Category Archives: Drama

#193 Favorite Film, 2007 Films, British, David Cronenberg, Drama, Favorite Film of the Year, Mob, Naomi Watts, Tatiana Maslany, Top 250 Films, Viggo Mortensen, Vincent Cassel

Eastern Promises-2007

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Eastern Promises-2007

Director David Cronenberg

Starring Viggo Mortensen, Naomi Watts

Top 250 Films #193

Scott’s Review #205

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Reviewed December 15, 2014

Grade: B+

Eastern Promises is a 2007 Russian mafia thriller directed by David Cronenberg (The Fly, A History of Violence) that stars Viggo Mortensen, Naomi Watts, and Vincent Cassel.

The film is an uneven experience, seemingly meshing two stories together- one fascinating, one unnecessary.

Watts plays a British-Russian midwife named Anna, who works at a London hospital. She attempts to find the family of Tatiana, a fourteen-year-old girl who dies during childbirth leaving a diary written in Russian along with her newborn.

Anna struggles to unravel the mystery surrounding the girl which ends up involving the mafia.

Mortensen plays Nikolai, the mysterious chauffeur to crime lord Semyon, and Cassel plays Kirill, the disturbed, alcoholic son of Semyon.

The plot segues into a story of a somewhat relationship between Nikolai and Anna that is not quite romantic and also a much more intriguing relationship between Nikolai and Kirill as a brotherhood of sorts develops between them.

This relationship is complex- Kirill wants Nikolai to prove he is a straight male by having sex with one of several female prisoners he and his father keep as part of a sex trafficking group.

During this scene, and a few others, the two men seem close, almost too close, given the sexual nature of what is happening during the scene, so this relationship is left vague, but intriguing nonetheless.

The latter story holds more interest to me, whereas the former seems contrived and rather uninteresting. Was the intention of the film to imply a romantic interest between Anna and Nikolai?

I found zero chemistry between the two and wondered if the audience was supposed to root for them as a couple or not.

The four principal characters in Eastern Promises are interesting to unravel. I found the characters of Nikolai and Kirill complex and interesting.

Not so much with the character of Anna. Why did I not find her so compelling? Besides a skimmed over the mention of how she lost a baby what vested interest did she have in mixing with the Russian mafia and putting her mother and uncle in harm’s way?

Sure, anyone would want to find an orphaned baby’s family, but why not just call the police? This seems like a large plot hole. Conversely, Nikolai is a fascinating, layered character played wonderfully by Mortensen.

What are his true motivations? Is he a good guy or a bad guy? His attempts at being accepted by Semyon and the family to join the mob family make him seem dangerous- but his kindness towards one of the Ukrainian prostitutes is sweet.

Kirill is a despicable character, but what is his sexuality? Does that make him get so drunk and angry? How does one explain his conflict over the baby shifting his character too sympathetic?

Ultimately, Nikolai and Kirill are complicated- Anna and Semyon are more one-note.

I would have preferred the story solely revolve around the mafia family and the Godfather-type scenes, specifically the two throat-slashing scenes violently done, and perhaps leave out Watts’s character and story altogether.

A gritty scene that takes place in a steam room pits Nikolai against two rival mafia men. The scene is long and intense. Mortensen performs the scene completely naked, which adds to the rawness and the brutality of the fight.

It is one of the most masculine scenes I can remember watching.

At times compelling, but riddled with plot holes and requiring some suspension of disbelief, Eastern Promises (2007) is an entertaining Russian mafia film that remains a decent watch.

Oscar Nominations: Best Actor-Viggo Mortensen

#194 Favorite Film, 1975 Films, Art, Drama, Giancarlo Giannini, International, International Drama, Italian, Lina Wertmüller, Top 250 Films

Seven Beauties-1975

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Seven Beauties-1975

Director Lina Wertmüller

Starring Giancarlo Giannini, Shirley Stoler, Fernando Rey

Top 250 Films #194

Scott’s Review #1,364

Reviewed June 3, 2023

Grade: A

Italian Director Lina Wertmüller was the first female ever nominated for the coveted Best Director Oscar. She did not win the award but the nomination is a bold victory for women artists in 1975 and a testament to her visionary approach to filmmaking.

With Seven Beauties (1975) she tackles the painful subject of concentration camps during World War II with artistic merit and a powerful message of survival by her lead character, Pasqualino, brilliantly played by Giancarlo Giannini.

Through Pasqualino’s backstory, Wertmüller provides comic relief and a sizzling Italian style. This counterbalances the terrifying German elements with cultural and sometimes humorous sequences set in Italy. Pasqualino’s family hijinks are explored.

Back in 1930s Italy, Pasqualino is a struggling low-level Sicilian thug who accidentally kills a man who disgraced his unattractive and vulnerable sister Concettina (Elena Fiore). He escapes imprisonment by joining the military but goes AWOL when things get too severe.

Eventually, Pasqualino is captured and sent to a concentration camp where he vows to do anything to survive. He attempts to seduce an evil and obese female German camp commander (Shirley Stoler) but this comes at a deadly price.

I’ll argue that Stoler should have received a Best Supporting Actress Oscar nomination. Her callous nature only deepens as her character is peeled back and Pasqualino’s hope that she has a glimmer of kindness in her is dashed. She is one of the best screen villains of all time.

Seven Beauties is an art film with gorgeous visuals especially potent in the concentration camp and surrounding forest. The greyness of the camp is perfectly opposite the pizazz of Italy.

As Pasqualino and comrade Francesco wander around the looming German forest the camera points upwards to the sky in a blurry and dizzying form.

At the start of the film, black and white footage of World War II encompasses the screen, and slivers of the tyrants Mussolini and Hitler are displayed.

If not for the macabre dark humor we see in Italy, Seven Beauties might be too much of a downer. Pasqualino’s seven sisters are unattractive and one is living the life of a struggling stripper and prostitute. He also manages to cleverly chop a body to bits and stuff the body parts into suitcases.

Back in Germany, the scenes between Pasqualino and the female commander are frightening. He is forced to provide sexual pleasures in exchange for his survival but when she callously orders him to select six mates to be executed her viciousness is apparent.

Giannini is a fabulous actor and heartbreakingly reveals Pasqualino’s vulnerabilities as the film plows forward. His good-natured innocence is lost forever and the man he winds up as is darker.

But the caveat is that the character is never purely good but rather layered in complexities. Always, Giannini emotes deep expressionism through his powerful green eyes.

Similarities between Seven Beauties and Fellini’s Amarcord (1973) or Fellini’s Roma (1972) are evident. Had I not known Wertmüller directed the film I would have thought Fellini had. This is more so because of the Italy sequences featuring a bevy of zany, homely characters which adds flavor and humor.

Fernando Rey, well-known for playing the villain in The French Connection (1971) appears as a doomed prisoner who ends up in a large tub of shit rather than suffer a forced execution.

The executions are sob-inducing as lines and lines of prisoners being callously shot and killed are tough to watch. But, the core of the film is about the viciousness of humanity and this must never be forgotten.

Wertmüller delivers a masterpiece that I’ve now seen only twice. I plan to watch this film again and again for the content to sink in more.

The comic elements of Seven Beauties (1975) never diminish or lighten the horror of the Nazi’s actions since they are not done in parallel. The back and forth between periods only add value and balance to a powerful subject matter.

Oscar Nominations: Best Foreign Language Film, Best Director-Lina Wertmüller, Best Actor-Giancarlo Giannini, Best Screenplay-Written Directly for the Screen

#201 Favorite Film, 1977 Films, Bernardo Bertolucci, Burt Lancaster, Donald Sutherland, Drama, Epic, Gerard Depardieu, Period Drama, Robert De Niro, Stefania Sandrelli, Top 250 Films

1900 (Novecento)-1977

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1900 (Novecento)-1977

Director Bernardo Bertolucci

Starring Robert De Niro, Gerard Depardieu

Top 250 Films #201

Scott’s Review #984

Reviewed January 28, 2020

Grade: A

An epic to rival all epics, 1900 (Novecento) (1977) is a grandiose offering of monumental proportions featuring legendary actors and created by a brilliant director.

With a running time of a whopping three-hundred and seventeen minutes in its original version, 1900 is known for being one of the longest commercially released films ever made.

The cinematography is breathtaking, and the historical values, like friendship, class distinction, and rivalry are outlined and explored in depth.

The key is to let the experience marinate and blossom with a slow and patient build.

Brilliant director Bernardo Bertolucci’s tale follows the lives of two Italian men, a peasant named Olmo (Gerard Depardieu) and landowner Alfredo, (Robert De Niro), both ironically born on January 1, 1900.

Inseparable as children, the two become estranged as their differing social status pulls them apart. Their conflicts mirror the political events in Italy, as both fascism and socialism gained prominence in the country.

Here is a bit of background on the film.

Due to its length, the film was presented in two parts when originally released in many countries, including Italy, East, and West Germany, Denmark, Belgium, Norway, Sweden, Colombia, Pakistan, and Japan.

In other countries, such as the United States, a single edited-down version of the film was released.

The latter is not the way to watch this film. I do not like severely edited films, especially in an epic such as 1900, so the full-length version is highly recommended.

The film opens on April 25, 1945, the day Italy is liberated from the fascists, and this is key to the political message Bertolucci crafts. As peasants revolt against the owner of the land, Alfredo (De Niro), and female laborers wield deadly pitchforks, the resulting ambiance is one of chaos.

We know nothing of Alfredo yet but know enough to realize he is rich and perceived as a tyrant. The natural reaction is to sympathize with them because they are oppressed.

As the film backtracks to the turn of the century, a more elegant scene emerges with the birth of two infants, Alfredo and Olmo. The sequence is sweet, both babies are bright and filled with promise.

Sadly, this is not meant to be.

A railway track is an important addition to the film and one that culminates in the climactic finale.

The most interesting aspect of the film is the dynamic development of Alfredo and Olmo as they grow. Alfredo resents his family’s wealth and sides with Olmo, a socialist. Alfredo sees his family as false and Olmo and his family as genuine.

This aspect is timeless and can be related to by any viewer with any intelligent sense of the world today. The obvious analogy of the haves and have-nots cannot be clearer in this film. Frightening, is that some have-nots are convinced they will one day become the haves.

The messages and feelings that 1900 elicited are emotional and strong. Aren’t all men created equal? On the surface they are, but Alfredo and Olmo are not equal. As the birth scene reveals and as Bertolucci makes clear, they are born with advantages and disadvantages.

These characteristics simply are what they are, and as human beings grow and learn social norms the financial differences become more robust and the humanistic connections weaker.

If the social aspects of the film or the brilliant cinematography are not enough to please a viewer, the historical lessons presented are second to none. One can revel in the political and historical excitement that existed in Europe throughout the forty-five years in which the film is set.

I wish Hollywood made more films like this.

1900 (Novecento) (1977) can be enjoyed as both a grandiose dramatic period piece, revered for its majestic and flourishing design style, or as a thought-provoking message film, about the unresolved social class distinctions that exist in the world.

I found the film a treasure that works on all levels and showcases just how good a director Bertolucci is.

This film is not his best-known work, but for fans of cinema as an art form, this is a must-see.

