Tag Archives: Drama

#31 Favorite Film, 1965 Films, Adrienne Corri, Alec Guinness, David Lean, Drama, Epic, Geoffrey Keen, Geraldine Chaplin, Ingrid Pitt, Jack MacGowran, Julie Christie, Noel Willman, Omar Sharif, Ralph Richardson, Rod Steiger, Romantic Drama, Siobhán McKenna, Tom Courtenay, Top 100 Films, Top 250 Films, Top 50 Films

Doctor Zhivago-1965

Leave a comment

Doctor Zhivago-1965

Director David Lean

Starring Julie Christie, Omar Sharif, Rod Steiger

Top 250 Films #31

Scott’s Review #42

449931

Reviewed June 18, 2014

Grade: A

Doctor Zhivago (1965) is a great film to watch on a cold night or throughout the crisp winter or holiday season.

The film is a classic masterpiece directed by the talented David Lean (Lawrence of Arabia, 1962, A Passage to India, 1986), whose perfectionism is evident in his epic films.

Nearly every scene could be a painting, so the cinematography alone is reason enough to become enchanted with art.

Of course, the story is also a goldmine as a sprawling decades-long love story unfolds amid the ravages of the bloody Bolshevik Revolution.

The film is set in the bitter cold of Russia (though all scenes were shot in Spain), and the harshness of the climate and the war combine with a doomed love story set against the backdrop of numerous battles and wartime conditions.

Nearly all sequences are set in winter, and the blustery, icy effects are set against numerous scenes of cozy, candlelit cabins or more extravagant, glowing surroundings.

Viewers must be surrounded by fire, flaming candles, or another form of warmth as a snowstorm or blizzard rages outside for a perfect viewing experience.

A large-screen television or a cinema is simply a must to watch this film, as it is epic on the grandest scale.

Omar Sharif and Julie Christie (a gorgeous star in her day) are cast perfectly as Uri and Lara, young forbidden lovers enthralled with one another but involved with significant others.

The film dissects their initial meeting and their story over the years, experiencing marriages, births, and deaths throughout the ravages of Russia in the early twentieth century.

Despite their affairs, neither is deemed unsympathetic—quite the contrary.

Audiences will fall in love with the pair and become enchanted as they watch their love-tortured adventures unfold.

Sharif and Christie are just magnificent and utterly believable as a couple.

The set pieces are magnificent and flawless in design and detail (my favorite is the Ice Palace).

The cinematography is breathtaking, and the content is remarkably close to the superior novel by Boris Pasternak, evoking a sense of “really being there” in the viewer.

Doctor Zhivago (1965) is a brilliant film, perfect for a snowy winter evening.

Oscar Nominations: 5 wins-Best Picture, Best Director-David Lean, Best Supporting Actor-Tom Courtenay, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing

#34 Favorite Film, 1970 Films, Bernardo Bertolucci, Dominique Sanda, Drama, Enzo Tarascio, Favorite Film of the Year, Fosco Giachetti, Gastone Moschin, International, International Drama, Italian, Jean-Louis Trintignant, José Quaglio, Pierre Clémenti, Stefania Sandrelli, Top 100 Films, Top 250 Films, Top 50 Films

The Conformist-1970

Leave a comment

The Conformist-1970

Director Bernardo Bertolucci

Starring Jean-Louis Trintignant, Stefania Sandrelli, Dominique Sanda

Top 250 Films #34

Scott’s Review #212

70054715

Reviewed January 10, 2015

Grade: A

The Conformist, directed by Italian director Bernardo Bertolucci and based on the 1950s novel by Alberto Moravia, is a complex film that tells the story of one man’s complicated life during the Italian Fascist era (1922-1943).

Due to a traumatic childhood event, he is troubled and strives to “conform” to a “normal”, traditional lifestyle despite his underlying wounds and desires, which he struggles to repress.

The character in question is Marcello Clerici, played by Jean-Louis Trintignant, who works for the secret police in support of the Fascist government.

Marcello yearns for a quiet life that everyone else seems to have. He is set up with a beautiful new wife and is ordered to assassinate his college professor, who is a leader of an anti-Fascist party.

Throughout the story, Marcello is tormented by his troubled childhood in flashbacks, and the film delivers a marvelous, creative use of camera angles, style, and design.

It is a dreamlike film that makes full use of the protagonist’s childhood memories.

The film is a character study in the highest regard, yet it is also beautiful to look at, making it very multifaceted. Marcello is troubled, as evidenced by his backstory. In many ways, he is weak, refusing to accept who he is or admit his deepest desires.

Mixed in with the complexity of his character is a unique character named Anna (Dominique Sanda), the college professor’s gorgeous blonde wife, who appears to be bisexual, enticing both Marcello and his wife, Giulia, played by Stefania Sandrelli.

Marcello, in particular, becomes transfixed and obsessed with Anna.

A truly heartbreaking moment arrives later in the film and is my favorite scene in The Conformist. As the assassination attempt is made on a lonely and secluded, yet picturesque country road, the result is murder, betrayal, and surprise.

When one character nonverbally speaks to another, mainly through facial expressions, and emotionally and pathetically pleads for their life through a car window, it is as tragic as it is poetic.

The scene is wrought with drama and sadness.

Additionally, Marcello’s troubled childhood involving a homosexual experience with a chauffeur named Lino resurfaces years later in an unlikely way and leads to the shocking conclusion of the film.

The very last frame of the film leaves the viewer pondering what is to become of Marcello next.

Marcello’s mother and father add mysterious layers to the film. His father is securely an inmate in a mental hospital, while his mother is a boozy older woman who sleeps until noon.

While these characters are not explored as thoroughly as they might have been, this exploration does lead one to ponder why Marcello is the way he is and whether his parents have any bearing on his persona.

In a particularly fascinating scene, Anna seductively dances with Marcello’s wife at a crowded dancehall; they do the tango, even as, amid her affair with Marcello, she is clearly in love with his wife, making the dynamic confusing yet fascinating to view.

The Conformist heavily influenced storied directors such as Frances Ford Coppola, Martin Scorsese, and Steven Spielberg. A beautiful scene of leaves blowing in the wind almost mirrors a similar scene contained in Coppola’s The Godfather: Part II (1974).

A film as captivating as it is influential, The Conformist is an interesting watch for its style and the mystique that surrounds it.

Oscar Nominations: Best Screenplay Based on Material from Another Medium

#40 Favorite Film, 1970 Films, Cliff Gorman, Drama, Frederick Combs, Kenneth Nelson, Laurence Luckinbill, Leonard Frey, LGBTQ+ Drama, LGBTQ+ Films, Maud Adams, Peter White, Robert La Tourneaux, Top 100 Films, Top 250 Films, Top 50 Films, William Friedkin

The Boys in the Band-1970

Leave a comment

The Boys in the Band-1970

Director William Friedkin

Starring Kenneth Nelson, Leonard Frey

Top 250 Films #40

Scott’s Review #658

Reviewed July 4, 2017

Grade: A

An excellent counterpart to the equally brilliant and equally unpleasant Who’s Afraid of Virginia Woolf? (1966) The Boys in the Band is also a stage production made into a feature film.

As such, shot very much like a play and seemingly in one long take, the film is highly effective and delicious in wit and dark humor. With a macabre and bitter element, the characters snipe and ridicule each other during a birthday party.

The Boys in the Band is a groundbreaking film on many levels, as it is one of the first LGBTQ+ films to feature gay characters in prominent roles. Furthermore, it has the dubious honor of being the first film to use the word “cunt”.

Regardless, the film is fantastic and a must-see for anyone intrigued by LGBTQ+ film history. All of the actors appeared in the stage production and reprised their roles for the film version.

The setting is the Upper East Side of Manhattan in the late 1960s.

Michael, a writer, is hosting a birthday party for his good friend, Harold. When Michael receives an urgent call from his straight and married college chum, Alan, he begrudgingly invites him over at the risk of having his lifestyle exposed.

One by one, the guests arrive for the party. Emory is quite effeminate and loud, Hank and Larry are masculine and a couple, but with monogamy issues and Hank’s marriage as obstacles.

Bernard, a black bookstore clerk, is a friendly, amiable guy.

“Cowboy”, a dim-witted hustler, and Harold, the sarcastic, bitter, guest of honor, round out the attendees.

As the night wears on, the party turns into a free form of insults, bad feelings, and vicious conversation. Alan and Emory get into a fistfight, and later a hurtful telephone game forces everyone to call the one person they truly love, which results in anxiety and sadness for most of the guests.

The key aspect of The Boys in the Band is that it is shot like a play, with a highly effective results. In this way, especially midway through the film, when the guests are all in the same closed room, the action becomes suffocating and stifling as a few of the guests bare their fangs.

Director Friedkin uses many close-ups of his characters to portray their raw emotions further.

My favorite characters are Alan and Hank, as these characters are the most complex.

Both are married, and both hit it off famously, although Alan’s sexuality is never completely revealed. He is married but troubled, and the audience never learns why, although we could wager a guess that he is, indeed, conflicted by his sexuality.

What will become of him? Will he accept his sexuality or live a repressed existence?

Hank, during a divorce from his wife, lives with Larry as a couple. Hank is complex because he is transitioning from a straight life to a gay lifestyle, and that must have been very difficult in the late 1960s- for this reason, I find the character of Hank quite brave.

The film does not explore this angle as much as it could have, but a character like Hank adds depth to the cast in a positive way. Alan and Hank are multi-dimensional characters, whereas some of the others contain gay stereotypes.

I would have enjoyed a deeper dive into the personal lives of some of the characters. Still, the film is really about the emotions many of the characters possess and feelings of love, some unrequited, and there are too many characters for each to receive their due focus.

Plus, the film’s primary focus is the characters’ back-and-forth banter.

#44 Favorite Film, 1975 Films, Diana Körner, Drama, Epic, Gay Hamilton, Godfrey Quigley, Hardy Krüger, Historical Drama, Leon Vitali, Leonard Rossiter, Marie Kean, Marisa Berenson, Michael Hordern, Murray Melvin, Patrick Magee, Philip Stone, Ryan O'Neal, Stanley Kubrick, Steven Berkoff, Top 100 Films, Top 250 Films, Top 50 Films

Barry Lyndon-1975

Leave a comment

Barry Lyndon-1975

Director Stanley Kubrick

Starring Ryan O’Neal, Marisa Berenson

Top 250 Films #44

Scott’s Review #211

284790

Reviewed January 4, 2015

Grade: A

Barry Lyndon (1975) is a sprawling, beautiful film by famed director Stanley Kubrick. The film is set in the 18th century.

Extremely slow-paced yet mesmerizing, every shot looks like a portrait, and the inventive use of real candlelight in certain scenes makes this film a spectacle in its subdued beauty, to say nothing of the gorgeous sets and costumes.

The film is nothing short of a marvel to view.

The story centers around Ryan O’Neal, who plays an Irishman named Redmond Barry.

Redmond is a poor Irishman, but he is an opportunist. The film follows his life as he travels throughout Ireland, England, and Germany, becoming involved in duels, being robbed, impersonating an officer, being reduced to a servant, gambling, marrying a rich widow, and feuding with his stepson.

