend suggests that a good way to quickly sift through a large number of women is to do it the way the pros do. That is, an audition. They set up a semi-fake audition for a movie and whittle down the possibilities to 30 women. Of course, the man picks the creepy girl in white. Once this man touches her life outside of the audition; the film begins to break further and further from reality. We descend into her warped world of ballet, a creature in a bag, and torture.
Takashi Miike definitely has talent. It’s just not my kind of movie. I think he attempts to class up the film by feeding us BS to try and connect us emotionally with the characters. What was impressive was his command of suspenseful filmmaking techniques. It meant that when it was gruesome, it was a drink of water to someone in a desert rather than being drowned in a pool. An atmosphere had been built and went unbroken as a head was severed or a pin was pushed into an eye. Miike does not just using a series of cheap tricks. Those who enjoy horror will probably appreciate it more than I did. I say, approach with caution.
If I didn’t know this was a Samuel Fuller film going into it, I don’t believe I would have recognized his hand at work. The film is about two people who live their lives on the frontier. Each has a position of power and holds it through force. Jessica Drummond (Barbara Stanwyck) has her kingdom that she controls with her small army of armed men and her influence deeply entrenched throughout the region. Griff Bonnell (Barry Sullivan) is a Marshall. Along with his brothers, he tracks down criminals. Both sound cool on the surface, but in fact they are miserable. What’s worse is that their lifestyle is poisoning a younger generation. It’s the struggle over the younger generation that is the source of conflict. When Bonnell arrives in her town to make an arrest, the two are pulled to each other as the worlds they hold in their hands crumble with collateral damage.
Everyone does a good job. It’s shot in beautiful black and white with stylish cinematography. On a repeat viewing, I probably would recommend this film. For now, I say it’s worth a look.
I have been sitting on this film since February. I finally watched it this week. I am fooling myself in thinking I will rewatch it and write a long post. It is stories within stories and flashbacks within flashbacks. Busty, randy women abound. It stars Zbigniew Cybulski in comical mode. Enjoyable, but confusing. My verdict stands and I am moving on!
I haven’t been on here in awhile, but I have been around. I have been on the networks. I have been using Get Glue and Letterboxd. Get Glue can be useful for getting your comments on something targeted to an audience that will appreciate them. Letterboxd is impressive. It basically takes the features that IMDb and icheckmovies were offering and ties them all together in a social network. It’s obviously having an effect on those two services since icheckmovies is fleshing out it’s social features and IMDb is improving list making and adding a check-in service. Both sites are trying to change what people use them for. In the case of icheckmovies, they want people to do more than keep a big list of everything they watch. IMDb wants to be more than the Wikipedia of film. I personally think both are too late to change their spots. However, both still serve those purposes and do it better than Letterboxd. At least that is for now.
The biggest stumbling block is that while IMDb has their database to do with as they please and icheckmovies scrapes it for their needs; Letterboxd is using TMDb. Never heard of it? Neither had I, till I found I needed to add films to it before I could use them on Letterboxd. TMDb is basically trying to reinvent the wheel. A few months back I found a movie IMDb didn’t have in their database. And they have been around for how long now? My point is that Letterboxd’s reliance on TMDb is a huge stumbling block. Right now Letterboxd is in beta and it has drawn the attention of many cinephiles like yours truly. This means that movies are being added like crazy prior to a wide release.
If you are on Letterboxd and need to add a film: Don’t be afraid of TMDb. There are three fields that must be filled: Title, Overview, and IMDb ID. The overview can be “No Overview” and the other two you grab from IMDb. Then you have a new movie entered. If you are adding a release date. Please do everyone a favor and only add the earliest one. Also make use of the “primary” check box. The issue is that Letterboxd will grab one date from that database and suddenly Letterboxd features that make use of dates become spotty. There is nothing you can do to enter a Soviet or Czechoslovakian film. TMDb only has a list of current countries and a policy of using the modern equivalent for a defunct country. The problem arises with films like Ecstasy (1933), which is a Czechoslovakian-Austrian co-production in German with an Austrian star and a Czech director. So which country of release do you use to make up for not having Czechoslovakia? The point is that not only is TMDb re-inventing the wheel, they are making obvious mistakes along the way.
