Masculin Feminin (1966) Review

Title: Masculin Feminin
Year: 1966
Director: Jean Luc Godard
Country; France
Language: French

The French New waved freed Cinema from the grip of the studio system. Using a low budget, shooting on-location, with amateur actors gave films like Truffaut's The 400 Blows (1959) & Masculin Feminin (1966) a cinema verite docutmentary feel. These auteurs made filmmaking feel accessible and gave influenced how modern movies are made. 

Paul (Jean Pierre Leaud) is young, just demobbed from national service in the French Army, and disillusioned with civilian life. As his girlfriend (Chantal Goya) builds herself a career as a pop singer, Paul becomes more isolated from his friends and peers.

Masculin Feminin is a window into Parisian society in the 1960's. It is about youth, consumerism, sexual politics and the effect capitalism has on society. Told in a series of vignettes, one intertitle says "These are the children of Karl Marx and Coca-Cola." You'd think that these ideas would seem dated - but actually the themes still matter in today's culture. 

The presentation of Masculin Feminin is familiar; Godard using jump cuts, tracking shots and dialogue heavy scenes to establish a relationship between the audience and his characters. He asks us to analyze their choices and make our on judgements on their ethics. It's a film you'll be thinking about after the credits roll.

A mix of satire, melodrama, and comedy Masculin Feminin is an engaging picture that is still poignant and relevant today. I will buy the Criterion Collection Blu-Ray in the near future. 

Band of Outsiders (1964) Review

Title: Band of Outsiders
Year: 1964
Director: Jean Luc Godard
Country: France
Language: French

Quentin Tarantino named his production studio Band Apart because of his love for Jean Luc Goard's Band of Outsiders. It is is an important film that influenced many modern day Directors. It is a film with attitude; iconic for being the epitome of "cool.". It feels timeless, effortless and free-spirited. Its the movie you wish you could make. 

Two crooks with a fondness for old Hollywood B-movies convince a languages student (Anna Karina) to help them commit a robbery.

An arthouse neo-noir gangster heist picture with a side of romance, Band of Outsiders is an incredibly charming caper comedy. Its both a deep film - about the alienation of youth - and a fun work to escape into. Motivated by freedom, our characters are surprisingly nuanced and relatable. 

With Band of Outsiders,  Godard adds his own flair to a genre popularized in America. He combines gritty cinematography with a jazzy score. He films a dance sequence where, in narration, the character reveal their inner desires. He breaks the fourth wall whenever he can. 

I can certainly see why post-modern filmmakers would love Band of Outsiders. It's a brilliant, enjoyable masterpiece that I'd love to come back to. It is Godard's most accessible film and definitely a worthwhile viewing. 

Pierrot Le Fou (1965) Review

Title: Pierrot Le Fou
Year: 1965
Director: Jean Luc Godard
Country: France 
Language: French

Jean Luc Godard made his first feature film in 1960, with Breathless. By the time Pierrot Le Fou hit cinemas, just 5 years later, Godard has perfected his craft and is beloved by film critics. Heavily influenced by pop art, Godard's cinema would be bold, adventurous and break all the norms of conventional film-making. 

Pierrot (Jean Paul Belmondo) escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne (Anna Karina), a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the ru

Pierrot Le Fou is a tale of obsessive desire; a man trying to find meaning in an absurd world. It reflects Godard's desire to find meaning at that time. Its use of vivid colours and gorgeous cinematography make the film a very visually appealing picture, but audiences may be turned off by Godard's loose structure and disjointed editing.

I went into Pierrot Le Fou expecting and wanting a weird movie that pushed boundaries and, while at times I was admittedly confused, my expectations were met. This is a playful film that never takes itself too seriously and can be quite funny at times. I think it will need multiple viewings to be fully appreciated. 

The beautiful colors, song-and-dance numbers. energetic acting and remarkable cinemascope are bound to make Pierrot Le Fou an enjoyable experience. Watch all of Godard's 60's filmography. 

Contempt (1963) Review

Title: Contempt
Year: 1963
Director: Jean Luc Godard
Country: France 
Language: French

Sight and Sound critic Colin MacCabe has claimed Contempt “the greatest work of art produced in post-war Europe." Roger Ebert was fairly lukewarm in comparison, saying that it was not a "Good but not great Godard picture." The film must be important as it has inspired a generation of film-makers, from Scorsese to Tarantino. I decided to view it myself to see what the hype was about.