#203 Favorite Film, 1975 Films, Al Pacino, Charles Durning, Chris Sarandon, Drama, LGBTQ+ Drama, LGBTQ+ Films, Sidney Lumet, Top 250 Films

Dog Day Afternoon-1975

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Dog Day Afternoon-1975

Director Sidney Lumet

Starring Al Pacino, Chris Sarandon

Top 250 Films #203

Scott’s Review #185

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Reviewed October 13, 2014

Grade: A-

Director Sidney Lumet successfully sets the smoldering hot summer afternoon in New York City for his 1975 film Dog Day Afternoon, as Al Pacino plays Sonny, an unemployed, desperate man who, while married with two kids, has a gay lover, Leon, (brilliantly played by Chris Sarandon) who he is attempting to help finance a sex change operation.

Based on a true story, Sonny, along with his dimwitted friend Sal- played by John Cazale, decides to rob First Brooklyn Savings Bank.

Predictably, their plans go awry when Sonny burns a ledger during the robbery attempt and a pedestrian sees the smoke and alerts the police.

As the police become aware of the attempted heist, a standoff ensues between Sonny and the cops, led by Detective Moretti, played by Charles Durning, and the robbery receives media coverage.

Most of the action is set inside the stifling hot bank and directly outside on the street and gradually the supporting characters come into play- the hostages, Sonny’s mother, wife, and lover all make contact with Sonny in some way or another and his motivations become clearer to the audience.

Dog Day Afternoon is a somewhat message movie that is anti-establishment, in this case, anti-police and questioning of the government and the financial establishment, (Lumet also directed Network, challenging establishment).

This is evidenced when after a standoff with police, the crowd sides with Sonny as he chants Attica! Attica!, which is a direct reference to a recent prison riot.

Sonny speaks for the working class- the poor, struggling, underpaid workers who cannot afford to feed or adequately take care of their families.

The heat and humidity compare perfectly to the pressure felt by most middle-class people that still resonates today and leaves the viewer contemplating his or her life.

Sonny relates to the bank tellers who do not make much money. Besides, Sonny is sympathetic to the audience in another way. Leon, recently hospitalized at Bellevue Hospital, is emotionally dependent on Sonny. He would be lost without him.

They share a lengthy and heartfelt phone conversation that is the heart of the film- gay romance had not been explored this way by 1975 in cinema, and the romance was neither shoved down the audience’s throat nor was it looked past entirely.

Their relationship is tender and deep, yet still somewhat ambiguous.

Would they stay together? What would become of Sonny’s wife and two children? Would he leave them for Leon in a world that was not ready to accept two homosexual men together? Is that the reason for Leon’s desire for a sex change operation?

Chris Sarandon, in too small a part, is wonderful as the gay lover, struggling with a sexual identity crisis. Al Pacino gives, per usual, a brilliant portrayal as he takes on a complex character who is far from one-dimensional.

Perhaps not a masterpiece, Dog Day Afternoon, is a very good film, but neither is it strictly a gay-themed movie nor an action/thriller- it’s more complex than that.

Ironically, Sonny is portrayed as the hero of the film as it is not a standard good police versus bad bank robber type of film- quite the contrary. It is much, much more than that.

Oscar Nominations: 1 win-Best Picture, Best Director-Sidney Lumet, Best Actor-Al Pacino, Best Supporting Actor-Chris Sarandon, Best Original Screenplay (won), Best Film Editing

#204 Favorite Film, 1964 Films, Anthony Eisley, Constance Towers, Drama, Film noir, Michael Dante, Samuel Fuller, Top 250 Films, Virginia Grey

The Naked Kiss-1964

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The Naked Kiss-1964

Director Samuel Fuller

Starring Constance Towers, Michael Dante

Top 250 Films #204

Scott’s Review #1,346

Reviewed February 25, 2023

Grade: A

A pure treat for me is seeing a film, especially a classic film, that exudes creativity and a left-of-center approach. In the 1960s, cinema films started to break away from the tried-and-true and safe, telling sinister stories of macabre and unusual human behavior.

Samuel Fuller bravely created The Naked Kiss (1964), a film that goes beyond well-meaning but straightforward offerings. Dusting off the film noir genre, it is riddled with perfections like the tarnished glitter of small-town Americana and the secrets beneath the surface.

It also dares to delve into the lustful and perverse depths of abnormal human psychology, a feat few films achieved in the old days.

The film is a B-movie with black-and-white filmmaking, enhancing its power and lurid nature.

Eager to start a new life, a prostitute named Kelly (Constance Towers) arrives in a small town but finds the sunny veneer and the residents’ cheery, wholesome dispositions to be a sham.

Kelly meets the handsome town sheriff, Griff (Anthony Eisley), and her eventual fiancé, Grant (Michael Dante), but ultimately, both men have something to hide.

Hard to believe, but we do anyway, is the haughty incorporation of a secret small-town brothel with one gorgeous prostitute after another. It is led by the evil madame Candy, portrayed by Virginia Grey.

Constance Towers easily carries the film as Kelly. Towers did not make many films, but later became well-known in theater circles before becoming a legendary villainess on the ABC daytime drama General Hospital.

Kelly is sultry yet highly learned and intelligent. She is not afraid to use her smarts to get ahead. She calculates and wisely pursues opportunities to stay on the straight and narrow while using a man or two to get what she wants and needs.

Despite this, she is kind and revels in caring for children of all colors and backgrounds. She also watches out for her fellow nurses. One of them, Buff, nearly stumbles into a life of prostitution if not for Kelly daringly describing what her new glamorous life would ultimately become.

Thanks to Towers, Kelly relays every possible emotion to the audience, from comedy to love, horror, and controlled manipulation.

I don’t think I’ve seen any other projects by director, writer, and producer Fuller, but I want to. Perhaps only a coincidence since the films were made in the same year, but comparisons to Alfred Hitchcock’s Marnie (1964) are noticed.

Kelly briskly combs her blonde hair while looking into a mirror and smirking, reminiscent of Marnie doing more or less the same in Hitchcock’s classic. Both characters are tall and leggy blondes with a secret or two to hide and damaged psyches to preserve.

They also each arrive in a new town, presumably to start over. Boldly carrying a suitcase and wearing a bright grey business suit, they proudly walk down a suburban street with possibilities ahead.

The Naked Kiss is a very progressive and feminist film.

During the first scene, Fuller shows what few directors ever would- a female character with a shaved head. Kelly has been humiliated for the last time and takes her owed $75 from her pimp. Kelly’s honest personality is revealed in this scene since she could have quickly taken $900 from him and fled.

The cagey and spiteful underbelly of suburban life is exposed. A  pointed critique of small-town hypocrisy and the exploitation of women is nearly at every turn.

Another comparison to the masterpiece The Night of the Hunter (1955) is worth mentioning since the use of child characters in haunting form appears in both films.

The theme of pedophilia is powerful and sickening, but portrayed with a warped sense of a fairy tale.

Finally, the cinematic use of harsh, glowing white light makes many characters appear angelic, which works tremendously well.

Because of Fuller’s direction and Towers’s great acting, Kelly’s character is portrayed well. As a result, we get a character study to savor and a strong female character to root for. Both aggressively champion their respective areas of expertise.

The Naked Kiss (1964) challenges the rules of early 1960s filmmaking and storytelling. It is a brave journey through humankind’s dark natures, breaking every rule as it progresses.

#205 Favorite Film, 1955 Films, Burl Ives, Drama, Elia Kazan, Epic, James Dean, Jo Van Fleet, John Steinbeck, Julie Harris, Lois Smith, Period Drama, Raymond Massey, Richard Davalos, Top 250 Films

East of Eden-1955

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East of Eden-1955

Director Elia Kazan 

Starring James Dean, Julie Harris, Jo Van Fleet

Top 250 Films #205

Scott’s Review #1,092

Reviewed December 17, 2020

Grade: A

James Dean wasn’t with us for very long, tragically dying at the tender age of twenty-four, but he made three films: Rebel Without a Cause (1955), Giant (1956), and East of Eden (1955), all-powerful showcases and unique.

Dean gives a brilliant, humanistic, and sometimes tragic performance.

East of Eden, his first film, is the only one he got to preview. I hope he liked it because it will live forever as a gem.

Based on the John Steinbeck novel of the same name, the story is also a biblical retelling of Cain and Abel, brothers who clash and spar. Director Elia Kazan, famous for supporting and using Method actors in his films, gave a tremendous performance as Dean, which was key to the film’s empathetic nature.

The key to East of Eden is that it reflects on several characters, who are both good and bad, possessing qualities of both, detailing their struggles.

Nobody is completely good or completely bad. The story analyzes good versus evil and the multitude of layers between both extremes, making the experience juicy, truthful, and brilliant.

Set in 1917, during World War I, two sunny coastal California towns are the backdrop for the action. Cal Trask (Dean) perceives his father, farmer Adam (Raymond Massey), as favoring Cal’s brother, Aron (Richard Davalos). This leads to much resentment, jealousy, and conflict. Aron is the apple of Adam’s eye, and we wonder why.

Furthering the drama is Cal’s love for Aron’s girlfriend, Abra (Julie Harris), who doesn’t rebuff any advances. Cal and Aron’s mother, Kate (Jo Van Fleet), who they think is dead, is alive and well and running a brothel in a nearby town. Assuming a different name, she harbors secrets.

Before you get the impression this is some cheesy soap opera, East of Eden, like the novel, is heavily character-driven and nuanced with development. It ultimately draws the audience in and envelops everyone in its simmering qualities.

East of Eden is packed with powerful scenes after powerful scenes, and in more than one, the allegiances and rooting values shift from character to character.

Some of the best moments are when Cal self-destructs after his father refuses his birthday gift, or when Cal cruelly reveals the true nature of their mother’s profession to the innocent and unsuspecting Aron.

Finally, Cal and Abra’s kiss atop a Ferris wheel is filled with smoldering desire and deadly consequences.

The acting was tremendous across the board. Much of the credit must go to Kazan for pulling fabulous performances out of the players, a talent only a Method acting director can achieve.

While the cast is exceptional, the film belongs to Dean, who provides enough emotion and vulnerability to sustain his character’s topsy-turvy, tortured existence. Knowing that the actor died soon after filming gives the film an eerie and sentimental feel.

This is comparable to a more modern-day example when Heath Ledger died after giving a brilliant performance in The Dark Knight (2008).

This is hardly a war film or a guy’s film, as the ladies also get to shine with rich characters. Julie Harris and Jo Van Fleet portray flawed characters in juicy roles rife with meaty scenes filled with conflict.

As with most of Steinbeck’s works, specifically The Grapes of Wrath, the landscape is a character, and East of Eden is no exception. With dusty roads and mountainous backgrounds, events ooze with atmosphere and beauty.

The lush northern coastal California landscape portrays a grandiose magnificence that counterbalances the conflict its inhabitants are experiencing.

The central note to take away from East of Eden (1955) is that we are complex creatures with a mixture of good and evil. We sometimes want to do the right thing, but in doing so, we hurt those we love. The main characters suffer from pain, regret, good intentions, poor decisions, and loss.

The rich dialogue, adaptation, acting, and cinematography make the film near perfection.