When he woos and marries the wealthy Countess of Lyndon, he settles in England to enjoy a life of wealth and sophistication. He changes his name to Barry Lyndon.

His ten-year-old stepson, Lord Bullingdon, becomes a lifelong enemy as their hatred escalates, and he is the focal point of Act II of the film.

The supporting cast is filled with unique characters, and in particular, the three sinister characters (Lord Bullingdon, Mother Barry, and Reverend Runt) are delicious to watch, especially when they square off against one another, as with Runt and Mother Barry.

Barry’s two love interests (Lady Lyndon and a German war widow) are entertaining to watch, and Lady Lyndon’s costumes are exquisite. Furthermore, Chevalier de Balibar, a wealthy gambler who takes Barry under his wing, is a delight.

As with many masterpieces, the film would not be as wonderful without the great casting.

My three favorite scenes include the vicious confrontation between Mother Barry and Reverend Runt- an initially polite conversation between two selfish characters gradually spins into viciousness, the duel between Barry Lyndon and Lord Bullingdon- bitter rivals square off in an awkward yet dramatic duel, and when Barry passionately kisses his dying friend- an unexpected homoerotic scene.

Barry Lyndon delves into the issue of class and class distinctions, clearly defining the haves and the have-nots, and the struggles of the poor to obtain wealth by any means and of the wealthy to retain their good fortunes.

With a running time of over three hours, it may initially turn viewers off, but over time, the film will grip them and not let go.

Having now seen Barry Lyndon (1975) four times, I enjoy the film more each time as I become more absorbed in and immersed in the masterpiece.

It’s like a fine wine- it gets better with each taste.

Oscar Nominations: 4 wins-Best Picture, Best Director-Stanley Kubrick, Best Screenplay Adapted from Other Material, Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation (won), Best Costume Design (won), Best Art Direction (won), Best Cinematography (won)

#46 Favorite Film, 1990 Films, Beau Starr, Biography, Crime Drama, Debi Mazar, Drama, Favorite Film of the Year, Frank Vincent, Henny Youngman, Joe Pesci, Kevin Corrigan, Lorraine Bracco, Martin Scorsese, Michael Imperioli, Mob, Paul Sorvino, Ray Liotta, Robert De Niro, Samuel L. Jackson, Tobin Bell, Tony Sirico, Top 100 Films, Top 250 Films, Top 50 Films

Goodfellas-1990

Leave a comment

Goodfellas-1990

Director Martin Scorsese

Starring Ray Liotta, Robert De Niro, Joe Pesci

Top 250 Films #46

Scott’s Review #349

70002022

Reviewed January 9, 2016

Grade: A

Director Martin Scorsese adapts Goodfellas, a crime-mob film, from Nicholas Pileggi’s 1986 nonfiction book. Pileggi helped Scorsese write the screenplay.

The film is more matter-of-fact in its telling than the purely dramatic The Godfather, with added wit and humor, and excellent editing.

Featuring powerful acting by Ray Liotta, Robert De Niro, and Joe Pesci, it is a memorable classic mob film that can be enjoyed via repeated viewings.

Largely ad-libbed, the film is rich in good dialogue and contains one of the highest totals of curse words in film history.

The film is told from the first-person narrative of the lead character, Henry Hill.

Henry, now in the Witness Protection Program, recounts his years affiliated with the mob from 1955 to 1980.

We meet Henry as a youngster in Brooklyn, New York. He is half-Italian, half-Sicilian. He idolizes the “wise guys” on the streets and intends to join their ranks one day.

From there, the film describes the trials and tribulations of Henry’s group of miscreants. Henry meets and falls in love with Karen (Lorraine Bracco), and their tumultuous love story is explored through tender moments and affairs.

What I love most about Goodfellas is the characters’ love and the sense that you are part of the action.

The film is a highly stylized family drama- gritty nonetheless, but the viewer feels like they are part of things and a family member- milestones are celebrated, and meals are shared.

We see Henry grow from a gullible teenage boy who idolizes the neighborhood men to a member of the group.

The other characters, such as the vicious and volatile Tommy DeVito (Pesci) and Jimmy “The Gent” Conway (De Niro), are older and more mature.

Bracco’s character is interesting. Unlike most of the female characters in The Godfather films, she is not content to merely sit on the sidelines and look past her husband’s shenanigans and torrid affairs with floozies.

She is a more modern, determined woman, and Bracco plays her with intelligence and a calm demeanor. She wants to be Henry’s equal, not just some trophy wife.

Pesci deservedly won the Best Supporting Actor Oscar for his role; he is brutal and filthy, but a mesmerizing character.

During a memorable scene, his character, Tommy, jokingly teases Henry, but when Henry responds in a way that displeases him, the scene grows tense, and Tommy becomes increasingly disturbing.

His famous line “What am I, a clown- do I amuse you?” is both clever and haunting in its repercussions.

I adore the soundtrack Scorsese chose for the film—spanning decades, he selects songs true to their times, such as “Layla” (1970) and “Remember (Walking in the Sand)” (1964), which are just perfect.

Worth noting is that when a scene plays, the song is sometimes mixed into the narrative to enhance the scene altogether—becoming a part of it rather than simply background music.

If one is looking for the perfect mob film, one that contains music, wit, charm, and fantastic writing, Goodfellas is among the best.

I prefer The Godfather and The Godfather II, but while Goodfellas has similarities to these films, it is also completely different and stands on its own merits.

Oscar Nominations: 1 win-Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Joe Pesci (won), Best Supporting Actress-Lorraine Bracco, Best Screenplay Based on Material from Another Medium, Best Film Editing

#49 Favorite Film, 1957 Films, Art, Bengt Ekerot, Bibi Andersson, Drama, Favorite Film of the Year, Gunnar Björnstrand, Gunnel Lindblom, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish, Top 100 Films, Top 250 Films, Top 50 Films

The Seventh Seal-1957

Leave a comment

The Seventh Seal-1957

Director Ingmar Bergman

Starring Max von Sydow, Gunnar Bjornstrand

Top 250 Films #49

Scott’s Review #497

70127971

Reviewed October 23, 2016

Grade: A

The Seventh Seal (1957) is an Ingmar Bergman Swedish masterpiece that, after three mere viewings, I am just beginning to appreciate and fall in love with.

It is not that I did not “get” the dark, artsy theme to begin with- I did, but The Seventh Seal is a savory dish meant for repeated offerings, and with each, I have loved it even more.

The subject matter of the plague and the Black Death is heavy.

It is a quiet yet powerful, dark art film about death.

The film is shot in black and white, which does nothing but enhance the cold, stark concepts of the film. The color would have certainly made the film cheery or bright- if that can be said, given the subject matter.

Instead, the filming is cold yet illuminating, and the whites seem very white, while the blacks seem very dark, which symbolizes the film’s concepts.

In the story, a disillusioned medieval knight, Antonius Block (Max von Sydow), returns home from war, disenchanted with life. He fought in the Crusades and returned home to Sweden to find it plagued by the Black Death.

He begins to play a game of chess alone- and is visited by Death- a hideous pale creature shrouded in black. Antonius challenges Death to chess- his fate is left so long as the game continues.

Throughout the film, Antonius is the only character who can see Death- the other characters cannot, making the film open to interpretations.

The other characters in the story are a troupe of actors that Antonius meets along the way to his castle, and a young, fresh-faced girl who has been branded a witch and is fated to be burned at the stake is featured.

Since she is close to death, Antonius takes a particular fascination with her.

Throughout the film, as well as the trials and tribulations of the characters, Death continuously lurks around, watching these characters, which is a fascinating part of the film. They cannot see him, so we can only assume their time in this world is limited.

What makes The Seventh Seal so powerful is its honesty—harsh as it is. The knowledge that death is coming for these people is fascinating. Many characters discuss God in length and pray, as religion is an enormous aspect of the film.

It almost contains a good vs. evil, God vs. devil component, and again, important to stress, highly open to interpretation. Great art films are.

Numerous scenes reverberate and are significant iconic moments in film history decades later. The scene of Antonius and Death playing chess on the beach is chilling and ghost-like. Death- his pale face and a black cloak would frighten anyone. This scene has been referenced numerous times over the years.

My favorite is the inevitable final shot of peasants being led to their fate by Death. They are pulled begrudgingly by a rope reminiscent of the Pied Piper titled “Dance of Death.”

The individuals are dressed in black and are atop a hill surrounded by the sky, making the morbid scene highly effective.

The Last Supper scene is powerful, and the group enjoys the final meal, unsure of what fate has in store for them the next day.

I anticipate more viewings of this brilliant piece of filmmaking.

#51 Favorite Film, 1966 Films, Drama, Elizabeth Taylor, Favorite Film of the Year, George Segal, Mike Nichols, Richard Burton, Sandy Dennis, Top 100 Films, Top 250 Films

Who’s Afraid of Virginia Woolf?-1966

Leave a comment

Who’s Afraid of Virginia Woolf? -1966

Director Mike Nichols

Starring Elizabeth Taylor, Richard Burton

Top 250 Films #51

Scott’s Review #200

1120753

Reviewed December 3, 2014

Grade: A

Who’s Afraid of Virginia Woolf? This dark film, directed by Mike Nichols (The Graduate), is based on a play from the early 1960s.

Thankfully, the Production Code had been lifted by 1966, allowing edgier, darker films to be made—think The Wild Bunch or Bonnie and Clyde from the same period.

Who’s Afraid of Virginia Woolf? is dreary, bleak, and with damn good acting by all four principals.

George and Martha (Richard Burton and Elizabeth Taylor) are associate history professors and the college president’s daughter, respectively. They live in a small town in New England.

They have a complex, often bitter love-hate relationship.

One night, they invite young newlyweds Nick (George Segal) and Honey (Sandy Dennis), a new professor and his wife, over for drinks at 2:00 a.m.

From this point, a destructive night of verbal assaults and psychological games ensues with damaging and sad results for all parties involved, as their personal lives are exposed and dissected.

At the forefront are George and Martha, whose relationship is characterized by insults, neediness, secrets, and alcohol. After an evening out, they return home and have a vicious fight.

When their young friends arrive, the tension is thick.

Eventually, the young couple becomes sucked into the older couple’s web of dysfunction, aided by endless drinks throughout the night.

The film is shot in black and white, like a play, which I found highly effective. Most scenes occur in George and Martha’s house.

While all four actors are great (and were all Oscar-nominated), my standouts are Taylor and Dennis.

In my opinion, this role is Taylor’s finest acting performance. She is overweight, bitter, angry, frustrated, drunk, and, at times, vicious to her husband. This performance differs from many of her other film roles and is truly dynamite.

As her anger flares up, the heat and intensity oozing from the screen can be felt. She goes from vulnerable and soft one moment to a grizzled, bitter woman the next.

Conversely, Dennis is pure, innocent, kind, vulnerable, impressionable, and somewhat naive. Having had too much brandy and spent more than one occasion in the bathroom, Dennis successfully plays giddiness and innocence to the hilt.

Both Martha and Honey harbor dark secrets, which eventually are revealed.

