Tag Archives: Drama

Who’s Afraid of Virginia Woolf?-1966

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

Cabaret-1972

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)

Women in Love-1969

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

The Ice Storm-1997

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.

Fargo-1996

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)

Magnolia-1999

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”

The Virgin Spring-1960

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

Amarcord-1974

Amarcord-1974

Director Federico Fellini

Starring Bruno Zanin, Magali Noel

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 and eccentric characters inhabiting the town.

The plot centers around young Titta, 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 sort of story that can be dissected very well, which both pleases and frustrates- the film is simply to be “experienced”. It can either leave your head spinning, scratching your head, or disliking the film.

That is not to say that I take issue or offense with 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 heavily as they eat together, fight together, and live together. When one day 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 the scenes are not just to showcase outlandish behavior nor are created as fluff. Fellini has a distinct message to 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 is a zest for life throughout a tumultuous time and Fellini successfully creates a hybrid of the two creating one fantastic film in the process.

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

Howards End-1992

Howards End-1992

Director James Ivory

Starring Anthony Hopkins, Emma Thompson, Helena Bonham Carter

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, part 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 an ailing Mrs. Wilcox 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, Henry’s son.

The two families’ lives further intersect when they wind up as 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 as each character is perfectly fleshed out this includes the supporting as well as the lead characters.

Thompson and Hopkins, both sensational actors, have tremendous chemistry together, and unsurprising was Thompson’s win for Best Actress during this competitive year. She 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 backgrounds

The role of Helen may very well be Helena Bonham Carter’s finest. Not being an enormous fan of the actress-overrated and too brooding in my opinion enjoys 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 instills an innocent, good guy quality in his character, 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 department 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 does drag ever so slightly, and many scenes involve the characters merely having chats with each other, without much 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 novels, but Howards 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 story-telling, 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

Picnic-1955

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)

Wild Strawberries-1957

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

Once Upon a Time in Hollywood-2019

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 the Hollywood lifestyle. 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, as Tarantino presents a fictional and tantalizing version of the events.

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 roles large and small.

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, on-screen for merely seconds, is memorable.

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

Once Upon a Time in America-1984

Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro, James Woods

Top 250 Films #85

Scott’s Review #218

60028306

Reviewed January 19, 2015

Grade: A

An epic film, the extended directors cut at more than four hours in length, 1984’s Once Upon a Time in America is a film 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 sort of 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 during the 1920s in New York City.

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 much controversy since it was made. At the time of its release, the film was butchered as over an hour of footage was cut by the studio heads making the film largely uneven.

Fortunately, the restored version, at over three hours in length, is available for viewing. Furthermorethe director 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 for the die-hard cinema lovers most patient with the film, and deserves mention as an excellent crime epic drama.

The film contains many similarities to The Godfather and The Godfather Part II and the role De Niro plays is not too different from 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 mainly on Noodle’s perspective as he enjoys youth in the Lower East Side of Manhattan where he meets his group of 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, followed by venturing out on their own.

The themes of the film are loyalty, childhood friendship, betrayal, and greed as all of the characters change (or die) in the time that the film takes place.

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

The film drags slightly in the middle section, but the first part 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 there in that period.

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

As adults, due to a violent, disgraceful act, their tender relationship is subsequently ruined and one might argue one of the characters turns 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.

Ryan’s Daughter-1970

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)

Bonnie and Clyde-1967

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)

Reflections in a Golden Eye-1967

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.

3 Women-1977

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 and get better and better over time, in addition to being appreciated more and more with each passing viewing.

3 Women is a prime example of this. The level of psychology and the changing personalities of the characters 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 sub-consciously. 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 and vulnerable mousy type, who takes an immediate liking to Millie, becoming somewhat obsessed with her. The pair eventually move in together and begin to engage in a mysterious and sometimes volatile friendship dripping in jealousy and lust.

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

Willie is the third woman referenced in the title and is a pregnant painter, creating unsettling murals marveled at by Pinky.

It has been argued that 3 Women was an influence on the David Lynch masterpiece, Mulholland Drive (1992), and the more I ponder this the more that I agree with it.

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, this is uncanny to 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 lives of the women carry on following a tragic event, but each takes on a certain persona and role within the family unit that they have forged.

Among other qualities, I view 3 Women as a feminist film, despite being directed by a male. Altman was famous for allowing his actor’s free reign in dialogue and development and this most certainly had to be the case with 3 Women.

One of Altman’s masterpieces.

Altman is a genius in nearly every film that he creates, but 3 Women is probably his most cerebral, and the film 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.

Requiem for a Dream-2000

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)

Sunset Boulevard-1950

Sunset Boulevard-1950

Director Billy Wilder

Starring Gloria Swanson, William Holden

Top 250 Films #101

Scott’s Review #330

60010956

Reviewed January 8, 2016

Grade: A

I adore films about Hollywood (good ones), and Sunset Boulevard (1950) is an absolute treasure.

Directed by classic film director Billy Wilder, the film is a film noir about a legendary silent film star, Norma Desmond, who struggles to cope with the advent of sound movies and the instability of her life, plagued by mental illness as her career has long since ended.

Handsome Joe innocently stumbles upon her mansion, forming an eerie relationship that ends in tragedy.

Sunset Boulevard is a famous street in Los Angeles and Beverly Hills, California. It is immediately featured in the film as Joe Gillis, played by William Holden, drives down the street, an unsuccessful screenwriter whose car is about to be repossessed.