Oscar Nominations: 1 win-Best Director-Elia Kazan, Best Actor-James Dean, Best Supporting Actress-Jo Van Fleet (won), Best Screenplay

#209 Favorite Film, 1947 Films, British, David Farrar, Deborah Kerr, Drama, Emeric Pressburger, Favorite Film of the Year, Jean Simmons, Michael Powell, Top 250 Films

Black Narcissus-1947

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Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Top 250 Films #209

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, that a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The film’s look is as fantastic as its story, with incredible cinematography and a foreboding, eerie quality.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension amid a convent of nuns living in isolation.

Deborah Kerr, fantastic in the lead role of Clodagh, Sister Superior and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales, high atop the Himalayan mountains.

Scenes depict howling wind, mist, and fog in a believable manner. All sets are built and structured, and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable, given the realism, especially since the film was made in 1947.

The lighting in the film is unique, precisely the vibrant colors of the pink flowers and, later, the close-ups of Sister Ruth. A fantastic example of this is her descent into madness during the final act, as her face, maniacal yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, is the tales the film tells, which are pretty edgy for the year the film was made. Religion is always risky, and the treatment of the nuns as real human beings with actual emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr) is a fascinating study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar), while attempting to forget a failed romance during her youth in Ireland.

Meanwhile, Sister Ruth spirals out of control, leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is mainly casting white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity.

This detail is glaring because the makeup used is not overly convincing, and the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl whom the Prince becomes infatuated with in a subplot, is incredibly guilty.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything—drama, thrills, intrigue, gorgeous sets, lavish design, and even a bit of forbidden passion—and brilliantly executes all aspects of the film.

A film admired by critics and directors throughout the ages and explicitly championed by Martin Scorsese, it has the unique quality of getting better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)

#210 Favorite Film, 1968 Films, Beryl Reid, British, Coral Browne, Drama, LGBTQ+ Drama, LGBTQ+ Films, Robert Aldrich, Susannah York, Top 250 Films

The Killing of Sister George-1968

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The Killing of Sister George-1968

Director Robert Aldrich

Starring Beryl Reid, Susannah York

Top 250 Films #210

Scott’s Review #228

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Reviewed March 13, 2015

Grade: A-

The Killing of Sister George is a British film drama, adapted from a 1964 stage production that was a risky subject matter to tackle for the times- lesbianism- in the late 1960s.

Directed by Robert Aldrich, well known for Whatever Happened to Baby Jane, The Killing of Sister George is a similarly dark tale of loneliness, desperation, and an actress who falls from former grace and success into despair, confusion, and anguish.

It also has some witty, crackling, comedic moments to avoid being a true downer.

Sister George is a successful, well-regarded actress on a popular soap opera named Applehurst. Her character is the wholesome presence in a town fraught with manipulation and drama. She is the moral focal point of the show.

In real life, however, George (interestingly called by her character’s name), is troubled.

She is bitter, angry, and a person with alcoholism, and she frequently berates and even abuses her partner, Childie, played by Susannah York. A third central character in the film is TV Producer Mercy Croft, who is powerful and confused about her sexuality.

When the soap opera powers-that-be decide to kill off the beloved Sister George, the real George’s life begins to spiral out of control.

As enjoyable a film as it is and certainly featuring the competent talents of Beryl Reid in the title role, I cannot help but ponder and fantasize how wonderful the casting of Bette Davis- reportedly considered for the role and inexplicably not cast- would have been.

Davis, famous for playing grizzled, mean, unsympathetic characters, would have knocked this role out of the park, and, sadly, she did not have the chance.

At its core, the film is a sad character study of one woman’s pain and anguish at being discarded. Presumably unable to be hired anywhere else, her soap opera character is her life.

She loves Childie but is not entirely fulfilled by her, either, and the vibrant, polished Mercy threatens that relationship.

This is an interesting triangle as George does not always treat Childie well, but loves her all the same. Childie is a simple character, childlike, and needs a strong mate to counter-balance the way she is- someone to take care of her.

Without a job or prospects, this would be difficult for George. Does Childie love George or want a meal ticket?

The film is understandably rated X for content, presumably for a very explicit sex scene between Mercy and Childie, and when a drunken George molests two nuns in the back seat of a London taxi cab.

These scenes are both cutting-edge and admirable in their risk-taking.

The scene set at the real-life London lesbian club (the Gateway Club) and featuring mostly real-life lesbians is excellent. It provides a real-life glimpse into the gay/lesbian world and lifestyle during the period.

A brave, groundbreaking, risk-taking film with bravura direction from Aldrich, The Killing of Sister George (1968) is a forgotten gem that needs to be rediscovered by film fans everywhere and is an early journey into gay and lesbian cinema.

#212 Favorite Film, 1969 Films, Barnard Hughes, Best Picture Oscar Winners, Brenda Vaccaro, Drama, Dustin Hoffman, Jennifer Salt, John McGiver, John Schlesinger, Jon Voight, M. Emmet Walsh, Ruth White, Sylvia Miles, Top 250 Films

Midnight Cowboy-1969

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Midnight Cowboy-1969

Director John Schlesinger

Starring Dustin Hoffman, Jon Voight

Top 250 Films #212

Scott’s Review #24

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Reviewed June 17, 2014

Grade: A

Midnight Cowboy is a masterpiece from 1969 that remains the only Best Picture Oscar winner to be rated “X” and, sadly, would probably not be made today.

It tells the tale of a friendly, trusting cowboy who moves from Texas to New York City and is challenged to survive the brutal streets any way he can.

Throughout the film, he meets several interesting, unsavory characters and experiences life in the bowels of NYC as drug use and prostitution are explored.

I did not find this to be as much of a downer as many others did, but rather a story of survival.

The grittiness of NYC is wonderfully portrayed, with many locales featured (Times Square).

Jon Voight and Dustin Hoffman are exceptionally cast and have great chemistry, though the film is by no means a “buddy movie”.

Sylvia Miles has a memorable one-scene feature.

It’s bleak, raw, and intense at times, and Midnight Cowboy (1969) is great filmmaking.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-John Schlesinger (won), Best Actor-Dustin Hoffman, Jon Voight, Best Supporting Actress-Sylvia Miles, Best Screenplay Based on Material from Another Medium (won), Best Film Editing

#213 Favorite Film, 1930 Films, Best Picture Oscar Winners, Drama, Favorite Film of the Year, George Abbott, Lew Ayres, Lewis Milestone, Top 250 Films, War

All Quiet on the Western Front-1930

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All Quiet on the Western Front-1930

Director Lewis Milestone

Starring Lew Ayres

Top 250 Films #213

Scott’s Review #820

Reviewed October 12, 2018

Grade: A

All Quiet on the Western Front (1930) is one of the oldest films I have seen. It is a masterpiece that resonates in present times just as much as it did nearly one hundred years ago.

The work of art presents an astounding Anti-war message that is a timeless lesson in humanity, idealism, and despair.

Based on the banned novel by Erich Maria Remarque, much of the action takes place on the front lines during World War I.

The cameras follow an anxious group of spirited young men as they sit in a classroom and listen to a passionate speech given by their professor.

He is pretty “pro-war,” instilling patriotism in the boys and emphasizing the importance of serving the Army and their country. At his urging, the group, led by Paul Baumer (Lew Ayres), joins the Second Company. Once enlisted, the youths are enlightened that war is not fun, and their romantic delusions are smashed.

Paul is the film’s hero, and events are told through his eyes, offering his perspective. Beginning as a young recruit, he ages quickly and sees friends and allies slaughtered senselessly.

One recruit, frightened to death, is blinded by shrapnel and hysterically runs into machine-gun fire, resulting in his death. Other scenes involving the soldiers forced to go without food only to finally be offered more food, simply because there are so many dead, are heart-wrenching.

Paul is portrayed as a good man, conflicted by how he is supposed to feel towards the enemy and how he sees people as human beings. At the young age of nineteen, he possesses an innocence toward the world.

When he returns home on leave, the townspeople do not acknowledge the ravages of war. When Paul recounts the brutal situations on the front line, he is derided as a coward.

In an excruciating scene, Paul is trapped overnight in a foxhole with a dying French soldier whom Paul has stabbed in a cemetery. He desperately tries to save the man’s life, but to no avail.

In this crucial scene, Paul sees the enemy soldier as a human being rather than someone to hate. He crumbles into tears for the dead soldier, begging him to speak. The scene is incredibly poignant and meaningful.

The final scene of All Quiet on the Western Front is lovely and memorable. It is the film’s most remembered scene and is firmly ensconced in cinematic history.

As a wounded Paul lies hiding from German soldiers, he spots a beautiful butterfly peacefully circling. Paul smiles, enamored with the pretty creature amid all the horror. He desperately tries to reach for the gorgeous insect.

What happens next is heartbreaking and fraught with the unfair ruining of life—the scene is of the utmost importance.

The film is both sad and poignant, as we are well into the twenty-first century, and wars continue.

Have we learned nothing?

Director Lewis Milestone brazenly and tragically paints a portrait of war’s foolishness and the senseless loss of life it results in. It is tough to think of an equivalent film that depicts this message more clearly.

Many European leaders and countries, including Germany’s Adolf Hitler, banned All Quiet on the Western Front throughout the 1930s and 1940s.

The film has remained controversial in its blatant depiction of war since its release.

All Quiet on the Western Front (1930) is a groundbreaking film that should remind us how precious life is.

The novel and film were both made after World War I—how profound to think that since this film was made, wars such as World War II, the Korean War, and the Vietnam War have occurred. Is war ever really the answer?

Anyone who watches this terrific film will find out.

Oscar Nominations: 2 wins-Best Picture (won), Best Director (won), Best Writing, Best Cinematography

#219 Favorite Film, 1946 Films, Christmas, Donna Reed, Drama, Frank Capra, Gloria Grahame, Henry Travers, James Stewart, Lionel Barrymore, Thomas Mitchell, Top 250 Films

It’s a Wonderful Life-1946

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It’s a Wonderful Life-1946

Director Frank Capra

Starring James Stewart, Donna Reed

Top 250 Films #219

Scott’s Review #863

Reviewed February 5, 2019

Grade: A-

A popular holiday tradition in many households eager to cozy up in front of the fire with an enduring and entertaining classic, It’s a Wonderful Life (1946) serves an essential purpose. It is the ultimate annual festivity passed down through generations.

While not one of my standards, I recognize the influence and the endearment the film offers and cannot fault its power to bring people together with its humanistic and sweet message.

James Stewart is perfectly cast as the wholesome and likable George Bailey. He strives to help all those in his small community who need help, often at the expense of his own well-being.

Depressed by the failure of his bank on Christmas Eve in 1945, in the snowy locale of Bedford Falls, New York, George is visited by a guardian angel named Clarence (Henry Travers), who teaches him what life will be like if he chooses the dire path of ending his own life.

Along with Stewart, Donna Reed as the wife, Mary Hatch Bailey, is cast exceptionally well and is the perfect counterpart to George.

Together, the actors immerse themselves in their roles, holding their heads high as the leaders of the sleepy little town they reside in, and set an example for the other townspeople with their kindness and thoughtfulness.