The ambiance is just amazing. The black-and-white cinematography gives the film a hot, suffocating feel. It feels like a quiet little college hamlet, and the setting of the eerily quiet wee hours of the morning is conveyed successfully.

Each story, told mainly by George and Martha, is captivating in its viciousness (both usually belittling the other), and the film becomes mesmerizing in its shock value at the insults hurled.

What will they say or do next?

I loved the scene where Honey awkwardly dances at the late-night bar that the four of them go to. Also, the shotgun scene, where George obtains the gun from the garage during one of Martha’s insulting tales, is disturbing – what will he do with the gun?

The stories involving George and Martha’s son are sad and mysterious- the viewer wonders what is happening.

The final reveal still gives me chills.

Who’s Afraid of Virginia Woolf? (1966) is one of the most significant film adaptations of a play I have ever seen.

Oscar Nominations: 5 wins-Best Picture, Best Director-Mike Nichols, Best Actor-Richard Burton, Best Actress-Elizabeth Taylor (won), Best Supporting Actor-George Segal, Best Supporting Actress-Sandy Dennis (won), Best Screenplay Based on Material from Another Medium, Best Original Music Score, Best Sound, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White (won), Best Costume Design, Black-and-White (won), Best Film Editing

#52 Favorite Film, 1972 Films, Bob Fosse, Drama, Fritz Wepper, Helmut Griem, Joel Grey, Liza Minnelli, Marisa Berenson, Michael York, Musical, Musical Drama, Top 100 Films, Top 250 Films

Cabaret-1972

Leave a comment

Cabaret-1972

Director Bob Fosse

Starring Liza Minnelli, Michael York

Top 250 Films #52

Scott’s Review #975

Reviewed December 31, 2019

Grade: A

If not for the mighty and powerful The Godfather (1972) blocking its path (but who’s complaining?), Cabaret (1972), with eight Academy Award nominations, surely would have won Best Picture in its year of release.

The film thus has the dubious honor of receiving the most nominations of all time without whisking away the ultimate trophy, but no matter; the Oscars are not everything.

The production, acting, and story are inventive and envelope-pushing, both serious and fun, and proof that 1972 was one of cinema’s greatest years.

The story centers on a circle of friends enjoying the decadence and joviality of the decade, though they face their own struggles. Energetic Kit Kat Klub performer, Sally Bowles (Minnelli) takes a shine to British scribe, Brian (Michael York) when he moves into her boarding house.

Despite having completely different personalities, they become deeply bonded and best friends. Rich playboy baron, Maximilian (Helmut Griem), woos the pair with money and travel and beds each of them separately, eventually dumping them both.

In a supporting yet important subplot, Fritz Wendel (Fritz Wepper) is a German Jew passing himself off as a Protestant. He falls madly in love with Natalia (Marisa Berenson), a gorgeous and authentic German Jewish heiress.

Their love story is comic relief, but it also has a dangerous aspect, given the foreboding political events. The safety of the cabaret serves as a haven while the outlandish Master of Ceremonies (Joel Grey) appears throughout the film performing risque numbers.

Adapted from the popular Broadway stage show, the musical drama is set in 1930s Berlin and begins in 1931. Historians will realize that the decade of the 1930s in Germany was frightening, giving rise to the deadly and hated Nazi Party.

While the film never goes full-fledged dark, there are snippets of beatings and ridicule at the hands of the Nazis, powerful stuff and tough to take, especially given the Jewish religion of some of the principals.

Liza Minnelli has never had a better role than the one she plays as Sally. The character is vivacious, zesty, and emotional, and Minnelli dives in headfirst, winning viewers’ hearts. Beneath her bubbly exterior, Sally is wounded, yearning for love and peace of mind.

She pretends to be close to her wealthy father, but it is far from the truth. The most powerful scene is when a pregnant Sally comes to terms with the heart-wrenching decision to abort the baby.

For both the time-period setting, the 1930s, and the year the film was made, 1972, the sexuality dynamic is powerful and worth a nod. Brian, openly bisexual and at a different time certainly gay, is a great character.

He beds Sally more out of friendship than anything else while delving into admiration (or lusting) for the suave and dashing Maximilian. The fact that his sexuality is embraced and explored is to be celebrated and respected. It’s also a damned interesting part of the film.

Of course, Cabaret being a musical, the performance numbers are superlative. With gorgeous choreography by the director, Bob Fosse (and who would expect anything less from the seasoned artist), the sets and costumes are stylish.

The conclusion, featuring “Cabaret”, is done grandly as Sally performs on stage with precision and bombast. “Willkommen” and “Maybe This Time” are also dynamic favorites.

Cabaret (1972) is a spirited, intelligent experience, never glossing over the historical period, nor assuming viewers are too dumb to have a handle on those events.

The film plays best for smart audiences who appreciate artistic merit and enjoy the robust musical numbers.

Carefully, the film is designednever to shy away from the crucial Nazi power that was creeping up and leading to a generation of despair and repercussions.

Oscar Nominations: 8 wins-Best Picture, Best Director-Bob Fosse (won), Best Actress-Liza Minnelli (won), Best Supporting Actor-Joel Grey (won), Best Screenplay Based on Material from Another Medium, Best Scoring: Adaptation and Original Song Score (won), Best Sound (won), Best Art Direction (won), Best Cinematography (won), Best Film Editing (won)

#54 Favorite Film, 1969 Films, Alan Bates, Alan Webb, Art, Catherine Willmer, Christopher Gable, Drama, Eleanor Bron, Glenda Jackson, Jennie Linden, Ken Russell, Oliver Reed, Phoebe Nicholls, Romantic Drama, Top 100 Films, Top 250 Films

Women in Love-1969

Leave a comment

Women in Love-1969

UPDATED REVIEW

Director Ken Russell

Starring Glenda Jackson, Oliver Reed, Alan Bates

Top 250 Films #54

Scott’s Review #766

Reviewed June 2, 2018

Grade: A

Women in Love (1969) is a British romantic drama film that stands out as truly one of a kind. The film is quite cerebral and requires a bit of thought, which will undoubtedly lead to good conversation with film connoisseurs everywhere after a viewing.

The four central characters are complex and flawed, and they dramatically intersect in each other’s lives, making the film a “thinking man’s” feast.

The film is adapted from a popular D.H. Lawrence novel of the same name.

In 1920, set in the Midlands section of central England, sisters Ursula (Jennie Linden) and Gudrun (Glenda Jackson) attend the wedding of an acquaintance, Laura Crich. The Crich family is enormously wealthy and owns a large share of the mining town.

During the ceremony, Gudrun and Ursula fantasize about Gerald Crich (Oliver Platt) and Rupert Birkin (Alan Bates), respectively. When the foursome cross paths again at Rupert’s pretentious girlfriend’s party, attraction and conflict arise.

The film is described as “character-driven,” but it does not begin to do it justice. Each of the four principal characters is richly written with intelligence and gusto. All of them are either flawed or insecure in some way, while the fact that Gerald and Rupert share a sexual attraction for each other is another nuance explored throughout the film.

Rupert is confident and outspoken about his bisexuality- extremely rare for a 1969 film. In this way, Women in Love is ahead of its time.

The significant themes in Women in Love are commitment and love, and how each character handles them, sometimes embracing them and sometimes running away from them.

Gudrun and Gerald are in love with each other, as are Rupert and Ursula, but only one couple reaches any bliss. The characters possess a bevy of emotions, making their happiness almost impossible, and they feel doomed to failure from the onset.

This is an example of Larry Kramer’s tremendous writing and of bringing the characters to the big screen in a memorable way.

Jackson’s Gudrun and Bates’s Rupert are my favorite characters because they seem to have a bit more depth and feel like standouts. Gudrun appears to have love-hate feelings toward Gerald and is often downright cruel to him.

As they vacation in the Swiss Alps, Gudrun purposely and inexplicably flirts with a gay artist, leaving Gerald extremely jealous, which results in tragedy.

Counter-balancing Gudrun’s anger, Rupert showers in fun and zest for life, happily bisexual and thinking nothing of it, enjoying his sexually charged affections for both men and women.

The supporting characters, specifically snobbish Hermione and mentally unstable Christianna Crich, are examples of perfect casting. Eleanor Bron plays Hermione as mocking and teetering on the edge of unhinged. As she psychologically bullies poor Ursula, even though it’s clear Rupert prefers the more innocent woman, Hermione becomes frightened.

Actress Catherine Willmer takes Christianna to a new level of creepy. Already appearing psychotic, when her daughter tragically drowns, the woman goes over the edge, unleashing vicious dogs on any visitors to her estate.

Both actresses give unforgettable performances.

Women in Love contains a scene that may very well be the most homo-erotic scene in film history. As Rupert and Gerald decide to partake in a Japanese-style wrestling match one evening, they strip completely naked and grapple in front of a roaring fire.

In this lengthy sequence, both front and rear nudity are provided, leaving nothing to the imagination. When Rupert suggests they swear eternal love for each other, Gerald cannot commit to the emotional union.

One wonders if this outstanding scene influenced 2007’s Eastern Promises.

1969’s Women in Love is a fantastic film with terrific acting all around. Taking romantic drama to an entirely different level and setting a new standard for cinematic complexity, the work of director Ken Russell is peppered with nuance, making it rich with great storytelling and character development.

The fact that one couple ends in bliss and the other in tragedy is sheer excellence.

Oscar Nominations: 1 win-Best Director-Ken Russell, Best Actress-Glenda Jackson (won), Best Screenplay Based on Material from Another Medium, Best Cinematography

#1 Most Disturbing Film, #56 Favorite Film, 1975 Films, Aldo Valletti, Art, Caterina Boratto, Drama, Elsa De Giorgi, Giorgio Cataldi, International, Italian, Laura Betti, Paolo Bonacelli, Pier Paolo Pasolini, Political Drama, Top 10 Most Disturbing Films, Top 100 Films, Top 250 Films

Salo-1975

Leave a comment

Salo-1975

Director Pier Paolo Pasolini

Starring Paolo Bonacelli, Giorgio Cataldi, Caterina Boratto

Top 250 Films #56

Top 10 Most Disturbing Films #1    

Scott’s Review #183 

70099045

Reviewed October 9, 2014

Grade: A

 Salo is a disconcerting, highly controversial Italian art film from 1975 that is not for the squeamish nor the prudish.

Many people will revile this film for its distastefulness and despise it entirely — that is, if they even give it a chance, which, unfortunately, many will refuse to do.

But beyond the filth, perversion, and hatefulness that are themes of Salo lies a film that is a work of art and must be experienced by the most open-minded of cinema lovers.

The film is a dreamlike experience that centers on four wealthy Fascist Italian men of great importance and power, circa 1944, who decide to kidnap eighteen teenage boys and girls- the youngsters must be the cream of the crop and flawless in appearance, only the most attractive will do- one girl missing a tooth is immediately cast aside as a reject.

Whether the girl flaunted her marred appearance is open to interpretation.

The youths are then taken to an enormous palace where they are stripped of all clothing and forced to endure four months of torture, sexual perversions, and humiliations at the whim of and for the entertainment of their captors.