I am sure that the people at TMDb will find and fix their mistakes eventually. IMDb went through this and apparently so must TMDb. The issue is that Letterboxd is dependent and limited by TMDb. I make it sound bad. It’s only annoying. If you are willing to deal with a few database additions from time to time then I highly recommend Letterboxd.
On a separate note:
My city has a now defunct movie theater that first opened in 1941. I have been going through the back issues of the city’s old newspaper and compiling a list of the films shown using the theater listings. I have come across a film I can’t identify. It calls itself Royal Wedding and apparently stars Dorothy Lamour. The listing is from 1948. I have included the listing below.
Thanks in advance for your help. Here is a little bonus. A big ad for the sex ed feature film Mom and Dad (1945) that was shown at the theater in 1947.
In honor of the recent dogathon and because I have been rewatching all the official Bond films (Never Say Never Again (1983) included). I am asking you to connect Asta of Thin Man fame to Desmond Llewelyn, better known as ‘Q‘ from the Bond series.
I am handing the challenge to Page over at My Love Of Old Hollywood.
When I was a kid, I received my first exposure to this film. I didn’t realize it at the time, but while I was watching Wayne’s World 2 (1993) I was being introduced to the character of Danny (Ralph Brown) who is a drug dealer in Withnail & I. I remember him distinctly because of his great stoner voice. The Wayne’s World movies were never that great, but are childhood cult favorites. That’s a decent way to describe this film as well, except that it’s reach and staying power are greater.
Withnail & I follows Withnail (Richard E. Grant) and his friend Marwood (Paul McGann), or simply the I in the title as he is the one narrating the story. They are both out of work, alcohol drinking, drug taking actors who accidentally go on holiday in 1969 Britain. By that I mean, they go to visit Withnail’s gay uncle Monty who they presume will put them up and does, but not exactly as they planned. They end up in a little cottage with no heating and nothing to eat. They spend most of their time trying to keep warm and find food. I make it sound like a tale of survival with that plot summary and it is, but not a stranded in the jungle survival. Their friendship is what is going to survive or perish. It’s also not a film that is plot driven. The focus is on the two leads and the series of comedic incidents they go through. Those incidents reveal where they stand together now and point towards where each must go after their accidental holiday.
Withnail is beyond the point of no return. He looks like a punk rocker, but is that likable, funny, friend that can act pushy and tough around you, but will turn on you when the slightest amount of pressure is applied to them by others.
Marwood, is a pretty boy with promise in life, but is in love, romantically or otherwise, with someone who is dragging him down. In this case, that person is Withnail. Without knowing it, this is going to be their last hoorah together.
The best scenes in the film come in three flavors: 1. When Withnail or Marwood has one of their brilliant one-liners such as, “Who fucks arses?” and “I want something’s flesh!”, 2. When Withnail sells out his friend, 3. When Marwood grows more backbone. There are many more one-liners then the one’s I listed. Some are yelled at people on the street, others are advice on killing chickens, and one other is a explanation for why the cow about to mow down Marwood is so randy. They are hilarious and people often quote them at the mention of this film or when anybody involved in the production is spotted in real life.
The most honest moments in the film are numbers 2 and 3, where Withnail turns on Marwood and when Marwood stands up for himself. Early in the film the two go to a bar. Marwood uses perfume to try and hide the stench from his shoes. This gets him called a homosexual by a nut job in the bar who proceeds to confront the two. He goes for Withnail and in no time at all, Withnail is explaining that what ever is going on between the man and Marwood has nothing to do with him and why don’t they settle it in the street. Marwood is clearly hurt but he bolts from the bar with Withnail and continues to follow him to their accidental holiday.