In Contempt screenwriter Paul Javal's (Michel Piccoli) marriage to his wife Camille (Bridgette Bardot) disintegrates during movie production as she spends time with the producer. Layered conflicts between art and business ensue.


Jean Luc Godard films a disintegrating marriage like an epic Greek tragedy. He shoots in Cinemascope, filling the frame with gorgeous landscapes and awe-inspiring cinematography. The score booms with itensity; heightening the drama that is unfolding onscreen. The dialogue is complex and the screenwriting is rich with psychology.


Contempt is a layered film as it is an ironic retelling of The Odyssey. Our characters' marriage is the journey, As Godard was shooting the film, he was going through similar difficulties with his wife Anna Karina. It is a smart picture that stimulates an audiences intelligence & allows us to engage with its source material.


Godard's film is breathtaking in scope. Contempt takes marriage woes the their cinematic peak. I was greatly impressed by this picture and will revisit it in the future. Bridgette Bardot's butt was also nice.

A Woman is a Woman (1961) Review

Title: A Woman is a Woman
Year: 1961
Director: Jean Luc Godard
Country: France
Language: French

French director Jean Luc Godard was known for not abiding by the rules of conventional film-making. In A Woman is a Woman he reinvents the musical by...not making a musical. With abstract delight, he dissects Hollywood convention and turns cinematic language into his own little playground. 

A French striptease artist (Anna Karina) is desperate to become a mother. When her reluctant boyfriend suggests that his best friend impregnate her, feelings become complicated when she accepts.

Pulsating with pastel colours and loud with emotion, A Woman is a Woman is a vibrant, fun, free flowing romantic comedy that charms us with its silly score and absurd situations. The picture, Godard's second feature, feels like a musical in its energy and performances. 

The giddy production design  gives us an infectious joy de vivre - while also allowing us alternative avenues of interpretation. A Woman is a Woman is full of visual puns, witty dialogue and cute "battle of the sexes" scenes. Anna Karina gives a remarkable performance. as her goofy charm leaps out of the camera. 

Godard's film is memorable; it will sweep many audience members off their feet. His innovative use of deconstructive cinema gives us a real sense that this Director is giving his best. I plan to watch A Woman is a Woman for many years to come. 

Panic in the Streets (1950) Review

Title: Panic in the Streets
Year: 1950
Director: Elia Kazan
Country: US
Language: English

Elia Kazan's Panic in the Streets (1950) is older than most people's grandfathers, but is a surprisingly relevant picture during our pandemic and post-pandemic times. Film noir happens to be the perfect genre to capture the isolation, pessimism, and individualism of these times. The frustrating feelings of our reality are heightened by the intense noir pulp.

A doctor (Richard Widmark) and a policeman (Paul Douglas)  in New Orleans have only 48 hours to locate a killer infected with pneumonic plague.

Kazan and cinematographer Joseph MacDonald help us see the consequences of a bubonic plague epidemic by widening each setting and elongating each shot. Actors navigate the full depth of the frame as they run through big warehouses and crowded outdoor settings. The booming score adds to an uneasy tension in the atmosphere. 

Our main character, Lt. Cmdr. Clinton Reed (Richard Widmark), is a relatable everyman as he struggles against an incompetent bureaucracy filled with miscommunication, distrust and lack of co-operation. Much like the 2020's, the Press isn't trusted with handling the news with sensitivity. Reed fears that a premature reaction will cause a revolt among the have-nots in society. 

Modern films will attempt to entertain us with on-the-nose allegory about the pandemic, but I appreciate this honest film noir. Panic in the Streets will have you gripping your sofa in anticipation of what will happen next. 

Le Petit Soldat (1963) Review

 Title: Le Petit Soldat
Year: 1963
Director: Jean Luc Godard
Country: France
Language: French

Le Petit Soldat (1963) was technically Jean Luc Godard's second feature after Breathless (1960), but French Authorities were so offended by the content that it was banned from cinemas for several years. The film opposed the Algerian war (see: Battle of Algiers) & predicted that the French would lose due to lack of idealism. By the time it was released, France had granted Algeria its independence. 