Finally, at the end of their terms, most are tortured to death by way of scalping, removal of tongues, or having their sexual organs burned off.

Also living in the palace are four aging prostitutes who enthrall the men, along with the reluctant prisoners, with tales of kinky and perverted sexual encounters from their younger days, mostly involving anal sex.

The film is divided into four sections based on Dante’s Divine Comedy: the Ante Inferno, the Circle of Manias, the Circle of Shit, and the Circle of Blood.

In one sadistically disturbing scene, one of the young girls is forced to eat human excrement by one of her wealthy captors.

In another, during the Circle of Shit, everyone dines on a meal consisting of human excrement, where lewd sex occurs.

One of the female prisoners is tricked into eating food laced with nails- a contest to determine who has the best buttocks results in the winner being brutally murdered.

Everyone in the film is bisexual, and there are repeated scenes of extreme, almost pornographic, violent sex scenes.

On a side note, most of the youngsters (non-actors) reported having a ball while filming Salo and knew not what the film was really about, so the feeling on the set was light-hearted, nothing like the finished product.

While deeply disturbing, Salo is a film that some, or many, will not get or look beyond the obvious for a deeper message. It is a masterpiece in its ugliness, rawness, and political statements, and quite artistic once one gets past the film’s brutality.

Salo contains much political symbolism- the excrement serves as the filth of Nazi Germany and authoritarian figures throughout Europe such as Hitler and Mussolini, the abuse of power that was rampant during the time of the film (World War II era), and the entire film is about the abuse that powerful people (the wealthy fascists equate to powerful Germans) inflicted on the weak (the innocent boys and girls mirror the Jews and the weak).

Is Salo a disturbing, grotesque film? It is. Is it mindless torture for the sake of torture, like movies as extreme as Saw and Hostel? It is not. It is an art film, not a horror film.

Banned in many countries for decades due to the extreme content of rape, murder, and torture of individuals thought to be under the age of eighteen, it remains widely banned to this day in several countries.

Many filmmakers, actors, and historians struggle to preserve the film’s artistic merit.

To fully grasp Salo, one must delve into the filmmakers’ minds and recognize that it is a statement film, filled with symbolism that challenges and questions the politics of its time.

Director Pier Paolo Pasolini was brutally murdered by a male prostitute shortly before the film’s release.

Salo (1975) is one of the most disturbing films I have ever viewed.

#60 Favorite Film, 1997 Films, Allison Janney, Ang Lee, Christina Ricci, Drama, Elijah Wood, Henry Czerny, Independent, Independent Drama, Jamey Sheridan, Joan Allen, John Benjamin Hickey, Jonathan Freeman, Katie Holmes, Kevin Kline, Sigourney Weaver, Tobey Maguire, Top 100 Films, Top 250 Films

The Ice Storm-1997

Leave a comment

The Ice Storm-1997

Director Ang Lee

Starring Kevin Kline, Joan Allen, Sigourney Weaver

Top 250 Films #60

Scott’s Review #850

Reviewed January 1, 2019

Grade: A

The Ice Storm (1997) is a brilliant film directed by Ang Lee of Crouching Tiger, Hidden Dragon (2000), and Brokeback Mountain (2005) fame.

The film is based on a 1994 novel of the same name, written by Rick Moody.

The brilliance lies in the rich way the characters are written with coldness, repression, and loneliness being central themes. The film is astonishingly genuine and fresh with an authenticity rarely felt so wholly in adult family dramas.

The period is 1973 and the events take place in New Canaan, Connecticut, a wealthy suburban town.

Two dysfunctional families, the Hoods and the Carvers co-exist during the Thanksgiving weekend as each deals with repression and escapism amid alcohol and sexual experimentation.

Both the adults and the children’s lives are prominently featured in the story. Ben and Elena Hood (Kevin Kline and Joan Allen) and Jim and Janey Carver (Jamey Sheridan and Sigourney Weaver) head the families.

While Ben and Janey carry on a secret affair, Elena lives an unfulfilled existence, craving more from life but not knowing how to get more and reduced to consulting self-help books for support.

Wendy Hood (Christina Ricci) enjoys sexual escapades with multiple boys while Paul Hood (Tobey Maguire), home from boarding school, takes the train into New York City to see a rich classmate Libbets Casey (Katie Holmes).

The most wonderful aspect of the film is that the story is a slice of life but with clever nuances. Since the families are rich why should the viewer feel sympathy for any of the characters let alone root for them?

Ben and Janey lounge in bed after sex, he is chatty about nonsense, and she is bored and depressed. During a holiday neighborhood gathering a kinky “key party” develops, where participants swap spouses for the night, resulting in titillation and excitement.

The bold and controversial writing is exactly why The Ice Storm scores so many points. The characters are cold and frozen, unlikable and selfish, but might that be the point? All seem unhappy and tired of their dull, small-town existence and craving what little excitement they can muster.

Written similarly to American Beauty (1999) the films could be watched in tandem for evenings of Gothic and macabre story-telling.

My favorite character is Elena as she has the most sensibility. She is lonely and ignored by her husband dutifully going about her day with little emotion. She feels temporarily excited when she develops a romantic crush on a neighbor only to quickly realize the most she can ever hope for with this man is a fling.

Her character is fleshed out as she yearns for more than she has. The other characters are largely selfish and pampered.

The film’s conclusion, however, is monumental as it changes the perceptions of some characters and softens them. A tragic death brings characters together in a powerful way.

Again, the writing in The Ice Storm is the most interesting and compelling appeal. The acting among the entire cast is professional, heartfelt, and brazen, but the written dialogue and interesting situations make this film rise above others of a similar genre.

Lee’s direction is brilliant as the blustery winter atmosphere is central to the story- in more ways than we might originally think. The frozen power lines and slick windy country roads elicit a cozy feeling nestled between harboring family secrets and scandals.

The bitter yet beautiful ambiance is a soothing and compelling aspect of the entire film and Lee portrays these elements with precision.

Of the independent drama genre, The Ice Storm has a low budget and big-name stars. The film could easily be performed as a play, but the cinematic elements and fantastic writing make it a memorable and storied piece of film-making.

Ang Lee frequently incorporates astounding character development in his works and The Ice Storm (1997) has all the qualities to be considered a masterpiece.

#66 Favorite Film, 1996 Films, Best Feature- Independent Spirit Award Winners, Bruce Campbell, Coen Brothers, Comedy, Dark Comedy, Drama, Favorite Film of the Year, Frances McDormand, Harve Presnell, Independent, Independent Drama, John Carroll Lynch, José Feliciano, Peter Stormare, Steve Buscemi, Top 100 Films, Top 250 Films, William H. Macy

Fargo-1996

Leave a comment

Fargo-1996

Director Joel Coen and Ethan Coen

Starring Frances McDormand, William H. Macy

Top 250 Films #66

Scott’s Review #366

493387

Reviewed January 9, 2016

Grade: A

Fargo (1996) is a treasure as far as I’m concerned, and the role that deservedly propelled Frances McDormand to the forefront of the film audience’s minds, not to mention a gold statue for Best Actress.

The film epitomizes dark humor and zany freshness during a time in cinema when originality was emerging, and independent films were gaining popularity.

Fargo led the pack.

The film suffers from derision from locals in and around the upper Midwest U.S.A. for its depiction of accents — perhaps overdone, but hysterical all the same.

Set against snowy, icy locales, the film effectively conveys a harsh, small-town atmosphere.

The introduction of a crime, initially done innocently, escalates out of control.

Fargo is a part caper, part thriller, and part adventure, and is a layered, cool film.

The fact that it’s 1987 is excellent. The cars, the Oldsmobile dealership, all work particularly well.

McDormand plays a local Police Chief, Marge Gunderson, who is very pregnant and stumbles upon the crime, slowly unraveling the mystery.

All the while, the character keeps her cool, cracks jokes, and delivers witty one-liners after another, presenting a slightly dim-witted image but brilliantly deducing aspects of the crime.

William H. Macy, largely unknown in 1996, is perfectly cast as a car salesman, Jerry Lundegaard.

Nervous and shaky, yet with down-home respectability, he hatches a plot to have his wife kidnapped, the ransom to be paid by her wealthy father, enabling Jerry to pay off an enormous embezzling debt, and splitting the money with the kidnappers.

Predictably, things go awry and spiral out of control.

I love how the film crosses genres and is tough to label- is it a crime drama, a thriller, or a comedy? A bit of each, which is the brilliance of it.

Fargo (1996) is an odd little piece of art and is remembered as one of the best films of the 1990s, making Frances McDormand a star.

Oscar Nominations: 2 wins-Best Picture, Best Director- Joel Coen, Best Actress- Frances McDormand (won), Best Supporting Actor- William H. Macy, Best Screenplay Written Directly for the Screen (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director- Joel Coen (won), Best Male Lead- William H. Macy (won), Best Female Lead- Frances McDormand (won), Best Screenplay (won), Best Cinematography (won)

#67 Favorite Film, 1999 Films, Alfred Molina, Drama, Favorite Film of the Year, Felicity Huffman, Henry Gibson, Independent, Independent Drama, Jason Robards, Jeremy Blackman, John C. Reilly, Julianne Moore, Luis Guzman, Melinda Dillon, Melora Walters, Michael Bowen, Michael Murphy, Patton Oswalt, Paul Thomas Anderson, Philip Baker Hall, Philip Seymour Hoffman, Thomas Jane, Tom Cruise, Top 100 Films, Top 250 Films, William H. Macy

Magnolia-1999

Leave a comment

Magnolia-1999

Director Paul Thomas Anderson

Starring Tom Cruise, Julianne Moore, John C. Reilly

Top 250 Films #67

Scott’s Review #777

Reviewed June 21, 2018

Grade: A

Paul Thomas Anderson is one of my favorite modern directors. In my opinion, his best film is Boogie Nights (1997), but he has also created other dark offerings, such as Phantom Thread (2017) and Inherent Vice (2014).

Arguably, his most distinctive effort might be Magnolia (1999), a cerebral film that explores themes of forgiveness and the meaning of life.

An ambitious effort, featuring a stellar ensemble cast, makes the film a fantastic experience.

Set in the San Fernando Valley (a mountainous area of Los Angeles), the film resembles David Lynch’s Mulholland Drive (2001) in its setting and oddness, as well as its unusual dialogue and offbeat characters.

A narrator explains three situations of extreme coincidence and surmises that chance may not be the only responsible party. Anderson then weaves an intricate tale involving numerous characters, intersecting lives, and a riveting climax on a rainy California day (an oddity in itself!).

The plot begins when we meet Jim Kurring (John C. Reilly), a police officer who is called to investigate a disturbance.

After finding a woman’s body in an apartment closet, events turn bizarre as a children’s game show host (Philip Baker Hall), his estranged daughter (Melora Walters), the show’s former producer, Earl (Jason Robards), who is dying from cancer, his drug-addicted wife Linda (Julianne Moore), Earl’s male caretaker (Philip Seymour Hoffman), a former game show champion (William H. Macy), and finally, an intense motivational speaker (Tom Cruise).

Quite a bevy of talented actors!