A sound “king and queen of the prom,” the duo radiates and elicits tears from audience members living vicariously through the couple.

A perfect companion piece to A Christmas Carol, perhaps the version from 1951, for similar periods, both spirited and teaching life lessons, is recommended.

Both are thematically similar in the visitation by a heavenly spirit and offering glimpses into the past, present, and future; the comparisons are endless, to say nothing of the Christmastime elements both possess.

Arguably, It’s a Wonderful Life is the most uplifting, both in good and bad ways. The lesson constantly voiced is that if one is good to others, one will be rewarded or at least have peace of mind.

This is not a bad lesson, which is the main reason for the film’s lasting appeal. Bad luck and financial hardship will inevitably affect everyone, but kindness is forever enduring.

It’s also worth mentioning the timing of the creation and release of It’s a Wonderful Life. As the United States, to say nothing of many European nations, struggled to pick up the pieces after the devastation of World War II, the picture was opportune to immerse itself in the lives of many people who needed a strong and uplifting message.

No wonder the film was popular when it was first released as the feel-good film of 1946.

The black-and-white cinematography does wonders to portray the film’s magical atmosphere. The high points are the cold and snowy bridge scenes.

Controversial years later was the colorization, and some would say the ruination, a decision that was met with anger by star Stewart, who went as far as testifying in court to voice his displeasure.

At the risk of being raked across the coals and deemed a “Scrooge”, portions of It’s a Wonderful Life are saccharin and manufactured in the utmost goodness, sometimes too good.

Admittedly, the characters of George, Mary, and their children come across as somewhat trite at times, as they seem to radiate only benevolent characteristics, never engaging in improper or impure actions. In a fantasy film, the overly humanistic approach can sometimes be a tad silly.

The same can be said for the angel, Clarence.

Nonetheless, films such as It’s a Wonderful Life (1946) serve their purpose in cinema history.

With a robust and heart-warming message, the positive vibes cannot be denied, and the warmth and emotion the film possesses radiate even the coldest hearts and the harshest of critics, willing to accept and be enraptured by the film’s staying power.

Oscar Nominations: Best Motion Picture, Best Director-Frank Capra, Best Actor-James Stewart, Best Sound Recording, Best Film Editing

#228 Favorite Film, 1976 Films, Beatrice Straight, Comedy, Conchata Ferrell, Dark Comedy, Drama, Faye Dunaway, Ned Beatty, Peter Finch, Robert Duvall, Satire, Sidney Lumet, Top 250 Films, William Holden

Network-1976

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Network-1976

Director Sidney Lumet

Starring Faye Dunaway, Peter Finch, William Holden

Top 250 Films #228

Scott’s Review #1,481

Reviewed May 13, 2025

Grade: A

A conceptual film laden with intelligence and satire, Network (1976) is innovative, not easily digestible, but satisfying nonetheless. It pairs well with films like All the President’s Men (1976) or Spotlight (2015), with a focus on media frenzy, ratings, and the frustrating search for the truth amid chaos.

Or, does the truth even matter? It’s a sobering question the film explores.

The film received nine Oscar nominations and won three of the four acting awards. Decades later, it holds up tremendously well and is a stark reminder of the power of television and public perception, for better or worse.

Brilliant acting, rich writing, and impressive editing make Network a timeless treasure for many generations, not to mention Lumet’s creative and sometimes shocking direction.

Over narration, we meet veteran news anchorman Howard Beale (Peter Finch). He learns from his friend and news division president, Max Schumacher (William Holden), that he has just two more weeks on the air with the UBS network because of declining ratings.

After threatening to shoot himself on live television, instead, he launches into an angry televised rant, which turns out to be a huge ratings boost for the network, and he is kept on for entertainment purposes.

But what happens when the public grows tired of his antics and craves even more outrageous programming?

Ambitious producer Diana Christensen (Faye Dunaway), obsessed with her career and ratings, takes actions to dangerous new levels.

The poignancy that immediately caught my attention was how little the bottom line has changed in almost fifty years of television since Network was released. One could argue that things have gotten worse where ratings will make or break a television broadcast.

Depressing still is the knowledge in 2025 politics where liars, cheats, and felons callously hold the highest offices and wield the most power, newscasts are currently created based on the truths their target audiences believe, regardless of the truth.

Lumet, well-known for creating the groundbreaking Dog Day Afternoon (1975) just a year earlier, uses split screens to show four perspectives and adds frightening gun-toting rebels who are angry and looking to make political statements.

But Diana needs them for a significant ratings share.

Lumet’s sequences teeter between long soliloquies in which characters reveal their deepest motivations and emotions and rapid-fire editing involving shootings and bank robberies.

I loved seeing the 1970s-style corporate offices with retro telephones, notepads, pens, pencils, stylish carpets, and colorful elevators. The glamorous and polished interiors perfectly reflect the gorgeous Manhattan skyline seen in numerous sequences.

The lavish restaurants and strong cocktails provide a luminous texture to the time.

The screenplay, written by Paddy Chayefsky, was based on the idea of a live death as his film’s terminating focal point, to say later in an interview, “Television will do anything for a rating… anything!”

The statement hit home in frigid reality.

Dunaway and Finch are clear favorites and provide the deepest character structures. Dunaway’s Diana is frigid and opportunistic, providing no vulnerability or sympathy from the audience. In a way, she is not a human being, lacking emotional depth.

I half expected her to tear her face off and reveal herself as a fembot.

Finch steals the show as the tired and depressed veteran who feels dismissed and forgotten. Even when he reveals his intent to commit suicide on live TV, the news crew tunes out his monotone voice as they do nightly.

Finally, Beatrice Straight brilliantly delivers an acting 101 tutorial as the aging housewife being cheated on by her philandering husband.

One miss is Robert DuVall in a one-note performance we’ve already seen him deliver.

Network (1976) is a top-notch film from my favorite decade in cinema. The 1970s produced many meaningful and introspective gems, and Network is one of them.

Oscar Nominations: 4 wins-Best Picture, Best Director- Sidney Lumet, Best Actor- Peter Finch (won), William Holden, Best Actress- Faye Dunaway (won), Best Supporting Actor- Ned Beatty, Best Supporting Actress- Beatrice Straight (won), Best Original Screenplay (won), Best Cinematography, Best Film Editing

#229 Favorite Film, 1969 Films, Drama, Federico Fellini, Hiram Keller, International, International Drama, Italian, Martin Potter, Top 250 Films

Fellini Satyricon-1969

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Fellini Satyricon-1969

Director Federico Fellini

Starring Martin Potter, Hiram Keller

Top 250 Films #229

Scott’s Review #530

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Reviewed November 30, 2016

Grade: A

Fellini Satyricon (1969) is a fascinating experience and is a great film. Still, only for the very broad-minded and patient viewer- it is more of an “experience” than watching a conventional start-to-finish type finish.

It is nothing of that nature.

I both loved the trip and was fascinated by the creativity and depth of it- dreamlike is a word that immediately springs to mind.

The story does not make perfect sense, nor does it need to. The fact that it is set some two thousand years ago is, in itself, fantastic, as the sets are filled with decadent imagination.

The film is certainly not for everyone and is a fairy tale for adults.

It tells of a journey through Ancient Rome and is divided into nine chapters. A scholar (Encolpius) and his friend (Ascyltus) traverse the land in the hopes of winning the heart of a young boy (Giton).

They are both in love with him, and the topics of bisexuality, public sex, slavery, and brothels are explored.

I love Fellini films because they are wild, dreamlike, and fantasy-like, with odd characters.

Is Fellini’s Satyricon strange? Absolutely. But that is to its credit- this film is highly imaginative and wild, and will leave one pondering its beauty afterward.

Oscar Nominations: Best Director-Federico Fellini

#231 Favorite Film, 1951 Films, Drama, Elia Kazan, Karl Malden, Kim Hunter, Marlon Brando, Top 250 Films, Vivien Leigh

A Streetcar Named Desire-1951

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A Streetcar Named Desire-1951

Director Elia Kazan

Starring Marlon Brando, Vivien Leigh

Top 250 Films #231

Scott’s Review #872

Reviewed March 2, 2019

Grade: A

A Streetcar Named Desire (1951) is an adaptation of Tennessee Williams’s dark and dreary Broadway play. The stellar cast includes three of the four original members of the stage version who brought the film to the big screen.

Tremendous acting and a morbid southern setting will leave the viewer transfixed and wondering what chaos and drama will next unfold. The story is sad, pitiful, and quite heavy as each character suffers guilt, resentment, rage, or regret, but these elements make the film a pure classic.

Aging southern belle Blanche DuBois (Vivien Leigh) has lost her valuable southern plantation and flees her aristocratic livelihood to New Orleans to live with her working-class sister Stella (Kim Hunter) and brother-in-law Stanley Kowalski (Marlon Brando).

Unhappy, Blanche immediately begins acting snobbish compared to regular people and offends many with her prim and proper manners.

Stanley feels slighted by Blanche, who is convinced she is keeping Stella’s inheritance. This leads to conflict. Stanley meets Mitch (Karl Malden) and may have a shot at happiness.

Blanche is the most painful and well-dissected character. A fun fact is that Leigh is the only Actor among the principal four who did not appear in the original stage version, where Jessica Tandy played the role.

Leigh was undoubtedly cast because of her star power at the time. She dives full steam ahead into the role, delivering the perfect blend of pathos and courage while adding the most complexity.

Reduced to a life among the poor and struggling, the reality is harsh for the once-wealthy heiress who has lost all her money through no fault of her own, her estate taken by creditors after her husband’s tragic death, assumed to be suicide.

Almost as complicated is Stanley, played stunningly by Brando, an actor who, with this film, was beginning to embark on Hollywood success that would surround him throughout most of the 1950s.

The most prominent film cover art features a tee-shirt-clad Brando, his muscular arms and torso on display, and his smoldering bad-boy pose. The sexual tension between Stanley and Blanche is undeniable, as their love/hate relationship is filled with unbridled passion.

Their carnal attraction is mainly due to the brutish masculinity that Brando exudes on camera.

The combined supporting performances by Kim Hunter and Malden are almost as complex as the leads, and they are just as important to recognize.

Hunter portrays Stella as wounded and put-upon, yet not weak. She has strength but is unsure who to trust or whether to leave her husband. Malden plays Mitch as benevolent and trusting, enamored with Blanche until her secrets are finally revealed.

Heartbroken, even he, the kindest character in the group, is left unhappy. Malden excels at imbuing Mitch with an everyman and graceful quality.

Who can ever forget the poignant and melancholy wails of “Stella! Stella! Stella!” emitted by the tragic Stanley, a moment forever remembered in cinematic history? He longingly begs for Stella’s forgiveness as he looks towards the sky.

The suggested rape, although not shown, is a powerful tidbit and controversial in the film for 1951. The audience not seeing the action is arguably as intense as having seen it, as the imagination can often be more prominent.

The black-and-white cinematography adds emotional treasures. It captures the bleak life in New Orleans, and the characters’ struggles and hardships are wonderfully portrayed.

The run-down tenement where most of the film takes place is dour, suffocating, and dingy, perfectly enveloping the characters’ lives.