During the Algerian War, a man (Michel Subor) and woman (Anna Karina) from opposing sides fall in love with one another.

Le Petit Soldat was met with indifference when it was finally released. The truth about the Algierian War had already come out & the public wanted to move on. It immediately felt dated - and still feels dated today. The film is inspired by American noir, but is far more restrained and introspective. The main character resists action to find his authentic self.

Godard's direction gives Le Petit Soldat a documentary, cinema-verite look. He used handheld cameras and experimented with sound design. His visual trademarks make this a necessary viewing for those interested in Nouvelle Vague Cinema. As its an earlier picture in his filmography (again, technically the second) it suffers from being too slow paced. Better editing would have improved this experience.

I did not enjoy Le Petit Soldat as much as I enjoyed Breathless (1960) and Vivre Sa Vie (1962), but I do appreciate what Godard was trying to show. Anna Karina is as lovely as always; I can't wait to watch more films with her in them. 

Metropolitan (1990) Review

Title: Metropolitan
Year: 1990
Diirector: Whit Stillman
Country: US
Language: English

Made for only $225,000 USD, Metropolitan (1990) was Whit Stillman's debut feature, and the first in a trilogy that include Barcelona (1994) and  Last Days of Disco (1998). Stillman was such a green director that he was reading a "How to be a Director" book as he was making this film. He was midway through the book when shooting principal photography began. 

In the film, a group of young upper-class Manhattanites are blithely passing through the gala debutante season, when an unusual outsider (Edward Clements) joins them and stirs them up.

Metropolitan is a witty, dry,  coming-of-age costume drama that evokes the past - being set during the Christmas season also stirs up feelings of nostalgia - as a deliberate way to explore current issues. Dialogue driven, we meet characters who feel like they are on the cusp of a dying culture and we see how the weight of their new responsibilities as soon-to-be adults changes them. 

The complex interplay between characters assists in unfolding the "plot" (if you can call it that) of the picture. The cinematography, editing and lighting add to incredible ambiance and charm of Stillman's work. Metropolitan explores the the themes of other 90's existential films, but in a much more subdued mature way. 

The actors deserve much acclaim for their work in Metropolitan. Most of them were unknowns, this being their onscreen debut. Each actor dives into their character & gives a complex multidimensional performance. Bad acting would break this character centered film, but because each actor stands out it makes Metropolitan an instant rewatchable classic. 

Priscilla (2023) Review

Title: Priscilla
Year: 2023
Director: Sofia Coppola 
country: US
Language: English

 Priscilla (2023) is the antithesis to Baz Luhrmann's Elvis (2022) in both style and substance. Elvis is a flashy stylish popcorn picture, whereas Priscilla is a deliberately paced slow burn. Elvis paints the King of Rock as a victim of his own success, whereas Priscilla is a scathing critique of the man, and an exploration of his doomed marriage. 

Through Priscilla's (Cailee Spaeny) eyes, Sofia Coppola tells the unseen side of a great American myth in Elvis (Jacob Elordi) and Priscilla's long courtship and turbulent marriage,

After decades of Elvis worship, we finally get a film that is critical of the Graceland singer. Priscilla is an education in grooming and toxic masculinity. Elvis sought out young women because he could control them & make them look the way he wanted. When they meet, Priscilla is in 9th grade and she looks like a preteen. It is creepy. 

The soundtrack resists using Elvis' work and instead draw out discomfort and alienation. The cinematography, costume design and production design give Priscilla the look of a subdued period piece. The screenplay does a tremendous job at building Priscilla's character arc. 

Spaeny's performance in Priscilla is remarkable, I hope she gets nominated for an Oscar. Like Spencer  (2021) before it, Coppola's film is important for decontextualizing misunderstood women and giving them a stage to tell their story. More need to be made. 

 

Vivre Sa Vie (1962) Review

Title: Vivre Sa Vie
Year: 1962
Director: Jean Luc Godard
Country: France
Language: French

Two years after Breathless, Jean Luc Godard's debut feature that would cement his status as an auteur in the French New Wave movement, Godard would release the innovative Vivre Sa Vie. The film is an engaging character study, exploring existentialism and the desire to exist apart from societal norms. 

Vivre Sa Vie is split into twelve episodic tales in the life of a Parisian woman named Nana (Anna Karina) and her slow descent into prostitution.