As the plot progresses mysteriously, the connections among the characters are revealed, and their peculiar motivations begin to take shape.

For example, Linda, who married Earl for his money, seems to have an epiphany and demands her lawyer change Earl’s will. Later, a character may have a connection to Earl and Linda, but is it all as it seems?

In Magnolia, the film is so wonderfully strange that it leaves the audience guessing for most of its running time.

Bizarre scenes are commonplace throughout the film. My favorite one is a marvelously creative scene. Suddenly, frogs begin to fall out of nowhere from the Los Angeles sky, with numerous consequences for the characters.

The incident causes a ripple effect, of sorts, as many of the characters’ fates are determined. Though one may not be able to make heads or tails of this scene or take complete logic from it, it’s enthralling all the same.

Magnolia has an overall quirky tone- sometimes upbeat, sometimes melancholy- that I adore. Films that are tough to figure out and feature an interesting musical score are so rich in flavor.

Aimee Mann is responsible for composing many of the songs on the musical soundtrack, so much so that she received a title credit on the soundtrack itself. Mann infuses her music with moody, diverse richness and ambient essentials.

Many actors make frequent appearances in Paul Thomas Anderson’s films. Magnolia alone seems almost like a Boogie Nights reunion with Moore, Walters, Macy, Baker Hall, and Philip Seymour-Hoffman to name just a handful.

The amazing aspect is that all of the aforementioned actors play vastly different, and arguably even more complex roles than they did in Boogie Nights.

Similar to Quentin Tarantino’s actors appearing in many of his films, this must be a creative treat for them.

There is no doubt that Magnolia (1999) is a complex, dream-like film. Open to interpretation and reflection, I find it a brilliant movie that I would like to revisit and dive into further with each viewing, hopefully for a better understanding and even deeper appreciation.

Oscar Nominations: Best Supporting Actor-Tom Cruise, Best Screenplay Written Directly for the Screen, Best Original Song-“Save Me”

#72 Favorite Film, 1960 Films, Art, Best International Film Oscar Winners, Bibi Andersson, Birgitta Pettersson, Birgitta Valberg, Drama, Gunnel Lindblom, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish, Top 100 Films, Top 250 Films

The Virgin Spring-1960

Leave a comment

The Virgin Spring-1960

Director Ingmar Bergman

Starring Max von Sydow, Birgitta Valberg

Top 250 Films #72

Scott’s Review #243

60011418

Reviewed May 15, 2015

Grade: A

The Virgin Spring is a quiet masterpiece by director Ingmar Bergman.

A Swedish film, it won the Best Foreign Language Oscar in 1960, which is surprising for such a dark film.

I have heard about this film for years, but it has eluded me until now. I am finally glad I viewed it. It is breathtaking and mesmerizing.

A unique film for many reasons, it inspired “revenge” films to follow, specifically The Last House on the Left and I Spit on Your Grave, which is a horror film, while The Virgin Spring is an interestingly artful film.

The film also explores morals, the main character’s religious beliefs, and the theme of guilt.

The film is shot in black and white, and the first thing that struck me about it was its gorgeous cinematography and lighting. The brilliant, deep contrast of black and white, with the illumination of a character’s face against a deathly black background, is bold and reminiscent of Citizen Kane (1941).

It gives the film warmth and glow that contrasts perfectly with the bleak subject matter.

The story of The Virgin Spring is a tragedy, yet the filming is so magnificent that it was not until the film concluded and I pondered the actual story that I realized just how horrific it truly is. And that is what Bergman was going for-provoking a thought.

This is not a film to watch while munching on a tub of popcorn. It is a film designed to prompt thought.

An affluent Swedish couple owns a farm and lives a peaceful, quiet existence. They are stellar members of their community and church. Although they are humble, they can afford to have servants.

They have a beautiful and pampered young daughter named Karin, who is sent to deliver candles to their church one sunny day. Karin is a trusting, virginal, and proper girl. She meets a trio of males- two adults and a young boy.

At first, gleefully sharing food with them and enjoying her newfound friends, they soon turn on her, and she is viciously raped, robbed, beaten, and murdered.

The look of surprise, pain, and horror on Karin’s face is monumental. As this occurs, a pregnant and spiteful servant, Ingeri, watches in horror from a hiding place. A rival of Karin’s, Ingeri, wanted misfortune to be thrust upon Karin, but as she sees in horror, her expressions portray regret.

As the family hopes and prays that they can find the missing Karin, the men and boy show up at the farmhouse in need of food and shelter.

Unbeknownst to the family, they are Karin’s rapists and killers, and once the truth is known, the once-sweet parents are out for brutal revenge. The young boy of the trio is guilt-ridden and physically sick from the circumstances.

Is the family’s revenge justified, or should they (as good Christians) forgive? This is the moral point of the story.

The conclusion is powerful as the father begs God for forgiveness. He questions his actions. But is he a changed man?

Bergman uniquely and intelligently shoots these scenes with only the father’s back in view as he throws his hands to leave. In these moments, we, the viewers, become one with the father, which makes for powerful storytelling.

Influential to many subsequent films, The Virgin Spring (1960) is a powerful tale reminiscent of a fairy tale that prompts viewers to reflect on its ending.

Subdued yet horrifying, it is meant to be viewed and analyzed.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Costume Design, Black-and-White

#78 Favorite Film, 1974 Films, Armando Brancia, Best International Film Oscar Winners, Bruno Zanin, Ciccio Ingrassia, Drama, Federico Fellini, Giuseppe Ianigro, International, International Drama, Italian, Josiane Tanzilli, Magali Noël, Pupella Maggio, Top 100 Films, Top 250 Films

Amarcord-1974

Leave a comment

Amarcord-1974

Director Federico Fellini

Starring Bruno Zanin

Top 250 Films #78

Scott’s Review #357

247784

Reviewed January 9, 2016

Grade: A

Federico Fellini’s Amarcord, winner of the Best Foreign Language Oscar and Golden Globe in 1974, is a semi-autobiographical film based on the director’s own childhood.

Set in the small Italian village of Borgo San Giuliano, the film features a diverse array of quirky, eccentric characters.

The plot centers around young Titta (Bruno Zanin), and his coming-of-age development as he blossoms into a young man- his sexual desires and fantasies are heavily explored in this zany film.

Since the time is the 1930s and Fascism, led by the tyrannical Mussolini, was rearing its ugly head, Amarcord is not all light-hearted fun and games, despite how it appears on the surface- there is a serious undertone to the entire film.

Still, the film lacks any story that can be dissected very well, which both pleases and frustrates- the film is simply to be “experienced”. It can leave you spinning, scratching your head, or disliking the film.

That is not to say that I take issue with or take offense at Amarcord. I adore the film, but it is not an easy watch. Scenes meander about in a dream-like fashion as we follow Titta through his sexual blossoming.

In one memorable scene, Titta has a titillating experience with a buxom older female who lives in the village. Some of the other characters we meet are giddy with peculiarities: a blind accordion player and a female nymphomaniac, to name but a couple.

Titta and his family are featured prominently as they eat, fight, and live together. One day, when the family treks to visit their Uncle Teo, who is confined to an insane asylum, they take him out for a day in the country, where he climbs a tree and refuses to come down.

A dwarf nun and two orderlies finally arrive and coax him down- he obediently returns to the asylum. It is a bizarre sequence, but one that sums up Amarcord perfectly.

Amarcord contains one wacky scene after another, but many of them are not just there to showcase outlandish behavior, nor are they fluff.

Fellini has a distinct message in the film, and several scenes mock Christianity or Mussolini’s crazy political ideas.

The film is larger than life but also encrusted with the fear of 1930’s Fascism and the fear that the Italians felt during this time.

The film is also sweet, and Fellini successfully adds a nostalgic feel to it- everyone feels cozy in a large sprawling town with unique characters, shenanigans, and a celebratory theme, but seriousness lurks beneath.

Amarcord (1974) is a zest for life throughout a tumultuous time, and Fellini successfully creates a hybrid of the two, resulting in one fantastic film.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Director-Federico Fellini

#79 Favorite Film, 1992 Films, Anthony Hopkins, Drama, E.M. Forster, Emma Thompson, Favorite Film of the Year, Helena Bonham Carter, Historical Drama, Independent, Independent Comedy, Independent Drama, Independent Romantic Comedy, James Ivory, James Wilby, Jemma Redgrave, Joseph A. Bennett, Nicola Duffett, Period Drama, Prunella Scales, Romantic Drama, Samuel West, Top 100 Films, Top 250 Films, Vanessa Redgrave

Howards End-1992

Leave a comment

Howards End-1992

Director James Ivory

Starring Emma Thompson, Helena Bonham Carter, Anthony Hopkins

Top 250 Films #79

Scott’s Review #702

Reviewed December 1, 2017

Grade: A-

Howards End is my favorite film adaptation of E.M. Forster’s novel, which was also adapted into a film during the 1980s (1985’s A Room with a View and 1987’s Maurice are the other two notable works).

The novels were written during the early 1900s and set during the same period, focusing on class relations in 20th-century England.

The film is lovely and picturesque, telling an interesting story about romance and drama between the haves and have-nots during this period.

The film was a success and received heaps of Academy Award nominations in 1993.

Margaret Schlegel (Emma Thompson), an upper-middle-class intellectual and member of London’s bourgeoisie, befriends wealthy and sophisticated yet shockingly conservative Ruth Wilcox (Vanessa Redgrave).

The two women strike up a powerful friendship, which results in her beloved country home being left to Margaret when Mrs. Wilcox, ailing, dies.

To complicate matters, Margaret falls in love with a businessman (and husband of Ruth), Henry (Anthony Hopkins), while Margaret’s sister Helen briefly becomes engaged to Paul Wilcox (Joseph A. Bennett), Henry’s son.

The two families’ lives further intersect when they become neighbors in London, and the true owner of the beloved “Howards End” is questioned.

Added to the mix are several other characters of various social backgrounds, having connections to the families.

The writing in Howard’s End is rich and emotional, with each character perfectly fleshed out, including both supporting and lead characters.

Thompson and Hopkins, both sensational actors, have tremendous chemistry, and, unsurprisingly, Thompson won Best Actress in this competitive year.

Thompson carries the film seamlessly with her upper-middle-class ideals- not conservatively rich, but far from working-class- she epitomizes poise, grace, and empathy for those less fortunate than she.

Hopkins, on the other hand, is calculating and confident, yet charismatic and sexy as an old-school, controlling businessman.

Somehow, these two characters complement each other exceptionally well despite their varied background.s

The role of Helen may very well be Helena Bonham Carter’s finest. Not being an enormous fan of the actress, who is overrated and too brooding in my opinion, I enjoy portraying an interesting character in Helen.

Lovelorn and earnest, yet somewhat oblivious, she develops a delicious romance with the young clerk, Leonard Bast, my favorite character in the film.

Living with Jacky, a woman of dubious origins, he is the ultimate nice guy and sadly winds up down on his luck after heeding terrible business advice.

Bast, thanks in large part to actor Samuel West, who imbues his character with an innocent, good-guy quality, deserves major props.