Hopelessness and depression are commonalities as director Elia Kazan creates a film that grasps his audience and never lets go.

A Streetcar Named Desire is about conflict, pain, and the human desire for love and feeling thwarted by realism and dire circumstances.

Each of the four characters can be dissected, sympathized with, and is worthy of discussion. This only proves the complexities of each.

I challenge a good comparison to Who’s Afraid of Virginia Woolf? (1966) and A Streetcar Named Desire have similar qualities.

The film set an Oscar record when it became the first film to win in three acting categories (a feat only since matched by Network in 1976).

It won awards for Actress in a Leading Role (Leigh), Actor in a Supporting Role (Malden), Actress in a Supporting Role (Hunter), and Art Direction.

A Streetcar Named Desire (1951) is not an easy watch, but it is assuredly a feast of excellent acting and heartbreaking, wounded characters.

Oscar Nominations: 4 wins-Best Motion Picture, Best Director-Elia Kazan, Best Actor-Marlon Brando, Best Actress-Vivien Leigh (won), Best Supporting Actor-Karl Malden (won), Best Supporting Actress-Kim Hunter (won), Best Screenplay, Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White, Best Costume Design, Black-and-White

#232 Favorite Film, 1960 Films, Art, Drama, Gabriele Ferzetti, International, International Drama, Italian, Lea Massari, Michelangelo Antonioni, Monica Vitti, Top 250 Films

L’Avventura-1960

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L’Avventura-1960

Director Michelangelo Antonioni

Starring Gabriele Ferzetti, Monica Vitti

Top 250 Films #232

Scott’s Review #1,167

Reviewed July 30, 2021

Grade: A

L’Avventura (1960) is similar to the horror masterpiece Psycho (1960), released the same year. However, they are not exactly opposite on the surface.

One is an American horror film directed by an esteemed British director, and the other is an Italian art film. What do they have in common?

Forgetting that the former is not a horror film, L’Avventura first introduces a character that the audience is particular to be the main character, only to pull a switcheroo midstream and make other characters the central protagonists.

What Janet Leigh’s Marion Crane was to John Garvin, Vera Miles, Sam Loomis, and Lila Crane in Psycho.

Be that as it may, as an interesting if not wholly odd comparison, L’Avventura is a brilliant film and not just for the story alone. Black and white cinematography of the grandest kind transplants the film viewer to a fabulous yet haunting island where the events occur.

Frequent shots of the gorgeous Mediterranean Sea and its roaring waves pepper the action.

In Michelangelo Antonioni’s classic of Italian cinema, two beautiful young women, Claudia (Monica Vitti) and Anna (Léa Massari), join Anna’s lover, Sandro (Gabriele Ferzetti), on a boat trip to a remote volcanic island.

They plan to spend their time cruising, resting, and relaxing on the Mediterranean. The trio is all good-looking and resides on the outskirts of Rome. They join two wealthy couples and depart on their excursion,

A search is launched when Anna suddenly disappears on an island stop. Meanwhile, Sandro and Claudia become involved in a romance despite Anna’s disappearance, though the relationship suffers from the guilt and tension brought about by the looming mystery.

Their relationship is intriguing, given their roller-coaster emotions. Their burgeoning romance and Anna’s disappearance overlap.

Assumed to be the film’s focal point, Anna eventually serves as more of a ghost character and quickly disappears from the screen.

This threw me for a loop.

Events do not remain on the island but return to the Italian mainland, where Sandro and Claudia continue with their guilt, finally becoming convinced Anna might have returned!

The brilliant and ambitious thing about L’Avventura is that the film changes course many times.

On the surface, it appears to be a film about a missing girl and a friend’s attempts to locate her. But Antonioni delves into a film about emotions and the meaning of life, making the audience go deeper along with the characters.

Eventually, Sandro and Claudia chase a ghost of their design and plod along unhappy and unfulfilled, suffering paranoia.

L’Avventura is all about the characters and the cinematography, and each immerses well with the other.

Many characters exchange glances with each other that the audience can read into. What was the relationship between Sandro and Claudia before the cruise? What is Anna and Sandro’s backstory? And what’s become of Anna? Did she run off and drown, or was she murdered?

The camerawork is stunning; each shot is a lovely escapade into another world. The yacht cruise and island sequences are awe-inspiring. I love how the characters explore different sections of the island instead of dully standing on the shore or in similar shots.

As the title says, the point is both physical and cerebral adventure.

L’Avventura (1960) is a film that will make you think, ponder, escape, and discuss the true meaning. Isn’t that what great art cinema does?

Antonioni also made me consider comparisons to another great art film creator- the Swedish director Ingmar Bergman.

#233 Favorite Film, 1956 Films, Alfred Hitchcock, Anthony Quayle, Drama, Film noir, Harry Dean Stanton, Henry Fonda, Top 250 Films, Tuesday Weld, Vera Miles

The Wrong Man-1956

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The Wrong Man-1956

Director Alfred Hitchcock

Starring Henry Fonda, Vera Miles

Top 250 Films #233

Scott’s Review #902

Reviewed May 24, 2019

Grade: A-

The Wrong Man (1956) is not an Alfred Hitchcock film typically mentioned when lists of the greatest of all the director’s works are in conversation.

Although it flies completely under the radar and is absent from most “Best of” collections, the film is a lovely gem ready to be dusted off and appreciated for its worth.

It features the legendary Henry Fonda, perfectly cast in a story point frequently used in Hitchcock films: that of the wrongly accused man.

Set in New York City, Manny Balestrero (Fonda) is a struggling musician who requires three hundred dollars for dental work that his wife Rose (Vera Miles) needs. Determined not to let his wife suffer, he decides to obtain the money by borrowing against her insurance policy.

The life insurance employees mistake Manny for another man who recently held them up. He is arrested and forced to perform a test for the police, which he fails, leading them to assume he is their man.

Attorney Frank O’Connor (Anthony Quayle) sets out to prove that Manny is not guilty since he has perfect alibis for the nights of both holdups. However, complications erupt during his trial as proper witnesses either cannot be found or have died, leaving Manny in dire straits.

Meanwhile, Rose teeters towards the brink of insanity as she suffers from severe depression.

The Wrong Man differs from many Hitchcock films in that its story is based on a real-life quandary one man faced. As such, viewers can relate to the story immensely and imagine themselves in Manny’s shoes.

I often wonder, “What would I do if this were me?” as one could find the story implausible, one could just as easily find it plausible. Mistaken identity can happen, and proving one’s innocence may not be as easy as it may seem.

Mainly set on location is another tidbit unique to many Hitchcock productions as the man cringed at the thought of any scene that studio luxuries could not manipulate. The New York City locales are splendid and provide an artistic and genuine element.

Many scenes were filmed in Jackson Heights, where Manny lived when he was accused. Most of the prison scenes were filmed among the convicts in a New York City prison in Queens. The courthouse was at the corner of Catalpa Avenue and 64th Street in Ridgewood.

Careful not to be too dissimilar to standard Hitchcock fare, the use of every man being falsely accused is every day in some of his films.

Other films like North by Northwest (1958) and The 39 Steps (1935) delivered the same elements with a man being mistakenly accused of murder. While the others were more of “chase stories” involving flight, The Wrong Man stays firmly planted in one city.

The film has some jazz elements, representing Fonda’s appearance as a musician in the nightclub scenes. These elements add sophistication to the film’s overall tone, especially as we see Manny as worldly yet kind.

He is a performer but comes home to his wife and adores her, doing anything he needs to for her comfort. The music and the black-and-white cinematography exude harshness and coldness but also good style.

Fans of either the police force or the justice system may be in for a challenging ride watching The Wrong Man, as neither group is written very sympathetically. The police are the worst offenders as they go to unethical methods to accuse a man of a crime and seem not to care who is convicted, only that someone is.

The one detraction to The Wrong Man is the chemistry between Fonda and Miles. The passion is underwhelming but not terrible, either. Instead, the main point is the false accusations instead of the romance. A bit more of the latter might have made the film more unique.

With suspenseful and dramatic elements and a charismatic leading man, The Wrong Man (1956) perhaps lacks the flair of other well-known Hitchcock films. Still, it is a solid achievement that deserves more acclaim than traditionally given.

Yes, it’s sullen, but it’s also poignant, frightening, and a terrific effort. Henry Fonda carries the film and provides compassion and realism.

#235 Favorite Film, 1956 Films, Dennis Hopper, Drama, Elizabeth Taylor, Epic, George Stevens, James Dean, Mercedes McCambridge, Nick Adams, Rock Hudson, Rod Taylor, Sal Mineo, Top 250 Films, Western

Giant-1956

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Giant-1956

Director George Stevens

Starring Rock Hudson, Elizabeth Taylor, James Dean

Top 250 Films #235

Scott’s Review #898

Reviewed May 14, 2019

Grade: A

Giant (1956) is a sweeping epic firmly ensconced in both the Western genre and the dramatic field of play. The film is a flawless Hollywood production featuring three of the most recognizable stars of the time and a slew of powerful supporting actors offering rich performances and good characterizations.

The thunderous melodrama plays out over decades with the dry and dusty locale and the superb cinematography, among the finest aspects of the film experience.

Dashing and wealthy Texas rancher Jordan Bick Benedict Jr. (Rock Hudson) falls in love with and marries socialite Leslie Lynnton (Elizabeth Taylor) after a whirlwind romance in Maryland.

The pair begin their married life on Bick’s immaculate Texas ranch, but not before two central figures thwart their happiness. Jett Rink (James Dean) falls obsessively in love with Leslie while Bick’s sister, Luz Benedict (Mercedes McCambridge) despises Leslie, taking out her vengeance on Leslie’s horse.

The trials and tribulations continue as the characters age through the years.

The trifecta of talents Taylor, Hudson, and Dean make Giant the ultimate in treats as one fawn over the good looks of each (or all!) over the long three hours and eleven minutes of illustrious screen time.

Making for more powerful poignancy is that the film is Dean’s final appearance on-screen before his tragic death in a car accident, his death occurring before it was even released to the public.

Dean plays Jett to the hilt as a surly ranch hand, jealous of Bick’s riches and wanting to take Bick’s woman for himself. Jett is an unsympathetic character and the one I find the most interesting. Decades-long rivals, Jett and Bick’s lives overlap continuously as Jett finally becomes rich and dates Bick and Leslie’s daughter, much to their chagrin.

Jett is a racist, which was common in the early to mid-1900s, especially in southwestern Texas. Sadly, he never finds happiness, which is the central part of his depth.

The screenplay is peppered with meaningful and relevant social issues that provide sophistication and a humanistic approach. The film inches towards a liberal slant as the plot progresses, the most famous example occurring in the final act as Benedict’s stop at a roadside diner with a racist sign, implying the restaurant will not serve Mexicans.

Bick takes a dramatic stance and shows heart as his family, now multi-racial, needs his help. Culminating in a fight, the scene reveals the enduring love that Bick and Leslie share for one another.

Criticisms of the films’ enormous length and scope are wrong as these aspects deepen and the components I find the most appealing.