Godard's third feature film is unflinching in its honesty; a heartfelt film that uses its cinematography, shots that are primarily close-ups of Nana's face, to create a beautiful portrait of a woman searching for meaning. Vivre Sa Vie is a French New Wave film in the way it defies convention; using a non-linear narrative, experimenting with sound, shooting sequences in peculiar ways. 

Vivre Sa Vie is very clearly inspired by cinema of the past in a way that almost breaks the fourth wall. Nana's hairstyle is straight from Pandora's Box. Later, Nana misses a screening of Jules and Jim; a film about an woman who finds her happiness. There is also a scene where Nana watches Dreyer's Passion of Joan of Arc. Throughout Vivre Sa Vie we get a sense that these two women's stories are connected. 

I've never seen a Godard film prior to Vivre Sa Vie. I am quite impressed by this, so I will watch the rest of his films. Anna Karina is a lovely actress; she plays her role of Nana perfectly. This picture is a must-see. 

May December (2023) Review

Title: May December
Year: 2023
Director: Todd Haynes
Country: US
Language: English

This is a strange thing to say, but I love films that are about two women who slowly become interconnected with one another. My favourite film is All About Eve (1950) and another favourite would be Ingmar Bergman's Persona (1966). Based on promotional material, Todd Haynes is in a Youtube video stating his film is inspired by Persona,  May December is very much about this - and much more.

Twenty years after their notorious tabloid romance gripped the nation, a married couple (Julianne Moore and Chris Melton) buckles under pressure when an actress (Natalie Portman) arrives to do research for a film about their past.

Inspired by the real-life story of Mary Kay Letourneau, May December is about how people present themselves on the surface and exposing the uncomfortable reality within. The screenplay - by Samy Burch - puts us in uncomfortable situations as our exploration for truth reveals much of the families hidden skeletons. 

The actresses' interest in the family also has a mirroring effect where she slowly takes on her subjects' identity. This creates some darkly humorous "wtf" moments; in one scene she rejects all the child actors she is shown because "they aren't sexy enough,". Portman and Moore are outstanding in their roles, adding a complexity that less experienced actresses would struggle with.   

May December is a brilliant, nuanced film that is full of surprising moments that are certainly meant for repeated viewings. I find myself in great admiration for everyone involved in this picture. 

Bell Book and Candle (1958) Review

 Title: Bell Book and Candle
Year: 1958
Director: Richard Quine
Country: US
Language: English

In 1958, Kim Novak and Jimmy Stewart starred in Alfred Hitchcock's Vertigo. It was a critical and commercial success, and its popularity endures as time goes on. In 2012 it was #1 in Sight and Sound's poll of 100 Greatest Films. Did you know that Novak and Stewart starred in another film together in 1958? I didn't! It's a romantic comedy called Bell Book and Candle.

A modern-day witch (Kim Novak) likes her neighbor (Jimmy Stewart) but despises his fiancée, so she enchants him to love her instead.

Bell Book and Candle's strength lies in the incredible onscreen chemistry between Stewart and Novak. Stewart is charming, Novak is alluring, and together their connection is palpable. Despite a narrative about witches casting spells, their romance feels grounded and believable. 

The film's production design and cinematography also standout. The story may have a timeless appeal, but the aesthetic is undeniably 50's. The vibrant colours and stylish background give Bell Book and Candle a now retro flavour that will make audiences nostalgic. 

The writing is superb; balancing humor with melodrama and romance. Few films depict the vulnerability of falling in love quite like Bell Book and Candle. This is quite a magical gem that audiences of any age ought to see. 

They Live By Night (1948) Review

 Title: They Live By Night
Year: 1955
Director: Nicholas Ray
Country: US
Language: English

Nicholas Ray (Rebel Without a Cause) never disappoints, and his first feature They Live By Night (1948) is no exception. Adapting Edward Anderson’s Depression-era novel Thieves Like Us, the film is a classic "love on the run" story that has been described as "Romeo & Juliet meets film noir". 

An escaped convict (Farley Granger) injured during a robbery falls in love with the woman (Cathy O'Donnell) who nurses him back to health, but their relationship seems doomed from the beginning.