The cinematography featured in Howards End is beautiful, with extravagant outdoor scenes- the lavish gardens of Howards End- just ravishing and wonderful.

Kudos, too, to the art direction, set design, and costume departments for making the film look so enchanting.

There is something so appealing about the look of this film, and director James Ivory undoubtedly deserves praise for pulling it all together into a suave picture. Whether the scene calls for sun or rain, tranquil or bustling, every scene looks great.

If I were to knock any points from this fine film, it would be at two hours and twenty-two minutes. Howards End drags ever so slightly, and many scenes involve the characters merely chatting with each other, with little action.

But this criticism is small potatoes when compared to the exceptional writing and well-nuanced character development displayed throughout the piece.

Admittedly, and perhaps shamefully, I have not read any of the Forster novel. Still, Howard’s End appears to be the film that is most successfully adapted, gleaming with textured finesse, grace, and style.

With the film’s finest actors along for the experience and intricate, fine storytelling, Howards End (1992) is a film well worth watching.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Ivory, Best Actress-Emma Thompson (won), Best Supporting Actress-Vanessa Redgrave, Best Screenplay Based on Material Previously Produced or Published (won), Best Original Score, Best Art Direction (won), Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: Best International Film

#81 Favorite Film, 1955 Films, Arthur O'Connell, Betty Field, Cliff Robertson, Comedy, Drama, Elizabeth Wilson, Joshua Logan, Kim Novak, Nick Adams, Romantic Comedy, Romantic Drama, Rosalind Russell, Susan Strasberg, Top 100 Films, Top 250 Films, William Holden

Picnic-1955

Leave a comment

Picnic-1955

Director Joshua Logan

Starring William Holden, Kim Novak

Top 250 Films #81

Scott’s Review #550

Reviewed December 19, 2016

Grade: A-

Picnic is a classic 1955 film that is wonderful to watch over Labor Day weekend or anytime during the humid summer season.

The film perfectly depicts summertime in a tiny town in Kansas. It is a slice-of-life story about life in middle America during the 1950s, despite its trials and tribulations.

William Holden stars as a “wrong side of the tracks” type of guy who arrives in a quiet Kansas town on Labor Day weekend, disrupting the town’s events and causing scandals for the townspeople.

He is a hunky former college football player and exudes sexuality.

He then falls in love with his best friend’s girlfriend, Madge Owens, played by Kim Novak. The chemistry between the two stars is the film’s main appeal.

The supporting cast makes this film unique (Arthur O’Connell and Rosalind Russell star as townspeople who are in a relationship of their own).

Picnic also contains a gorgeous and lovely musical score, precisely “Theme from Picnic” and “Moonglow”.

It is shot on location in Kansas, mostly in and around Hutchinson, and is considered classic summer enjoyment.

Based on the Pulitzer-award-winning play.

Oscar Nominations: 2 wins-Best Motion Picture, Best Director-Joshua Logan, Best Supporting Actor-Arthur O’Connell, Best Scoring of a Dramatic or Comedy Picture, Best Art Direction, Color (won), Best Film Editing (won)

#82 Favorite Film, 1957 Films, Bibi Andersson, Drama, Gunnar Björnstrand, Gunnel Lindblom, Ingmar Bergman, Ingrid Thulin, International, International Drama, Max von Sydow, Swedish, Top 100 Films, Top 250 Films, Victor Sjöström

Wild Strawberries-1957

Leave a comment

Wild Strawberries-1957

Director Ingmar Bergman

Starring Victor Sjostrom, Bibi Andersson

Top 250 Films #82

Scott’s Review #1,111

Reviewed February 10, 2021

Grade: A

A seventy-eight-year-old man (Victor Sjostrom) reflects on life, loss, and a million other emotions as he ponders his inevitable death in the Ingmar Bergman masterpiece Wild Strawberries (1957).

The film’s melancholy tone forces viewers to imagine themselves in the older man’s shoes and wonder how senior citizens view death. One significant point is that it represents the geriatric demographic, which has traditionally been lacking in cinema.

It’s cerebral and reminds me of A Christmas Carol since an older man struggles over his forgotten and sometimes misbegotten youth.

Bergman creates genius on par with his most famous work, The Seventh Seal, also released in 1957. I’d list these two films as his very best and most inspiring.

Do older people fear death?  Do they whimsically revisit their youth from time to time, or do they live with regret and unfulfilled desires?

My hunch is that it’s probably a bit of all.

Wild Strawberries made me think like the older man and the effect was powerful. They made me worry about my death and relive my glory days.

Isak Borg (Sjostrom) begins to reflect on his life after he takes a road trip from his home in Stockholm to the distant town of Lund to receive a special award. Along the way, a string of encounters causes him to experience hallucinations that expose his insecurities and fears.

He realizes that his choices have rendered his life meaningless, or so he perceives it.

He is accompanied by his daughter-in-law Marianne (Ingrid Thulin), who doesn’t like Isak too much, is pregnant, and plans to leave her husband. They meet a trio of friendly hitchhikers led by Sara (Bibi Andersson), who reminds Isak of the love of his youth.

A bickering couple reminds him of his unhappy marriage, while his elderly mother reminds him of himself.

The best part is when the group stops at Isak’s childhood seaside home and imagines his sweetheart, Sara, with whom he remembered gathering strawberries but who instead married his brother.

Anyone who has returned to their childhood home or neighborhood can easily relate to the powerful memories. I pretended I was in Isak’s character, and several emotions occurred.

Sjostrom infuses a natural range of emotions. At first, crotchety and distant, I admired his sentimentality as he fondly recalls innocently picking strawberries on a summer day. How glorious and innocent it is to reminisce in a mundane yet monumental act.

Although he was an older man, he was once young. How quickly the years pass. I took this as a lesson to appreciate each day and experience. Sjostrom had me mesmerized.

Some find Izak unsympathetic. I found him incredibly likable.

Relationships are a strong element of Wild Strawberries. Izak muses over past loves, his mother, daughter-in-law, housekeeper, and hitchhikers. Peculiar is his relationship with his housekeeper, Agda, who is played stunningly well by Julian Kindahl.

Are they secret lovers or platonic friends? They seem like husband and wife.

While the story is astounding, the visual qualities of Wild Strawberries are exceptional.

The video content is crisp and clear, with very bright black-and-white photography. Each shot is mesmerizing and reminiscent of paintings.

There is so much going on in Wild Strawberries. The closest adjectives to describe the experience are hallucinogenic and mesmerizing.

The people gathered over a meal were young, fresh, and carefree. They all have lives ahead of them, and almost every viewer can recount a time when they felt that way.

It’s both nostalgic and sad to realize it doesn’t last, as Bergman makes so painfully evident.

The scene where Isak witnesses a hearse approaching is terrifying. When he realizes it is himself lying in the casket, it gives one a chill. The scene is creepy and powerful in tone and effect.

Wild Strawberries (1957) explores many facets of the human experience, including sorrow, joy, depression, acceptance, frustration, and fulfillment.

This is a work of genius and is highly recommended to anyone who appreciates excellent experiences in cinema.

Oscar Nominations: Best Original Screenplay

#84 Favorite Film, 2019 Films, Al Pacino, Austin Butler, Brad Pitt, Brenda Vaccaro, Bruce Dern, Clu Gulager, Dakota Fanning, Damian Lewis, Danielle Harris, Drama, Emile Hirsch, Favorite Film of the Year, James Remar, Julia Butters, Kurt Russell, Lena Dunham, Leonardo DiCaprio, Lorenza Izzo, Luke Perry, Margaret Qualley, Margot Robbie, Martin Kove, Michael Madsen, Mikey Madison, Quentin Tarantino, Rumer Willis, Scoot McNairy, Sydney Sweeney, Toni Basil, Top 100 Films, Top 250 Films, Walton Goggins

Once Upon a Time in Hollywood-2019

Leave a comment

Once Upon a Time in Hollywood-2019

Director Quentin Tarantino

Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie

Top 250 Films #84

Scott’s Review #926

Reviewed August 1, 2019

Grade: A

Once Upon a Time in Hollywood (2019) is another brilliant offering by one of the most (deservedly) respected directors of the modern film era.

This film may be his most personal, as it includes many cinematic references and immerses itself in Hollywood life. Toned down considerably from the violence standard in his other films, the first half lays the groundwork for a startlingly good second half, with every detail of utmost importance.

A bevy of riches awaits any viewer enthusiastically feasting their eyes on this film.

The time is 1969, as actor Rick Dalton (Leonardo DiCaprio) struggles to reinvent himself and revitalize his career in Hollywood amid a changing cinematic landscape.

Famous for a popular western television series from the 1950s, Bounty Law, a pursued film career has not taken off, and he is reduced to guest appearances as the villain, then considered throwaway roles, in other episodic series.

His stunt double and best friend, Cliff Booth (Brad Pitt), accompanies him almost everywhere, serving as both sidekick and errand boy.

Meanwhile, famous director Roman Polanski and his wife, actress Sharon Tate (played by Argot Robbie), have moved into the house next door, which Dalton hopes will help him revitalize his career aspirations.

As Tate goes about her daily life of running errands and watching her movies in the theater, she is visited by Charles Manson one day, looking for the former resident of her house.

Historical viewers are familiar with the subsequent events that unfolded in real life, while Tarantino presents a fictional, tantalizing version of them.

The film’s length is two hours and thirty-nine minutes, quite robust but typical for a Tarantino production. Some may complain about the bloated running time, but the film never drags; instead, the director lays out all the pieces carefully like a fine chess game.

By the mid-point, all hell breaks loose with one of the most suspenseful and edge-of-your-seat scenes in film history. When Cliff drives a flirtatious young hippy hitchhiker, Pussycat (Margaret Qualley), to a range populated by Manson followers, he is in for the adventure of his life…..if he survives.

Once Upon a Time in Hollywood is an orgy of cinematic tidbits, featuring a myriad of clips from forgotten films of the late 1960s and popular songs from that era.

This is just the tip of the iceberg in greatness as Tarantino perfectly immerses the viewer into the time with fury and zest. Every set piece, costume, hairstyle, or car is flawlessly placed. Kraft macaroni and cheese, Velveeta cheese, and popular dog food from the period are featured.

Tarantino is a fan of cinema and makes cinema lovers fall in love with cinema all over again.

The cast is humongous, but each character is necessary and perfectly represented in both large and small roles.

The haunting troupe of Manson followers, specifically Tex Watson (Austin Butler), Squeaky Fromme (Dakota Fanning), and Susan Atkins (Mikey Madison), are all real-life figures. They are foreboding, dangerous, and crucial to the story.

Al Pacino shines in the small but pivotal role of Schwarz (not Schwartz), Dalton’s agent, while Steve McQueen’s look-alike, Damian Lewis, is memorable on-screen for merely seconds.

The list of cameo performances goes on and on and on, and the fun is wondering who may appear next.

Despite the incorporation of big-name stars in important minor roles, the best performances belong to DiCaprio and Pitt. DiCaprio’s best scene takes place alone in his trailer as the washed-up star botches his lines thanks to a hangover, causing a delay in filming.