Director George Stevens never rushes through a scene or makes superfluous edits to limit running time. Instead, he allows each scene to marinate and graze like real life. Lengthy scenes play out with honest conversations and slow build-up, allowing the characters’ opinions and motivations to take shape slowly.

On the surface, a drama and western, the film can be peeled back like an onion to reveal deeper nuances. The racism, love story, and class structure ideals are mesmerizing, especially given the true-to-life humanitarian that Taylor was.

One can sit back and revel in the knowledge that she must have been enjoying the rich character.

Along with great epics like Gone with the Wind (1939), Lawrence of Arabia (1963), and The Godfather (1972) sits a film that is rarely mentioned with the other stalwarts, and that is a shame. With magnificent shot after shot of the vast Texas land and with enough gorgeous stars to rival the landscape, Giant (1956) is a must-see.

A Western soap opera with terrific writing, rife with racism, prosperity, and fortitude, the film deserves more praise than it’s given.

Oscar Nominations: 1 win-Best Motion Picture, Best Director-George Stevens (won), Best Actor-James Dean, Rock Hudson, Best Supporting Actress-Mercedes McCambridge, Best Screenplay-Adapted, Best Music Score of a Dramatic or Comedy Picture, Best Art Direction-Color, Best Costume Design-Color, Best Film Editing

#239 Favorite Film, 2018 Films, Aaron McCusker, Adam Lambert, Aidan Gillen, Allen Leech, Ben Hardy, Biography, Bryan Singer, Dexter Fletcher, Drama, Favorite Film of the Year, Gwilym Lee, Joseph Mazzello, Lucy Boynton, Mike Myers, Musical, Musical Drama, Rami Malek, Tom Hollander, Top 250 Films

Bohemian Rhapsody-2018

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Bohemian Rhapsody-2018

Director Bryan Singer

Starring Rami Malek

Top 250 Films #239

Scott’s Review #836

Reviewed December 3, 2018

Grade: A-

Crafting a biography of a performer with a personality the size of Freddie Mercury is challenging, but it can be done successfully.

The filmmakers of Bohemian Rhapsody (2018) opt to go in a decidedly mainstream direction, proving a wise choice as the film becomes an enthralling foot-stomping crowd-pleaser.

While nitpicking about accurate timelines and rigid facts may be disappointing, others who are content to sit back and enjoy a heartfelt biopic will undoubtedly love the film.

Rami Malek performs flawlessly as the legendary British rock band Queen’s singer Mercury. I will go out on a limb and state that this could be the young actor’s crowning achievement and his “role of a lifetime”.

The film wisely chronicles the singer’s initial struggles finding his bandmates and the band’s subsequent rise to fame and fortune during the 1970s and 1980s.

Predictably, as with many rock bands, infighting, drug use, and jealousies reared their ugly heads.

Other points of interest featured are Mercury’s personal life and his HIV diagnosis, culminating in his ultimate death in 1991 at the tender age of forty-five.

Less so a biography of the band, Mercury takes center stage as the film’s point. With his four-octave vocal range and operatic sensibilities, the star was a force to be reckoned with. He was nobody who would back down from either studio executives or pesky reporters eager for a scoop about his personal life and preference for male companions.

Malek sinks his teeth into an enormous role that is undoubtedly intimidating for most actors and an unbelievable challenge for the casting department. With boldness and charisma for miles, what actor could ever fill this challenging role?

Malek completely shines as he dons dentures to emulate Mercury’s famous overbite, a fact that the film nearly over exaggerates.

With wounded eyes and clever dialogue, Malek delivers witty one-liners and comical comebacks with a smirk, a hand wave, or a retort of “my dear”. The actor is careful to perfect the dramatic and emotional scenes flawlessly and portray the singer as a lonely and isolated being.

To the delight of most classic rock fans, Bohemian Rhapsody features many songs from the Queen catalog. “Killer Queen,” “Hammer to Fall,” “Another One Bites the Dust,” “We Will Rock You/We Are the Champions,” and the game-changing “Bohemian Rhapsody” are featured, along with the histories and stories behind many of these legendary hits.

Perhaps the loveliest tune, “Love of My Life”, which Mercury wrote for his fiancée Mary Austin, is prominently featured.

The film concludes with the band’s fantastic performance at Wembley Stadium in London for the Live Aid event 1985. A breathtaking finale, this final sequence is jaw-dropping with emotion, heart, and entertainment, and is the film’s finest moment.

As the story reaches its climax at this point with Mercury’s HIV diagnosis (a death sentence for gay men in the 1980s) and revelation to his bandmates, the lengthy scene will not leave a dry eye in the house.

A weakening Mercury powered through his illness to deliver a dynamic performance.

Bohemian Rhapsody’s (2018) numerous historical inaccuracies and incorrect timeline of events have been called into question.

Also, the fact that two members of Queen (Brian May and Roger Taylor) had a staggering amount of creative control is cause for alarm.

Additionally, further reading suggests that the characters of Mary and Mercury’s manager, Paul, may not have been as good or bad as they were respectively written. These points may be valid, but the film is a major champion as a source of good entertainment.

Oscar Nominations: 4 wins- Best Picture, Best Actor- Rami Malek (won), Best Sound Editing (won), Best Sound Mixing (won), Best Film Editing (won)

#243 Favorite Film, 2024 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Karren Karagulian, Mark Eidelstein, Mikey Madison, Romantic Comedy, Romantic Drama, Sean Baker, Top 250 Films, Yura Borisov

Anora-2024

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Anora-2024

Director Sean Baker

Starring Mikey Madison, Mark Eidelstein, Yura Borisov

Top 250 Films #243

Scott’s Review #1,450

Reviewed November 3, 2024

Grade: A

Anora (2024) is one of the boldest films I’ve seen in some time and is my favorite Sean Baker film so far. Tangerine (2015) and The Florida Project (2017) are also great works.

Those planning to see the film should do homework and learn what Baker films are about. He frequently directs independent feature films about the lives of marginalized people, especially immigrants and sex workers.

Baker’s films are dirty, dark, and outrageous.

Because Anora has received awards buzz and is classified as a romantic comedy, the audience at my showing seemed slightly overwhelmed by its raw nature. While there are comedic moments, they are shrouded in darkness, and I don’t think my audience quite knew how to respond.

Some cover art captured the main couple, played by Mickey Madison and Mark Eidelstein, happily dancing and depicted them with the caption ‘a modern day Cinderella story’. This is misleading to the gritty nature of the story.

Madison plays Ani (Anora), an exotic dancer and part-time sex worker at a swanky Manhattan strip club. She lives in a Russian section of Brooklyn. Her life takes an unexpected turn when she meets and impulsively marries Vanya (Mark Eidelstein), the childlike son of a Russian billionaire.

When Vanya’s godfather and parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York. Vanya flees the scene, and the others must find him.

Madison is brilliant. Known for a small role as Susan Atkins in Quentin Tarantino’s Once Upon a Time in Hollywood (2019) and a role in one version of Scream (2022), the young actress comes on as gangbusters.

Her character is tricky. We only know she lives with her older sister, and their mother lives in Florida with her boyfriend. Presumably, her father is absent, and she has had to find work to support herself. She is brassy, savvy, and intelligent. Most importantly, the audience roots for her.

Madison has an aura surrounding her, and she believably plays loving and hysterical with ease. Ani wants love but is also intelligent enough to know love doesn’t come easy and has a price. Madison channels each emotion with seeming ease.

Baker has become a favorite director of mine. He also writes, produces, and edits most of his projects. Although his films are not easy to watch, that’s what I like about them.

His films take marginalized or dismissed groups and provide representation.

Another standout is Russian actor Yura Borisov. Since Ani is the only character worth rooting for, Borisov’s character, Igor, slowly becomes a fan favorite. Assumed to be a henchman, he begins to care for Ani and strive to do the right thing amid chaos.

Borisov provides Igor with warmth and kindness in a world of chaos. I yearned to know more about the character. How did he get to be where he is? Did he need to escape Russia any way he could?

It’s hard to like the other characters, and I wouldn’t say I enjoyed quite a few, especially the wealthier ones. I yearned to leap across the aisles and smack Vanya, his mother, and one stripper who is Ani’s rival.

This caused me to react viscerally to the film and think about my emotions after it ended. Anyone who appreciates good cinema knows that the longer you think about it, the better it is.

Towards the end, Baker incorporates satisfying moments of Ani standing up for herself, especially against Vanya and his mother. This only reaffirmed the passion of her character. Even in despair, Ani remains tough and refuses to be mistreated by anyone.

My favorite sequence is at the end, during a January snowstorm in Brooklyn. A tender moment occurs between Ani and Igor where the writing, cinematography, and camera angles are beautiful.

Anora (2024) is recommended for fans of Baker’s work. He successfully and carefully weaves an emotional and raw tale of adventure, romance, desperation, and the haves versus the have-nots.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sean Baker (won), Best Actress-Mikey Madison (won), Best Supporting Actor-Yura Borisov, Best Original Screenplay (won), Best Film Editing (won)

Independent Spirit Award Nominations: 3 wins-Best Feature-(won), Best Director-Sean Baker-(won), Best Lead Performance-Mikey Madison-(won), Best Supporting Performance-Yura Borisov, Karren Karagulian

#245 Favorite Film, 2018 Films, Alec Baldwin, Andrew Dice Clay, Bradley Cooper, Brandi Carlile, Dave Chappelle, Drama, Halsey, Lady Gaga, Musical, Musical Drama, Romantic Drama, Sam Elliott, Todd Phillips, Top 250 Films

A Star Is Born-2018

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A Star Is Born- 2018

Director Bradley Cooper

Starring Bradley Cooper, Lady Gaga

Top 250 Films #245

Scott’s Review #819

Reviewed October 10, 2018

Grade: A

On paper, by the time a film reaches its fourth remake (think- superhero franchises), there is a risk of either utter redundancy or a lack of interest (or both!).

Months before A Star Is Born (2018) was released to theaters, a tremendous buzz emerged, particularly about the stars (Bradley Cooper and Lady Gaga). Considering the latter had never starred in a film before, the word of mouth was surprising.

The hype can be believed as the film is a tremendous effort with something to offer everyone.

The story begins with a boozy country crooner, Jackson Maine (Bradley Cooper), performing a sold-out show. He needs pills to take the stage and suffers from gradual hearing loss, but he is nonetheless a famous and popular star.

Following the concert, Jackson meets Ally (Lady Gaga), a waitress who moonlights singing French songs at a drag bar. They immediately bond as he encourages her to celebrate her talent despite her insecurities.

As events unfold, the pair dive into a passionate romance as her career skyrockets while he deteriorates from drug and alcohol abuse.

On the surface, a film such as A Star Is Born risks being hokey, formulaic, or otherwise generic. The premise dictates this: a successful star meets an insecure up-and-comer, romance ensues, and they face obstacles and internal conflict on the road to success.

Sounds like material custom-made for a Hallmark television movie or something lightweight, especially given the remake of a remake factor.

Instead, every element of A Star Is Born works perfectly.

Of enormous praise is how Bradley Cooper both directs this film and has the central male role. As a director, he incorporates some interesting camera shots, including a long shot of Ally walking down an alley, rehearsing a song for a performance.