The best of number 3 comes late in the film after Marwood has nearly been raped by Monty. Marwood found out that Withnail spewed nasty lies about him in order to get the cabin they have been living in. Lies that all but made explicit that Marwood was fair game for Monty. After telling Monty off from an attempted rape, Marwood confronts Withnail. He makes it clear to Withnail that no justification explains away that he is standing naked in front of him and hurt beyond repair.
It’s these moments that take this film from a childhood favorite to a moving and funny story of two people at a crossroads. That’s what makes this film have the staying power that it does. It’s the reason that what starts as bathroom humor becomes something I am proud to recommend. In the future, I will probably even highly recommend it. This is one that can be re-watched to point of memorization and still feel it is speaking to the child with an important look at adulthood. Rather than the film losing meaning by rote. I knew Grant was good from L.A. Story (1991), but I wouldn’t have expected this kind of performance from him. I’ll probably never watch one of the Wayne’s World films again, but I will watch this one many more times.
See that guy in the middle getting slapped by Deanna Durbin. That’s how I felt watching this film. I foolishly believed that Lady On A Train (1945) meant that the final film in this series would be enjoyable too. Instead, I was coldly smacked in the face with something as bad as the worst of her films that I have seen.
The movie begins with DJ Mary Collins (Deanna Durbin) finishing her set with the first of many musical numbers (I should have known that this spelled disaster for the film). After leaving the booth, she is approached by Donald Read (John Dall) who tells her that he doesn’t really care what her relationship was with his grandfather, but that it needs to end. Mary has no idea what he is talking about, so of course, Mary reacts with indignation at such an accusation and storms out. Mary goes home and has a heart to heart with her aunt who also happens to be named Mary Collins. Turns out it was the aunt that had the relationship with Donald Read’s grandfather. That relationship included the financial support that Donald Read alluded to.
Cut to the Read family and being rich and thinking themselves above others. They decide to resort to kidnapping. Of course, this task is given to the younger of the Read brothers named Charlie (Donald O’Connor). They know where she is going to be and wait for her to leave, where upon they gag her and stuff her into a car.
Taken to the Read home, she is confronted by the family who proceed to insult her for trying to milk off of them. They want her to sign away any financial ties that she has with the family. The mother makes the mistake of dropping a little information: Donald Read is to be married and any hint of scandal could ruin it. So Durbin being Durbin, she creates a fictitious baby to rub it in and drive up the cost of her silence. She puts the price at a million dollars. They talk and get nowhere when Charlie kindly suggests the two of them go to the library together.
He tells her in an song (why?!?) that he knows that she is full of hot air. Then he tells her that he wants her to continue doing it. He has a thing for his older brother’s fiancee and would love for her to drive a wedge between them so he can have her for himself. What follows is what you expect. Durbin gets closer and closer to Donald as she tries to drive a wedge between him and his fiancee. Since Durbin would be robbing the cradle with O’Connor, she saves him from his infatuation with the gold digging fiancee and he plays the helpful child role. Oh, and there are plenty of songs to make the boring film, annoying.
Since I only wanted to see Durbin gagged repeatedly throughout the film instead of wanting to bash my head in with a brick, I say approach with caution.
Final words on Deanna Durbin: She could sing, but was best, when she was simply allowed to act.
There are three main posts that will be coming in the next month or so.
1. The final film in My Deanna Durbin Punishment called Something In The Wind (1947).
2. I will be watching the next film on TSPDT’s 1000 Greatest Films. That being Withnail & I (1987)
I am participating in Comet Over Hollywood‘s Gone Too Soon blogathon in March. The blogathon profiles stars that died before the age of 50. Thinking immediately of James Dean and that I don’t want to pick what everyone else would, I thought of Zbigniew Cybulski. Also known as The Polish James Dean.