They Live By Night is a moody thriller; its use of cinematography creates a foreboding and unsettling atmosphere. The screenplay often foreshadows the fate of our main antihero. The jazzy score, in addition to sounds in the distance, such as a train horn, add to a poetic realism & conjure an America that has left our man behind. 

Vehicles are often seen as tools of freedom in North America, but in They Live By Night  we see them as tools of captivity. Bandits must stick to the roads, license plates can be easily tracked, and they may often run into roadblocks. In gangster pictures the main character views their vehicle as a lifeline, but Nicholas Ray is smart enough to know that their reliance on the machine is their downfall. 

The romantic narrative may be a bit melodramatic, but They Live By Night paved the way for Bonnie and Clyde (1967) and other similar gangster pictures. Ray's first feature is a fine film, a worthy double feature along with Rebel Without a Cause (1955). 

Godzilla Minus One (2023) Review

Title: Godzilla Minus One
Year: 2023
Director: Takashi Yamazaki
Country: Japan
Language: Japanese

To say I am a fan of Toho's Godzilla (which I feel is distinct from the American films) is an understatement. I am a HUGE fan of Godzilla. I have watched & reviewed every (Toho) Godzilla film & was very excited to hear about Godzilla Minus One. I will do my best to give an objective analysis of this film.

Post war Japan is at its lowest point when a new crisis emerges in the form of a giant monster, baptized in the horrific power of the atomic bomb.

Is it great? OH HELL YEAH! Godzilla Minus One is a story about love, loss, grief, family. Its primarily about complex human characters that we can easily connect with who are being threatened by the absolute BEAST that is Godzilla. He's a villain, He is going to F*** your sh** up. 

Godzilla Minus One has a looming impending sense of danger. An atmosphere of dread permeates the screen. The way the death and destruction is shot reminds me of 9/11 videos. Towers fall, dust clouds envelope people, crowds run for their lives. The score booms a classic monster-movie Godzilla theme. This is Cinema. 

Old school Godzilla is brought to the moderns age and I love it. Godzilla's atomic breath looks like a f***ing nuclear bomb. This movie was made for only $15 million & the effects look better than movies made for 10x its budget. Go see it now!

The Holdovers (2023) Review

Title: The Holdovers
Year: 2023
Director: Alexander Payne
Country: US
Language: English

On Twitter  The Holdovers has been compared to the films of Hal Ashby (Harold and Maude), Indeed they both have a love for Cat Stevens' music and a similar interest in misfit youth who take a journey in self discovery. Payne purposely evokes Ashby - starting from the opening titles- and gives us a picture that drips of nostalgia. 

A cranky history teacher (Paul Giamatti) at a remote prep school is forced to remain on campus over the holidays with a troubled student (Dominic Sessa) who has no place to go.

Cinematographer Eigil Bryld uses a repertoire of long zooms, fades and extreme close-ups to make The Holdovers look like a film made in the 70's. The score- which is an addictive weekend listen- the set design, and the costuming immerse the audience further into this time period. 

The screenplay is remarkable, giving us very complex characters who develop tremendously throughout the runtime. It has a good balance of comedy and drama - allowing us to feel a variety of emotions for each character. The acting, particularly by Giamatti, is remarkable. I have rarely hated and loved a character so deeply. 

The Holdovers is simultaneously arthouse and mainstream. I can't quite let myself consider it to be a masterpiece, but it is a great film and I hope it wins Best Picture when the Oscars arrive. 

La Ceremonie (1995) Review

Title: La Ceremonie
Year: 1995
Director: Claude Chabrol
Country: France
Language: French

 I have never heard of Claude Chabrol until I saw that Criterion was releasing La Ceremonie on blu ray/dvd, The cover, which reminds me of Ingmar Bergman's Persona (1966) intrigued me enough to watch the film. Chabrol is known to be a very competent director with a keen interest in dissecting class through the visual medium. His style of suspense is inspired by Hitchcock. 

A newly hired maid (Isabelle Huppert) for a rich countryside family befriends a post-office clerk (Sandrine Bonnaire)  who encourages her to rebel against her employers.

Chabrol's film is deliberately paced, building suspense through atmospheric cinematography and a haunting musical score. Static shots and muted colours give us an uneasy feeling; dialogue between characters indicate a slow rise in tension that will inevitably be brought to a boil. 