Also, the numerous concert scenes are very well done. Impressive since this is Cooper’s directorial debut.

An enormous win for the film is the chemistry between Cooper and Gaga, which is evident in the first moments when the two appear on screen together. Their chemistry is purely electric, almost magical as they rapidly bond and connect.

Their connection is not only physical but also based on their love of music and the artistry associated with creating good music. This bond is slowly tested as Ally’s career takes off and her manager steers her in a more pop-oriented direction, infuriating Jackson.

Even through turmoil, the chemistry between the two actors is palpable in every scene.

My two favorite scenes include the one in which Jackson and Ally first meet in the drag bar. The lovely French tune (Edith Piaf’s “La Vie en rose”) that she performs is cultural and rife with talent. As Jackson gazes at her from the bar, his gleaming eyes are filled with amazement and pride. He is immediately smitten with her talent and poise, and this scene sets the tone for the film.

The second comes at the film’s conclusion, as Ally belts the heartfelt “I’ll Never Love Again”. Performing to a subdued audience, the song is performed as a close-up of Ally to the tremendous visual effect.

The musical numbers are heartfelt and emotional without being sappy. From treasures such as “Shallow” and “Maybe It’s Time” to the thunderous “Black Eyes” and pop-driven “Why Did You Do That?”, the soundtrack contains something for everyone.

Cooper, already an acting champ, astounds as he is so good, while Lady Gaga, a novice to film acting, looks like a pro. We believe in her struggles, doubting her star potential as she is deemed “too ugly” to make it in the music business.

Gaga successfully showcases her pain, doubt, and eventual bombast at her sudden success.

Mention must be given to Sam Elliott, the veteran actor who gives a dynamic supporting turn as Bobby Maine, Jackson’s older brother and manager. Elliott does not have a showy role or a big emotional scene—he doesn’t need to. In the actor’s quiet way, he infuses the character with pent-up anger but also with unconditional love and affection for his brother.

Harboring rage and turmoil for each other, the best scene between Elliott and Cooper comes towards the film’s end when Jackson admits his love for Bobby. The emotion on Elliott’s face is raw in this important scene.

A Star Is Born (2018) is a superlative remake and one for the ages. This fan favorite will easily go down in the record books.

With a memorable musical soundtrack, outstanding acting and directing, and characters audiences can relate to, a classic in the making is not too difficult to imagine.

Oscar Nominations: 1 win-Best Picture, Best Actor-Bradley Cooper, Best Actress-Lady Gaga, Best Supporting Actor-Sam Elliott, Best Adapted Screenplay, Best Original Song-“Shallow” (won), Best Sound Mixing, Best Cinematography

#247 Favorite Film, 1960 Films, Adventure, Charles Laughton, Drama, Epic, Herbert Lom, Jean Simmons, John Gavin, John Ireland, Kirk Douglas, Laurence Olivier, Nina Foch, Peter Ustinov, Stanley Kubrick, Tony Curtis, Top 250 Films

Spartacus-1960

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Spartacus-1960

Director Stanley Kubrick

Starring Kirk Douglas, Laurence Olivier, Jean Simmons

Top 250 Films #247

Scott’s Review #1,250

Reviewed April 30, 2022

Grade: A

Typically, when influential director Stanley Kubrick’s name is uttered, films such as The Shining (1980), 2001: A Space Odyssey (1968), and Barry Lyndon (1975) are immediately thought of, and for obvious reasons.

The haunting, moody musical score, the long camera shots, the dark humor, and the clever camera tricks are easy to pinpoint.

1960, the director was hired to direct the gorgeous epic Spartacus after Hollywood star Kirk Russell unceremoniously fired the first director.

None of the previously mentioned elements are easy for me to notice and are more or less absent, but a grand battle scene in a luscious green field is very reminiscent of Barry Lyndon. This is likely because Spartacus was not Kubrick’s film entirely; instead, it belonged to others with more clout.

Spartacus is a brilliant film for many reasons. Some epics suffer from a hokey, cliched feel and can be overwrought, predictable, and tired.

The rebellious Thracian Spartacus (Russell), born and raised a slave, is sold to Gladiator trainer Batiatus (Ustinov). After training to kill for the arena, Spartacus turns on his owners and leads the other slaves in rebellion.

As the rebels move from town to town, their numbers increase as escaped slaves join their ranks. Under the leadership of Spartacus, they make their way to southern Italy, where they intend to cross the sea and return to their homes.

Spartacus is grand, sweeping, cinematically significant, and everything else you’d expect from a 1960s Hollywood epic with enormous stars of its day. Looking beneath the surface, the film is riddled with interesting tidbits like bisexuality, homoeroticism, and violence, more in tune with an art film or modern war film than the safety of a movie made during this time.

Particularly noteworthy is that Dalton Trumbo wrote the screenplay. One of the Hollywood Ten, he refused to testify before the House Un-American Activities Committee in 1947 during the committee’s investigation of alleged Communist influences in the motion picture industry.

After the release of Spartacus, it marked the beginning of the end of the Hollywood Blacklist for Trumbo and other affected screenwriters.

Thank goodness.

In a famous scene, recaptured slaves are asked to identify Spartacus in exchange for leniency; instead, each slave proclaims himself to be Spartacus, thus sharing his fate.

The suggestion is that this scene was meant to dramatize the solidarity of those accused of being Communist sympathizers during the McCarthy era.

Besides the political importance, Spartacus showcases a beautiful romance between Spartacus (Russell) and Varinia (Jean Simmons), a gorgeous slave girl. The tenderness and authenticity are palpable as many of their early scenes involve no dialogue but only longing and expression through both actors’ eyes.

I celebrated the connection between the actors at the forefront of much romance. Russell carries the film with calm masculinity, quickly making him heroic and likable.

He is the charismatic, good guy who has been wronged and ill-fated.

A sequence oozing with machismo and homoeroticism occurs when evil Crassus (Olivier) is bathed by his slave boy Antoninus (Tony Curtis). He seductively explains that while sometimes he prefers snails, he also likes oysters. The implication is that he is bisexual, brazenly so, and expects the youngster to become his sex slave.

The warmth of the bathtub and the luxurious atmosphere contrast with the proximity and touch of both male characters.

In 1960, this scene was way ahead of its time.

The conclusion of Spartacus is melancholy and surprising. Having bested Rome’s cruelty, one might have expected to see Spartacus and Varinia happily ride off into the sunset.

This doesn’t happen, and the film is more affluent in it. There is pain and despair as there were in real life. Wisely sparing complete doom and gloom, the ending is satisfying as one central character escapes a deadly demise and conjures ahead.

Spartacus (1960) is one of the greats. It has muscle and texture, and many below-the-surface nuances are ripe for discussion. For these reasons, it’s a must-see.

Oscar Nominations: 4 wins-Best Supporting Actor-Peter Ustinov (won), Best Art Direction-Color (won), Best Cinematography-Color (won), Best Costume Design-Color (won), Best Film Editing, Best Music Score of a Dramatic or Comedy Picture

#248 Favorite Film, 1971 Films, Dirk Bogarde, Drama, International, International Drama, Italian, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Marisa Berenson, Top 250 Films

Death in Venice-1971

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Death in Venice-1971

Director Luchino Visconti

Starring Dirk Bogarde, Romolo Valli

Top 250 Films #248

Scott’s Review #1,014

Reviewed April 22, 2020

Grade: A

Death in Venice (1971) is a haunting and tragic story of a depressed middle-aged man who becomes obsessed with a fourteen-year-old Polish boy while on holiday in Venice.

The story on the surface is dark and dour and not for the judgmental or the closed-minded. With a deeper dive and a haunting musical score, the film provides beauty and impressionism.

The film is based on the original novella Death in Venice, written by German author Thomas Mann, and published in 1912 as Der Tod in Venedig.

Gustav von Aschenbach (Dirk Bogarde) is a lonely composer who travels to Venice for health reasons and a recipe for recovery. His maladies are unclear at the start but are assumed to be sent to the picturesque city as a form of therapy.

While enjoying a tranquil holiday, he spots and becomes obsessed with the stunning, youthful beauty of Tadzio (Bjorn Andresen), who is staying with his family at the luxurious Grand Hôtel des Bains, just as Gustav is.

Their encounters run rampant as they are viewed by the audience from afar but never speak to each other.

This is the brilliance of Death in Venice. A more standard approach may have been to make the story more forceful.

If Gustav had approached, harassed, or even molested Tadzio, the direction of the film would have vastly changed, and he would have been deemed a pervert.

Suddenly the film would have been about a pedophile preying on a youngster, rather than incorporating a beautiful subtext of longing and unfulfilled passion.

The masterful classical numbers that open and close the film help to achieve this mindset.

The controversial subject matter, still taboo by today’s progressive standards, is not gratuitous but is quite obsessive. Worthy of mention is that Gustav’s plight begins harmless enough as he appreciates a beautiful image, almost like gazing at a sculpture- think Michelangelo’s David- since we are in Italy.

But when he begins to follow Tadzio and see him more and more his desperation increases as his health deteriorates. For a while, it is unclear whether the boy even realizes he is an object of affection. It is Gustav’s feelings and emotions that are most explored.

As a side story, the city of Venice is gripped by a cholera epidemic, and the city authorities do not inform the holiday-makers of the problem for fear that they will flee the vital city.

In 2020, with the vicious COVID-19 pandemic gripping the world with savage ferocity, this classic film takes on a whole new importance. When the Venice officials downplay the epidemic as tourists increasingly fall ill, a modern realism is conjured to the audience.

Death in Venice, as the title should make clear, is not a love story, otherwise, it would be called Love in Venice. Gustav’s lust for Tadzio is unrequited. Neither is Gustav’s sexuality clear, though he is assumed to be bisexual.

In one of the film’s saddest scenes, also the finale, Gustav lounges on the sandy beach in ill health dressed in an improper white suit. He sees Tadzio playfully frolicking with an older boy and afterward walks away and turns back to look at Gustavo.

As Tadzio outreaches his arms toward the water, Gustav does the same as if he is enveloping the boy. The moment is breathtaking.

Many symbolic and meaningful scenes occur like when Gustav visits a barber who insists he will return his customer to his youth. The results are ghastly.

Dyeing his grey hair black whitening his face and reddening his lips to try and make him look younger leaves a macabre and somber image of a man feebly attempting to turn back the hands of time, something all of us can relate to. His heavily made-up face is meant to hide his insecurities.

Incorporating an ingenious mix of beauty, tragedy, obsession, and loneliness, Italian director, Luchino Visconti crafts a brilliant and painful dissection of human emotion.

The subject matter of Death in Venice (1971) will not appeal to all viewers, but those brave enough to traverse the sometimes-rocky waters will find an underlying treasure and a meaningful cinematic experience.

Oscar Nominations: Best Costume Design

1956 Films, Audrey Christie, Barbara Ruick, Cameron Mitchell, Claramae Turner, Drama, Gene Lockhart, Gordon MacRae, Henry King, Musical, Musical Drama, Shirley Jones, Susan Luckey

Carousel-1956

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Carousel-1956

Director Henry King

Starring Gordon MacRae, Shirley Jones

Scott’s Review #1,486

Reviewed July 27, 2025

Grade: A-

Following the success of Oklahoma! in 1955, Carousel (1956) is similarly based on the lauded Rodgers and Hammerstein stage musical. It is firmly nestled among the myriad musical productions that emerged in the 1940s, 1950s, and into the 1960s in cinema.