He abuses himself into nailing the scene, receiving kudos all around, while becoming teary-eyed after a compliment from a young actress.

Pitt has never given a better performance than he does as Cliff, sharing his best scenes with his adorable dog Brandi and with DiCaprio.

Who can ever forget his chest-baring rooftop scene?

Quentin Tarantino scores again with a bombastic and flawless picture, his ninth release. Rumored to retire after his tenth film, one can hardly fathom the reality of that statement. Hismovis can be watched and watched again, continuously absorbing new and noteworthy details of rich texture.

Once Upon a Time in Hollywood (2019) easily joins the ranks of great works, not just of the director’s catalog, but of all time.

Oscar Nominations: 2 wins-Best Picture, Best Director-Quentin Tarantino, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Brad Pitt (won), Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design

#85 Favorite Film, 1984 Films, Burt Young, Crime Drama, Danny Aiello, Drama, Elizabeth McGovern, Epic, Estelle Harris, Favorite Film of the Year, James Hayden, James Woods, Jennifer Connelly, Joe Pesci, Larry Rapp, Louise Fletcher, Mob, Richard Bright, Robert De Niro, Sergio Leone, Top 100 Films, Top 250 Films, Treat Williams, Tuesday Weld, William Forsythe

Once Upon a Time in America-1984

Leave a comment

Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro

Top 250 Films #85

Scott’s Review #218

60028306

Reviewed January 19, 2015

Grade: A

An epic film, the extended director’s cut of 1984’s Once Upon a Time in America is more than four hours in length and a directed by Sergio Leone, who also directed the 1968 masterpiece Once Upon a Time in the West and numerous other westerns starring Clint Eastwood.

This particular film is in a different vein and not to be confused as any sequel or related to the aforementioned film- this time Leone explores the crime drama genre rather than the western, and does so in remarkable fashion.

The film tells the story of a group of Jewish friends who became involved in organized crime in New York City during the 1920s.

The main story is told via flashbacks as the central character, Noodles, played by Robert De Niro, returns to Brooklyn thirty years later to reunite with his former mobster friends.

In this way, the film is sectioned- the group of youngsters and kids, and the same characters as adults.

Once Upon a Time in America has been met with considerable controversy since its release. At the time of its release, the film was butchered, with over an hour of footage cut by the studio heads, leaving it largely uneven.

Fortunately, the restored version, over three hours long, is available for viewing. Furthermore, the director’s cut clocks in at well over four hours and is the best version to watch. Due to so many cuts, other versions appear shoddy and out of order, making the viewing experience difficult.

Once Upon a Time in America is largely underappreciated, except among die-hard cinema lovers, most of whom are patient with the film, and it deserves mention as an excellent crime epic drama.

The film shares many similarities with The Godfather and The Godfather Part II, and the role De Niro plays is not too different from that of Vito Corleone in Part II.

However, the greatest contrast is that Once Upon a Time in America is more visually artistic than The Godfather films.

The film centers on Noodle’s perspective as he enjoys his youth in the Lower East Side of Manhattan, where he meets his lifelong friends.

The focal point is his friendship with Max, the adult character played by James Woods, and his undying love for Deborah, played by Elizabeth McGovern as an adult.

As kids, they are worry-free but gradually fall in with a group of older mobsters, first doing their dirty work, then venturing out on their own.

The film’s themes are loyalty, childhood friendship, betrayal, and greed, as all the characters change (or die) over the course of the film.

When a mysterious letter forces Noodles to resurface in Brooklyn, we begin to understand the backstory and the history between the friends as layers are slowly peeled back.

The film drags slightly in the middle section, but the first and last parts are very well made and absorbing.

Leone has a way of pacing the film that works- it is methodical and nuanced, with wonderful set pieces and each period explored- 1920s, 1930s, and 1960s seem equally as authentic as the next one does.

I especially enjoyed the 1920s art direction- it revealed such a state of genuineness and felt like truly being there in that period.

The relationship between Noodles and Deborah is an interesting one worth mentioning. Falling in love as youngsters (when a very young Jennifer Connelly played Deborah), they had an innocent puppy-love relationship.

As adults, they are ruined by a violent, disgraceful act, and one might argue that one of the characters becomes quite unsympathetic.

Once Upon a Time in America (1984) is a sprawling epic film sure to be enjoyed by intelligent fans of the crime epic drama genre and specifically Sergio Leone fans- an underappreciated gem.

#87 Favorite Film, 1970 Films, Barry Foster, Christopher Jones, David Lean, Drama, Epic, Evin Crowley, John Mills, Leo McKern, Marie Kean, Robert Mitchum, Romantic Drama, Sarah Miles, Top 100 Films, Top 250 Films, Trevor Howard

Ryan’s Daughter-1970

Leave a comment

Ryan’s Daughter-1970

Director David Lean

Starring Sarah Miles, Robert Mitchum, Christopher Jones

Top 250 Films #87

Scott’s Review #10

60010843

Reviewed June 17, 2014

Grade: A

Ryan’s Daughter (1970) is a sweeping epic by the masterful director, David Lean (Lawrence of Arabia, A Passage to India, Doctor Zhivago).

The film is sprawling and filled with fabulous locales of oceanic Ireland. Much of the action takes place using exterior scenes, and this is arguably as prominent and important to the film as the story is.

Set in WWI-era Ireland, one will immediately notice the gorgeous Irish landscapes and the brilliant photography involved. This gives the film a timeless look, and one can escape into the scenery itself, forgetting the story, and dream away through the roaring waves.

The intense “storm scene” is second to none as Lean had to wait over a year to film this pivotal scene- and Mother Nature had to cooperate.

The story is twofold: a love story involving a woman torn between her schoolteacher husband and a strapping, yet English (at this time, there was no love lost between the Irish and English), officer. Rosy (Sarah Miles) is headstrong yet kindhearted, the daughter of a local, prominent man.

Her husband, Charles (Robert Mitchum), is dutiful and loyal to a fault. After Rosy’s affair with the British officer, she is deemed a tyrant by the townspeople, while her husband stands by her side.

The second story is political. A strong sense of nationalism runs through the townspeople toward the British. Both stories blend nicely as small-town gossip, and a subsequent witch hunt comes into play.

The village idiot is played brilliantly by John Mills, who won an Academy Award for his efforts.

The story’s main appeal is character-driven, and the audience will surely feel perplexed about whom to root for or empathize with. I know I did. In fact, at different times, one’s loyalties can fluctuate or be challenged.

The film is reminiscent of Doctor Zhivago (1965) to me, as romance and politics intertwine, and a dilemma involving the central female characters is similar. At over three hours, the film does not drag and remains interesting throughout, as the conflict and drama reach a crescendo in the final act.

At no time is there any filler or unnecessary scenes, which, in itself, is a positive.

Sadly, Ryan’s Daughter is not considered as worthy as other aforementioned David Lean efforts, but I disagree with this- the film ages exceptionally well, like a fine wine.

This film also focuses mainly on a female character and, therefore, is female-driven, a remarkable aspect of the film, circa 1970.

Oscar Nominations: 2 wins-Best Actress-Sarah Miles, Best Supporting Actor-John Mills (won), Best Sound, Best Cinematography (won)

#89 Favorite Film, 1967 Films, Arthur Penn, Biography, Crime Drama, Denver Pyle, Drama, Estelle Parsons, Faye Dunaway, Gene Hackman, Gene Wilder, Michael J. Pollard, Top 100 Films, Top 250 Films, Warren Beatty

Bonnie and Clyde-1967

Leave a comment

Bonnie and Clyde-1967

Director Arthur Penn

Starring Warren Beatty, Faye Dunaway

Top 250 Films #89

Scott’s Review #628

Reviewed March 25, 2017

Grade: A

Bonnie and Clyde is an excellent 1967 crime drama that is not only a great film, but also successfully and surprisingly influenced an entire generation, becoming somewhat of a rallying cry for the youth generation of the time.

Released in a tumultuous period in history (the Vietnam War, the Sexual Revolution, and Civil Rights), the film fits the times and was groundbreaking in its use of violence, blood, and sex.

The film holds up tremendously well to this day and is beloved by intelligent film lovers everywhere.

The film begins with snapshots of the honest Bonnie and Clyde- a duo of bank robbers who rampaged the southwest during the Great Depression.

Set in steamy Texas, circa the 1930s, the film tells its story.

Clyde Barrow (Warren Beatty) meets Bonnie Parker (Faye Dunaway) when he tries to steal her mother’s car one hot day. Instantly infatuated with each other, the steamy duo team up and become partners in crime.

Over time, they enlist others and become more successful bank robbers, with the stakes rising with each heist.

Rounding out the crew of criminals are gas-station attendant, C.W. Moss, and Clyde’s older brother Buck, played by Gene Hackman, along with his wife, Blanche (Estelle Parsons), an innocent-minded and sometimes hysterical preacher’s wife.

Bonnie and Clyde is a unique film in many different ways- the quick-cut editing style influenced Sam Peckinpah in his movies to come, and the film uses a fast-paced rat-a-tat-tat style that symbolizes the gunfire, a significant element of the film.

Blood spurts from victims’ bodies in a style never before seen on the big screen, which led to many filmmakers’ comfort with using increased violence.

You could say that Bonnie and Clyde took away the innocence of Hollywood films and shook all of the traditional elements inside out.

The film’s conclusion is one of the greatest in cinematic history.

Far from an idyllic, happy ending, the traditional one in those days, the law finally catches up with Bonnie and Clyde, with grim results for the pair, and their demise is gruesome but true to form.

We have fallen in love with the characters, so their hasty exit from this world is tough to stomach, and as they writhe and twitch with each gunshot wound, the bullets pummeling the bodies, the scene is a difficult one to watch.

The love story between Bonnie and Clyde is intense yet sweet, and the casting of Beatty and Dunaway is spot-on. Smoldering with sexuality- as Bonnie fondles Clyde’s gun, who does not see this as a phallic symbol- their relationship is fraught with stamina and emotional energy.

The two actors feed off of each other and fill the scenes with gusto. Their chemistry is part of what makes the film so great.

One of the best scenes is the shoot-’em-up showdown at a ranch where the robbers are hiding out. The scene is laden with intensity and violence. As Buck is mortally wounded, Blanche is blinded and captured, soon to make a grave mistake in revealing one of the identities of the others.

Bonnie, Clyde, and C.W. barely escape with their lives, and their antics from this point become bloodier and bloodier. The cat-and-mouse play during this scene makes it the most suspenseful of them all.

Amid all the violence, a fantastic scene unfolds when Bonnie and Clyde meet at a secret location with Bonnie’s mother. A local townswoman, not an actress, was cast in the pivotal role of Bonnie’s mother, and the scene is an emotional experience.

The woman’s kindness and sensibility, and the sheer “regular person” she encompasses, humanize Bonnie and Clyde, and ominously, their downfall is soon to occur.

A highly influential film, Bonnie and Clyde is a film that is still quite relevant, especially for those who appreciate good movies and rich, intelligently written characters who are flawed yet humanistic, layered with complexity.

This is what director Penn carves out, and the film is an all-time Hollywood classic.