The screenplay is fairly unpredictable; you think the film is going one way & it ups the ante. The scathing critique on social class has explosive consequences, especially as the characters' resentments towards one another reach their peak. This commentary is incredibly relevant today. 

La Ceremonie might leave many cold due to its slow pace. All the film's pieces have to be set up before something remarkable happens, but the wait is worth it. I certainly recommend Chabrol's work. 

Beau Travail (1999) Review

Title: Beau Travail
Year: 1999
Director: Claire Denis
Country: France
Language: French

 Claire Denis' Beau Travail first got on my radar went it made #7 in Sight and Sound's 2022 list of 100 Greatest Films of All Time. Not many people have heard of this film - but the people who have seen it are absolutely in love with it. Fans of the film claim it's a "masterpiece"; so I decided I had to see ii (on The Criterion Channel) for myself. 

This film focuses on ex-Foreign Legion officer Galoup (Denis Lavant) as he recalls his once-glorious life of leading troops in the Gulf of Djibouti.

Beau Travail is not your typical film. It is a deliberately paced, visual poem that transcends the medium. Told through a series of non-linear flashbacks and introspective moments, the plot is set aside in order to immerse us into the psychological complexities of our main characters. 

Cinematographer Agnes Varda captures the vast landscapes of Djibouti through a poetic lens. The use of color, lighting, shadows and - of course- score add to a mythological atmosphere that heightens Travail's spiritual feeling. The choreography makes each soldier's actions feel like a dance, making a statement on the nature of masculinity. 

Beau Travail is a remarkable achievement in filmmaking. It innovates by pushing the boundaries of what a film can be. While I haven't fallen head over heels yet - I know that repeated viewings will only make me appreciate the picture more. 

High Sierra (1941) Review

Title: High Sierra
Year: 1941
Director: Raoul Walsh
Country: US
Language: English

In the 1930's Warner Bros. were the kings of making gangster pictures like Public Enemy (1931) and Scarface (1932). They had sought to make a picture about Dillinger, but they were slammed by the press, for making a movie that glorified real-life criminals. When the heat died down, in the early forties, Warner Bro. bought the rights to a novel called High Sierra - a story loosely based on Dillinger. 

After being released from prison, notorious thief Roy Earle (Humphrey Bogart) is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a California resort.

High Sierra is a wild mix of gangster, film-noir, melodrama, and western. It is Bogart's first main role after a decade of being supporting actor in films like The Roaring Twenties (1939). It is a movie about the loss of - and desire for- more innocent times. It is also about men nostalgic for a time where outlaws were treated as kings. 

Raoul Walsh's direction gives the film a gritty atmosphere filled with tension. The cinematography gives us a sense of dread and impending doom. The film is well paced & the score, by Adolph Deutsch, adds to the emotional weight of important scenes. 

I had a mixed response to High Sierra. It felt more dated than other Bogart films made at the time, like Maltese Falcon (1941) & Casablanca (1942). A romantic subplot comes across as predatory in present time. I also thought some of the characters' actions didn't make much practical sense. It was easy to like, hard to love. 

The Lady Vanishes (1938) Review

Title: The Lady Vanishes
Year: 1938
Director: Alfred Hitchcock
Country: US
Language: English

I love the films of  "Master of Suspense" director Alfred Hitchcock. Vertigo (1958) is in my top ten films of all time. I frequently suggest The 39 Steps (1935) to friends as an introduction to classic film. The Lady Vanishes (1938)  is the rare Hitchcock that I had not seen. I've heard a tremendous amount about how good the film is, so I thought I'd finally watch it. 

While travelling in continental Europe, a rich young playgirl (Margaret Lockwood) realizes that an elderly lady (May Whitty) seems to have disappeared from the train.

One of the complaints I've heard about Hitchcock is that he can be too focused on the technical aspect of film (structure, layout cinematography) and it makes his films lack heart. The Lady Vanishes is full of heart. The film begins with establishing a whole host of characters and throughout the run-time we fin ourselves compelled to see them again. The Lady Vanishes works because we are so emotionally invested in the whereabouts of the old lady. 

French Director Francois Truffaut (400 Blows) declared that every time he tried to study the film's trick shots he became too emotionally invested in the plot. Hitchcock's style is present though; his expert pacing, inventive shots an attention to detail make Lady Vanishes an ideal picture to show in Introduction to Film classes.