Darker in tone, the musical drama bears a strong resemblance to Oklahoma! It swaps the Midwest United States for Northeastern Maine. Clambakes and wattery harbors lend authenticity to the film.

Easily paired with Oklahoma! as a double feature, it even features the same stars—Gordon MacRae and Shirley Jones, who return to star in Carousel. As an aside, the filmmakers originally cast Frank Sinatra, who dropped out, so MacRae was a second choice.

As with the original stage production, the film features some of Rodgers and Hammerstein’s most famous songs, particularly ‘Carousel Waltz’ and the emotional ‘You’ll Never Walk Alone’.

It also features arguably the most serious storyline of all their musicals, incorporating domestic abuse into the fray.

The story follows the romance of Billy Bigelow (MacRae), a charming carousel barker, and Julie Jordan (Shirley Jones), a pretty blue-collar worker from a nearby mill in Boothbay Harbor, Maine.

When the attractive young couple abruptly and reactively gets married, they also both find themselves unemployed and broke, which puts a strain on their relationship.

When Billy finds out that Julie is pregnant, he resorts to extreme measures to get money, a decision that leads to tragedy.

Cleverly, the film is non-linear, as the first scene features Billy in what appears to be Purgatory (or the back door of Heaven), where he is told that he can return to Earth for one day to make amends.

We know that Billy has died after a tragic event, but we do not know the details.

To its credit, Carousel is not a cheery, bombastic musical fraught with over-the-top phoniness or too much glee. The characters are darker, which makes it feel unique to me.

Proof of this is evident in a comparison of MacRae’s and Jones’s characters in Oklahoma! to Carousel. While Laurey (Jones) is a respectable, virginal good girl, Julie plays with fire, assuredly spending time alone with Billy after being warned of the consequences.

Curly McLain (MacRae) is a good-natured cowboy who admires the beautiful morning while riding to see his wholesome crush, Laurey, whereas Billy is a rough-talking, macho brute.

Supporting characters like Carrie (Barbara Ruick), Jigger (Cameron Mitchell), and Cousin Nettie (Claramae Turner) are fantastic additions, especially Turner, as she brings down the house with ‘You’ll Never Walk Alone’.

Still, I yearned for a bit more substance to their characters. What makes them tick? Are they fulfilled?

A final highlight is the amazing fantasy musical song and dance number that appears towards the finale. As Billy’s teenage daughter, Louise (Susan Luckey), dances amongst her classmates, she is mocked for her father’s reputation and shortcomings.

She writhes around them in a deliciously choreographed sequence that builds tension and kickstarts the action.

Unlike Curly, I found Billy difficult to like, though the character is softened considerably by the end of the film. He’s honestly a dick through most of the story, hitting Julie, and plotting ways to find fortune at the expense of others.

To make matters worse, he also slaps his own daughter’s hand when he comes down from Purgatory to see her. Are we expected to like him?

Despite the two aforementioned powerful musical numbers, the other songs don’t carry through as much or are nearly as memorable.

For much of the running time, until the great build with Louise’s musical number, there is a slowness to the events. Whereas Oklahoma! has it all, something is missing from Carousel, and the pacing isn’t as fine-tuned.

Nonetheless, I adore the summery New England setting with the authentic location sequences and attention to detail. The darkness and edgy religious-themed trimmings combined with two homerun hitting musical numbers are enough to make me a fan of Carousel (1956).

1977 Films, Brian Dennehy, Crime Drama, Diane Keaton, Drama, LeVar Burton, Priscilla Pointer, Richard Brooks, Richard Gere, Richard Kiley, Tom Berenger, Tuesday Weld, William Atherton

Looking for Mr. Goodbar-1977

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Looking for Mr. Goodbar-1977

Director Richard Brooks

Starring Diane Keaton, Tuesday Weld, Richard Gere

Scott’s Review #1,485

Reviewed July 25, 2025

Grade: A-

Diane Keaton won the Academy Award for Best Actress in 1977 for Annie Hall, an excellent film by Woody Allen, but as has happened in Oscar history, she won for the wrong role.

She delivers her best acting performance of her distinguished career in Looking for Mr. Goodbar (1977), a raw crime drama in which she plays Theresa, a liberated and carefree young schoolteacher living in a metropolitan area.

The film, directed by Richard Brooks (Cat on a Hot Tin Roof, 1967, and In Cold Blood, 1968), is based on Judith Rossner’s 1975 best-selling novel. The setting is inexplicably changed from New York City to San Francisco, but it feels exactly like the troubled urban metropolis during its late 1970s crime-ridden period.

I nearly felt as if Theresa’s dingy, windowless apartment was a character in itself.

The musical soundtrack is a significant win, featuring disco anthems from the time, such as ‘Don’t Leave Me This Way’ by Thelma Houston and ‘Love Hangover’ by Diana Ross.

Film lovers familiar with Taxi Driver (1976) and Cruising (1980) (both set in New York City) will notice similarities and draw parallels.

Theresa (Diane Keaton) teaches deaf children during the day and cruises singles bars and discos at night. Despite being raised a devout catholic ‘good girl’, she favors quick nights of passion with random suitors, ignoring the advances of well-meaning but nerdy social worker James (William Atherton).

She pursues the likes of Tony (Richard Gere), whose threatening knife and swagger excite her. As the film progresses, Theresa becomes increasingly entangled in perilous encounters, putting her life in danger.

Despite a jarring shift in story direction towards the end of the film and the geographical change, I found more than enough to merit a superior rating, especially Keaton’s performance.

Keaton flawlessly carries the film as an unapologetic, progressive character. She lives life, enjoys life, and sees nothing wrong with her chosen lifestyle. Keaton is fearless, delivering a likable character we probably shouldn’t like.

She can be cutting, self-centered, and moody, but takes sheer delight in teaching deaf kids who have problems at home, almost fostering them as her own.

Richard Kiley and Priscilla Pointer play Theresa’s parents in rather one-note performances. They are devout Irish Catholics, but too much time is spent showcasing their traditional values.

Theresa’s sister, Katherine, played by Tuesday Weld, is more like Theresa but more needy, and clinging to any man she meets. The sisters are close, even living in the same building, and constantly have each other’s backs.

Looking for Mr. Goodbar perfectly depicts life in an inner city in the mid-1970s: booze, sex, parties, and drugs.

Rinse and repeat.

The male characters that Theresa interacts with are of different types. Her first fling is with her married professor, whom she fantasizes about living with. When this doesn’t work out, she has urges for more dangerous experiences.

Tony (Gere) is sexy, unreliable, and dangerous, and Theresa is titillated. It’s with him when she teeters over the brink.

The film transitions from a sexual thriller into a deadly final sequence, leaving my mouth hanging open with surprise. The ending will leave audiences on the edge of their seats and may not please those seeking a happily-ever-after story.

Is the audience supposed to learn a lesson? Does Theresa get what she deserves? How dare she live her life as she sees fit? These are questions easily worthy of further discussion.

The introduction of Gary (Tom Berenger), a tortured gay man Theresa meets in a bar, comes so late in the film that there is barely time to get to know the character. But, he doesn’t put the LGBTQ+ community in such a positive light.

Still, the gay men who yearn to be straight cannot be dismissed since this was commonplace when the story was created.

With a spot-on atmosphere filled with juicy late 1970s coolness and danger, and a brilliant starring turn by Diane Keaton, Looking for Mr. Goodbar (1977) has more than enough to warrant a watch and a follow-up chat.

1981 Films, Bernadette Peters, Christopher Walken, Drama, Gloria LeRoy, Herbert Ross, Jessica Harper, Musical, Musical Drama, Romantic Drama, Steve Martin, Vernel Bagneris

Pennies from Heaven-1981

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Pennies from Heaven-1981

Director Herbert Ross

Starring Steve Martin, Bernadette Peters, Christopher Walken

Scott’s Review #1,480

Reviewed May 10, 2025

Grade: A

Pennies from Heaven (1981) may be Steve Martin’s best film role and Bernadette Peters’s most excellent cinematic performance. Audiences did not receive the film well upon release, but many of the best movies are not.

Critics, however, applauded the film, which earned writer Dennis Potter an Academy Award nomination for Best Adapted Screenplay.

Watching (for the first time) in 2025, the film doesn’t feel dated, as many 1980s films do. Furthermore, Pennies from Heaven doesn’t feel like a 1930s set film in the 1980s either.

The opening sequence features credits amid clouds, later dances on the tops of bars, and kids in a schoolhouse playing white pianos, which is fresh and authentic.

These aspects enhance the dazzling musical production numbers. The songs are lip-synced, which strangely works after a brief period of adjustment, given that they are popular songs of the 1920s–30s, such as ‘Let’s Misbehave,’ ‘Life Is Just a Bowl of Cherries,’ ‘Let’s Face the Music and Dance,’ and the terrific ‘Pennies from Heaven’.

Unconventional in film, sometimes the action in a scene suddenly stops, and a musical number begins. The songs reflect the times with an overpowering sadness.

The story follows Arthur Parker (Steve Martin), a Depression-era sheet-music salesman with dreams of becoming a big success. When Arthur faces relationship problems with his wife, Joan (Jessica Harper), he begins an affair with a shy and beautiful teacher, Eileen (Bernadette Peters).

Though Arthur and Eileen connect, societal and financial obstacles threaten their happiness.

The film is highly stylized and looks stunning. The darker lighting, especially during musical numbers, looks muted to reflect the bleak nature of the Depression period.

I was continually surprised by this film. Situations arose that threw me for a loop, especially Eileen’s pregnancy and subsequent journey into the world of prostitution. At first meek and virginal, she becomes a savvy and more demanding character as the film progresses.

Eileen is my favorite character.

Peters was robbed of an Oscar nomination, which is surprising because she is emotionally invested in the character. Although she expects to hate sleeping with men for money, she doesn’t find it so bad, and it’s an easy way to make money during a time when most had no resources.

I adore Peter’s facial expressions as she embarrassingly looks away or her eyes well with tears.

A shocking death devastated me towards the film’s end, even though the character was minor.

I wasn’t as enamored with Arthur’s character as with Martin’s performance. Arthur, horny and a bit of a cad, disappoints me when he is mean to troubled and struggling accordion player (played wonderfully by Vernal Bagneris). He also doesn’t treat his wife very well.

Nonetheless, his dramatic turn is refreshing compared with his typical slapstick roles, and he and Peters have great chemistry.

Christopher Walken, in a small role as Tom a stylish pimp, brings down the house with a wacky dance.

The rich and complex writing showcases an anti-hero with layers of complexities and supporting characters looking to survive. The 1930s setting is crucial as characters scramble like mice to find a bit of cheese and navigate a complex maze.

Pennies from Heaven (1981) is not a film for mainstream moviegoers. Instead, the film will be a surprising treat for those eager to peel back an onion and immerse themselves in good cinema.

Oscar Nominations: Best Adapted Screenplay