Oscar Nominations: 2 wins-Best Picture, Best Director-Arthur Penn, Best Actor-Warren Beatty, Best Actress-Faye Dunaway, Best Supporting Actor-Gene Hackman, Michael J. Pollard, Best Supporting Actress-Estelle Parsons (won), Best Story and Screenplay Written Directly for the Screen, Best Costume Design, Best Cinematography (won)

#90 Favorite Film, 1967 Films, Brian Keith, Drama, Elizabeth Taylor, John Huston, Julie Harris, Marlon Brando, Robert Forster, Top 100 Films, Top 250 Films, Zorro David

Reflections in a Golden Eye-1967

Leave a comment

Reflections in a Golden Eye-1967

Director John Huston

Starring Marlon Brando, Elizabeth Taylor

Top 250 Films #90

Scott’s Review #678

Reviewed September 3, 2017

Grade: A

Reflections in a Golden Eye is a film made during the beginning of a rich and creative time in cinema history (the latter part of the 1960s and the beginning part of the 1970s), where films were “created” rather than produced.

Less studio influence meant more creative control for the director- in this case, John Huston, who cast the immeasurable talents of Elizabeth Taylor and Marlon Brando in the key roles.

Worth mentioning is that Montgomery Clift was the intended star, but died before the shooting began. Richard Burton had turned down the role.

The film is an edgy and taboo story of lust, jealousy, and sexual repression set amid a southern military base. In the novel 1967, repressed homosexuality is explored in full detail, as well as heterosexual repression and voyeurism.

Initially a box-office flop, the film has since become an admired and cherished part of film history.

Reflections in a Golden Eye is based on the 1941 Carson McCullers novel.

Major Weldon Penderton (Brando) resides with his spoiled wife, Leonora (Taylor), at a US Army post somewhere in the South during the 1940s and 1950s.

A neighboring couple, Lieutenant Colonel Morris Langdon (Brian Keith) and his depressed wife, Alison (Julie Harris) are also featured and the trials and tribulations of Army life are exposed. Playing key roles are Langdon’s effeminate houseboy, Anacleto, and a mysterious Private Williams, played by a young and dashing Robert Forster.

Weldon is a repressed homosexual, rigid, and very unhappy with himself and his life, despite being successful professionally. To make matters worse, he is repeatedly needled and tormented by Leonora, who is having an affair with Morris.

Leonora adores her prized horse, Firebird, who becomes a significant part of the story. When Weldon and Leonora spy Private Williams completely naked in the woods riding bareback, Weldon feigns disgust, but his secret desires for the young man are revealed.

The two men then begin a secret cat-and-mouse game of spying and following each other around until a tragedy occurs.

Reflections in a Golden Eye is not a happy film; rather, it is a depressing piece about troubled lives and emotions. Passions are unfulfilled and repeatedly repressed as each character can be dissected in a complex fashion.

I am most intrigued by the character of Private Williams. A bit of an oddity, he mainly watches the action from afar, learning Weldon and Leonora’s secrets- they keep separate bedrooms and repeatedly squabble.

We wonder- is Williams obsessed with Weldon or Leonora? Or both? He sneaks into her room and rummages through her lingerie and perfume drawers. Would he, in a different time, consider himself to be transgender? Or merely intrigued by cross-dressing?

Weldon can also be carefully examined- he has fits of rage and violence that frequently erupt. Poor Firebird suffers a violent beating at his hands, to say nothing of the main character’s fate at the end of the film.

Having a macho and masculine exterior, his job is that of a leader, but the perception of a homosexual male during that time, if it was thought of at all, was more like the femininity portrayed by the Filipino male, Anacleto.

Huston wisely casts both male roles well in this department, as the men, along with Williams, could not be more different or nuanced.

A wise and telling aspect of the film is how it was initially shot with a muted yet distinguishable golden haze- appropriate to the film’s title- and much of the action seems to be viewed from the viewpoint of the horses.

The color theme was reportedly changed because it confused audiences, but my copy has the intended golden haze, and I find this tremendous. It works brilliantly in capturing Huston’s original intentions.

The film is reminiscent of Who’s Afraid of Virginia Woolf or Cat on a Hot Tin Roof, the latter made only the year before. Arguably, Taylor’s character in that film is very similar to Leonora’s.

In ways, Reflections of a Golden Eye (1967) could have been a stage production. One thing is clear: the film explores the human psyche deeply. I look forward to repeated viewings and further digging into the feelings and motivations of every principal character in a groundbreaking film by Huston.

#91 Favorite Film, 1977 Films, Dennis Christopher, Drama, Feminist, Independent, Independent Drama, Janice Rule, John Cromwell, Robert Altman, Robert Fortier, Ruth Nelson, Shelley Duvall, Sissy Spacek, Top 100 Films, Top 250 Films

3 Women-1977

Leave a comment

3 Women-1977

Director Robert Altman

Starring Shelley Duvall, Sissy Spacek

Top 250 Films #91

Scott’s Review #578

Reviewed January 1, 2017

Grade: A

Robert Altman is one of my all-time favorite directors, and what a pleasure it is to uncover additional gems that he has directed over the years.

I have seen 3 Women (1977) before, but some films (the true greats) are like fine wines, getting better and better over time and more appreciated with each passing viewing.

3 Women is a prime example of this. The psychological depth and the characters’ evolving personalities make it a unique and brilliant experience.

3 Women is a psychological feast and the study of three complex characters, hence the title.

How fantastic, how Altman claimed to have dreamed the entire film, complete with Duvall and Spacek in the roles, and then attempted to recreate the dream on film- he has done a masterful job.

The film is dream-like with an interpretive element that will leave the viewer pondering not only the relationships between the three women but who exactly each woman is- consciously and subconsciously.

Lots of questions will abound as the film concludes.

The main relationship is between the characters portrayed by Duvall and Spacek.

Duvall plays Millie Lamoreaux, a chatty and confident woman who works at a California health spa for elderly clientele. She is statuesque and gorgeous, but surprisingly not well-liked by her colleagues, two of whom are mysterious identical twins.

New employee Pinky Rose is a shy, vulnerable, mousy type who takes an immediate liking to Millie, becoming somewhat obsessed with her. The pair eventually moves in together and begins a mysterious, sometimes volatile friendship, dripping with jealousy and lust.

Eventually, they switch personalities, only adding to the film’s mystique. They reside in the Purple Sage Apartments, run by Edgar and Willie Hart.

Willie is the third woman referenced in the title and a pregnant painter, creating unsettling murals that amaze Pinky.

It has been argued that 3 Women influenced the David Lynch masterpiece, Mulholland Drive (1992), and the more I ponder this, the more I agree.

The dream-like, surrealistic qualities are prevalent in both films.

Peculiar, strong-willed women are the central characters in both films, and psychology and amnesia are the main themes. The Southern California setting is identical, as are the interpretive elements, and the fantastically odd characters- both lead and supporting.

When Pinky’s elderly parents are introduced, it feels uncanny, like a pair of grandparents featured in Mulholland Drive. Both are superior films, so the comparisons are a joy to think about and ponder the complexities.

Ingmar Bergman’s 1966 psychological film Persona is most certainly a large influence on 3 Women. That film dared to explore merging personalities among women.

The final scene of 3 Women is intense and thought-provoking. The women’s lives carry on after a tragic event, but each assumes a distinct persona and role within the family unit they have forged.

Among other qualities, I view 3 Women as a feminist film, despite being directed by a male. Altman was famous for giving his actors free rein in dialogue and development, and this was most certainly the case with 3 Women.

One of Altman’s masterpieces.

Altman is a genius in nearly every film he creates, but 3 Women is probably his most cerebral and the one that can be talked about and analyzed more than the others.

What a pure treat for a complex film lover to explore. 3 Women (1977) is not for mainstream audiences, nor is it meant to be.

#3 Most Disturbing Film, #95 Favorite Film, 2000 Films, Darren Aronofsky, Drama, Dylan Baker, Favorite Film of the Year, Independent, Independent Drama, Jennifer Connelly, Mark Margolis, Marlon Wayans, Top 10 Most Disturbing Films, Top 100 Films, Top 250 Films

Requiem for a Dream-2000

Leave a comment

Requiem for a Dream-2000

Director Darren Aronofsky

Starring Ellen Burstyn, Jared Leto

Top 250 Films #95

Top 10 Most Disturbing Films #3    

Scott’s Review #172

60001134

Reviewed September 21, 2014

Grade: A

Requiem for a Dream (2000) is a disturbing film and, at times, tough to watch. Still, it is also a brilliant masterpiece, visually as well as from a storytelling perspective, that I appreciate more and more with each painful (in a good way!) viewing experience.

The film is easily one of the most disturbing films I have ever seen.

The subject matter is drug trafficking/addiction that affects more than one character in the cast- a myriad of different films have tackled this subject- think Traffic, released around the same time as Requiem for a Dream, for a comparison.

At the risk of directly comparing Requiem for a Dream to Traffic, which is unfair, I will say that as gritty as Traffic is, Requiem for a Dream makes it look like a kid’s film.

Director Darren Aronofsky’s direction is superb.

The story revolves around a young man (Harry) from Brooklyn, played by Jared Leto, his girlfriend Marion, played by Jennifer Connelly, Harry’s mother Sara, played by Ellen Burstyn, and Harry’s best friend Tyrone, played by Marlon Wayans.

Each individual falls into a trap of drug addiction in their way, but all are written sympathetically so that the audience cares about them and feels their sorrows intensely.

Harry and Tyrone are involved in drug selling but aspire to be successful and both love their mothers and their significant others- in Harry’s case that is Marion.

Marion (Connelly) falls in over her head and is forced to turn tricks to feed her heroin habit. She is an intelligent young woman from an affluent family, which makes her downward spiral into prostitution all the more shocking.

The standout among the central characters is Sara Goldfarb, who is a lonely widowed woman obsessed with a television game show. She develops delusions of grandeur of becoming a contestant and is tragically determined to lose weight to fit into her favorite red dress.

She becomes dependent on diet pills and begins hallucinating that her refrigerator is attacking her.

Aronofsky perfectly mixes in fantasy sequences showcasing Burstyn’s real attractiveness contrasted with the desperation of Sara. Sara is a sad character and Burstyn is mesmerizing in the role.

How she lost the Oscar to Julia Roberts in 2000 is and always will be one of the biggest Oscar travesties in my opinion.

The special part of this film is the visual and cerebral aspects. The film is dreamlike in its texture and extreme, fast-paced close-ups of the diet pills or heroin being consumed.

The viewer feels the highs and lows that the characters feel and there is immediately a sense that all of the characters are doomed and hopeless.

Besides, this film has one of the most effective and haunting scores I have ever experienced, right up there with John Carpenter’s Halloween.

The slow-motion sequences combined with frenetic images make this quite cerebral to watch. I cannot watch this film very often as it is too disturbing and upsetting, but I sure am glad it was made at all.

Oscar Nominations: Best Actress-Ellen Burstyn

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Darren Aronofsky, Best Female Lead-Ellen Burstyn (won), Best Supporting Female-Jennifer Connelly, Best Cinematography (won)