The Lady Vanishes is a gripping thriller that has certainly impressed me. It is a remarkable film that needs to be studied for decades to come. This is an example of how to make great cinema. 

 

Dicks: The Musical (2023) Review

Title: Dicks The Musical
Year: 2023
Director: Larry Charles
Country: US
Language: English

If you enjoyed the outlandish - weird for the sake of weird - filmography of queer auteur director John Waters then you'll find yourself fascinated by the absurd Dicks: The Musical. Pushing the boundaries of conventional taste, you'll find yourself asking "how did they get away with that!?". 

A pair of business rivals discover that they're identical twins and decide to swap places in an attempt to trick their divorced parents to get back together.

So it's The Parent Trap...but gay, surreal and a musical? With a camp aesthetic similar to But I'm a Teenager (1999), Dicks: The Musical has a throw-everything-at-the-wall script that peels away convention and makes the audience gasp at how ridiculous everything can become. Did they seriously sing God is a f***ot? Why does Nathan Lane have sewer creatures as a pet? 

The commitment to making a technically competent musical is admirable. The sets are eye-popping; the songs are catchy; the colors are vibrant. The dancing - albeit not ground breaking - is still better than most modern musicals. The main downside is that the film can be too reliant on low-brow humour and the story can meander in the middle. 

Dicks: The Musical won the Midnight Madness award at the Toronto International Film Festival and it's no wonder why. This film was a big risk, its infringement on good taste could have made audiences groan, but thankfully it works as a whole. 

Working Girls (1986) Review

Title: Working Girls 

Year: 1986
Director: Lizzie Borden
Country: US
Language: English

Winner of a Special Jury Prize at the 1987 Sundance Film Festival, Working Girls (1986) gives us a unique perspective on the world's oldest profession. Far from the typical Hollywood picture, this film gives us a humanist perspective that allows us to empathize with a group that is constantly villainized in mass media. 

The film is a day in the life of Molly (Louise Smith), a queer New Yorker who makes rent taking shifts at a private brothel. 

Working Girls (1986) is funny, dramatic, dark and honest. It is an intimate look at prostitution; director Lizzie Borden calls it "narrative fiction" as it has a cinema-verite style of documentary feel despite being fiction. It does not glamourize prostitution - nor does it serve as a warning against it- as Borden shows life from the workers' perspective. 

Borden's Working Girls strips prostitution of its social stigma and makes it feel similar to a monotonous office job. It's a proactive take that dismantles typical gender politics and offers a new perspective on sexuality. The directing and screenwriting stand-out; I particularly like the slow-burn character development of Molly. 

Working Girls is a breezy film that had me captivated throughout its run-time. It was quite bold in its subject matter; I'm surprised this film was able to be made in the late eighties considering how conservative that decade is known to have been. 

Ladies in Retirement (1941) Review

Title: Ladies in Retirement
Year: 1941
Director: Charles Vidor
Country: US
Language: English

Directed by Charles Vidor, Ladies in Retirement (1941) is a gothic melodrama noir, much like Alfred Hitchcock's Rebecca (1940).  It blends noir elements with old-school horror, and has a gothic aesthetic in its cinematography. I enjoy Vidor's films (Gilda) and I'm a big fan of Ida Lupino (Lust for Gold) so I decided to check this out. 

The housekeeper (Ida Lupina) to a retired actress tries at the same time to look after her own two emotionally disturbed sisters, with dramatic results.
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Ladies in Retirement stands out for its use of lighting. The shadows accent each actors' face, and like a lit mask reveals their intentions and inner thoughts. Ida Lupino's typically beautiful eyes are now a window into her tormented soul. 

Skillful cinematographer George Barnes and Art Director Lionel Banks add to a haunting atmosphere by setting up odd twisted interior settings, as well as foreboding surreal exteriors. The film's shots - of dense fog and staircases that go nowhere- give us an uneasy feeling throughout the run-time.

Ladies in Retirement is a well-made picture that, at least to my knowledge, is under-appreciated in modern times. We should be talking about this film a lot more as it is both entertaining and impressive on a technical level. 

Lust for Gold (1949) Review

Title: Lust for Gold
Year: 1949
Director: Sylvan Simon
Country: US
Language: English

Based on the book Thunder God's Gold by Barry Storm, Lust For Gold (1949) opens with a short note from the Governor Arizona stating that the ecents in this picture are loosely based on a true story. The legend of the lost loot has been quite embellished throughout the years, but the picture suggests it's still possible to find this treasure. 

Fortune seeker Barry Storm (Glenn Ford) stumbles onto some clues that may lead him to the fabulous Lost Dutchman Mine, but others have tried and been murdered.

Lust For Gold is a film noir hidden in a Western. It has all the film noir tropes; a femme fatale (Ida Lupina), murder. deceit, greed, pessimism and a flawed protagonist. Well written and well directed, the picture keeps you on your toes as it fills its run-time with melodrama, suspense and shocking moments. 

Cinematographer Archie Stout fills the screen with breathtaking cinematography, including an action packed climax on a thrilling cliff-side. The score adds to the dramatic weight of the picture. Ida Lupina steals every scene she's in as a villainous and greedy woman.

The picture is not on the level of Treasure of the Sierra Madre (1949), but it is quite a decent achievement. Lust for Gold meanders in the middle, but picks up steam and is ultimately fairly satisfactory viewing. 

An American in Paris (1951) Review

Title: An American in Paris
Year: 1951
Director: Vincente Minelli 
Country: US
Language: English

My goal to watch every Best Picture Winner, from 1928-2023, concludes with An American in Paris (1951). I love musicals, I love Gene Kelly (see: Young Girls of Rocheforte) so I planned to end this series on a bang rather than a whimper. I was certainly excited to watch this song-and-dance film. 

Jerry Mulligan (Gene Kelly) , a struggling American painter in Paris, is "discovered" by an influential heiress with an interest in more than Jerry's art. Jerry in turn falls for Lise (Leslie Caron), a young French girl already engaged to a cabaret singer.

The film's cinematography, by Alfred Gilks, captures the enchanting beauty of this fairytale-like film. The technicolor, which was used sparingly in the early 50's, marvels us with its impressive soiree of vibrant, appealing colors. The exquisite set design perfectly blends fantasy and reality, giving us a truly artistic masterwork. 

The combination of Gershwin's music and screenwriter Allan Lerner's lyrics prove to be a success in American in Paris. Vincente Minnelli's directing is in top form, as is Gene Kelly and Leslie Caron's choreography. The film's climax is a 17 minute ballet sequence; a huge production! An lesser team would have stumbled, but everyone working on this film managed to be on top of their game. 

Is it my favourite musical to win "Best Picture"? No. I do love West Side Story (1961) and Oliver! (1968) more. I do love An American in Paris' story, but I won't find myself mindlessly humming the tunes from this film. A five star musical needs songs that you have trouble getting out of your head. 

Wings (1927) Review

Title: Wings
Year: 1927
Director: William Wellmann
Country: US
Language: English

On May 11th, 1927 MGM studio head Louis B.Mayer hosted a dinner,  where he invited 36 prominent industry figures to discuss the creation of an organization that could address concerns related to cinema. During the dinner the Academy of Motion Picture Arts and Sciences, was proposed. The first Academy Awards took place two years later, with Wings being the first film to win the coveted "Best Picture" Oscar. 

Two young men, one rich, one middle class, who are in love with the same woman (Clara Bow) , become fighter pilots in World War I.

Wings was a pioneer in action cinematography. For the film, cameras were rigged to the plane and strapped to the engine cowling. These cameras were far more compact and versatile than the more commonly used ones. Thirteen cameramen were used to create the pictures' imaginative and awe-inspiring shots. 

Wings is quite a spectacle, an epic in its scope. The director used 60 planes and 3,500 extras - all of whom were real soldiers.  Massive acres of land were allowed to be used - plenty of room for the real airplane crashes & real bombs to be set off. 

The cast had no prior flight experience, but were required to learn how to become pilots for this film. They also had to act, roll the camera and communicate with ground personnel while flying.  It was an incredibly dangerous set that proves just how much dedication everyone involved had to their craft. 

The script has more to be desired; the romantic triangle aspect meanders a little bit. The bubble scene goes on for a bit too long. A shorter run-time would have improved this film. It's a fine film overall that deserves a viewing due to its technical importance in cinematic history.