Joe narrates the film, and we see a man lying dead in a vast swimming pool. Ironically, this is the film’s ending, and Wilder works backward in an interesting way, so the audience knows tragedy will eventually ensue.

To avoid being chased by men, Joe pulls into a driveway and hides his car in a garage near a vast yet run-down mansion. He is mistaken for a coffin salesman and meets the infamous and creepy Norma and her servant, Max.

The coffin is for Norma’s deceased pet chimpanzee. Intrigued and broke, Joe hatches a plot to rewrite Norma’s terrible screenplay- and make some money from the aging Hollywood star.

Norma needs companionship. The two, along with Max, embark on a complicated relationship marked by jealousy, passion, and rage.

The black-and-white style works exceptionally well in the film, and the lighting creates a sense of intrigue and film noir mystique.

Sunset Boulevard combines noir with a rich character study of Norma, and we feel her pain and isolation as she is cast aside due to the times.

I love how Wilder focuses on the gloomy nature of Norma’s vast mansion—especially when she throws a New Year’s Eve party isolated with just her, Joe, and a hired band—and intersperses it with a lively party in Hollywood filled with young, energetic, up-and-coming talents.

The scenes blend seamlessly and effectively showcase the two different worlds and perspectives.

Sunset Boulevard is a brilliant depiction of old Hollywood at its best (and worst). A study in ambition, struggle, high hopes (Joe), and faded success and dreams shattered in reality, where delusion is the only defense (Norma).

Oscar Nominations: 3 wins-Best Motion Picture, Best Director-Billy Wilder, Best Actor-William Holden, Best Actress-Gloria Swanson, Best Supporting Actor-Erich von Stroheim, Best Supporting Actress-Nancy Olson, Best Story and Screenplay (won), Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing

The Best Years of Our Lives-1946

The Best Years of Our Lives-1946

Director William Wyler

Starring Frederic March, Myrna Loy, Dana Andrews

Top 250 Films #102

Scott’s Review #858

Reviewed January 20, 2019

Grade: A

Many films emerged during the 1940s that depicted the horrific events of World War II. The Best Years of Our Lives (1946) is the first film to focus on the aftermath of the war and the lasting psychological effects on soldiers and their loved ones.

The film may teeter on the edge of soap opera territory. Still, it is powerful, dramatic, tender, and heartfelt, allowing its audience to experience the challenges faced by those who serve their country after leaving the military.

Director William Wyler, who also created the similarly themed Mrs. Miniver (1942), again explores the family drama genre. Still, the drama occurs this time in small-town America rather than outside London.

While Mrs. Miniver focuses on the ravages of the current war, he chooses to delve into its after-effects, which offer a broader range of situations and greater complexity. The result is a more substantial and cerebral experience.

The story centers on three U.S. service members as they attempt to readjust to civilian life upon returning home from the battlefields of World War II. Homer (Harold Russell), Al (Frederic March), and Fred (Dana Andrews) all live in the same small town, Boone City, USA.

The men were acquaintances but did not serve together in the war, as each held a different rank and had other duties.

Al has the most going for him with a loving wife, Milly (Myrna Loy), two children, and a stable household. He is promoted to Vice President of a local bank, but despite this achievement, he is a heavy drinker and prone to anger.

He is enraged at the poor treatment of veterans trying to obtain bank loans and at the United States for hindering veterans’ attempts at rebuilding their lives. His adult daughter Peggy (Teresa Wright) is a prominent character as she begins a flirtation with Fred.

Fred is unskilled and must return to his menial job as a drugstore soda jerk, much to his selfish wife, Marie’s (Virginia Mayo), chagrin. Homer lost both hands in the war and wore mechanical prosthetic hands, which made him insecure and troubled.

His days as a respected high school football quarterback have sadly come to an end, though he has unwavering support from his fiancée, Wilma (Cathy O’Donnell).

The trials and tribulations of many characters begin to mount as one character fights another over a dispute about the meaning of the war. Another character plots to ruin a marriage and embarks on a plan to rescue a character from another.

The plots run the risk of being too daytime drama-like, except that the underlying point of the troubled veterans is always at the forefront, and their challenges are to be taken seriously.

A poignant moment is a crucial scene when one character admits that they have “given up the best years of my life,” a frustrated testimonial and proof that war can ravage not only the lives of the veterans but also of their loved ones.

Wyler does not hold back in conveying a clear message through the film. The viewer will undoubtedly ponder the title, “The Best Years of Our Lives,” and realize that it is open to different interpretations and does not have only a positive connotation.

The most powerful aspect of The Best Years of Our Lives is that the actor who played a military veteran, Harold Russell, was a disabled veteran. This realism of a man portraying himself and the terrible effects the war had on him makes his character my favorite and highly empathetic.

His Academy Award wins for Best Supporting Actor are emotional and deserving, as he a won Best Picture and seven other awards.

Featuring a topic that gained prominence after World War II, The Best Years of Our Lives (1946) is a grand Hollywood film that embodies all the hallmarks of a classic drama.

Under the surface, the film is dripping with relevance, social commentary, and the psychological trauma that veterans face upon returning home, and how some are damaged beyond repair. The rich American-style film remains a worthy watch, nearly a century after production wrapped.

Oscar Nominations: 7 wins-Best Motion Picture (won), Best Director-William Wyler (won), Best Actor-Fredric March (won), Best Supporting Actor- Harold Russell (won), Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture (won), Best Sound Recording, Best Film Editing (won)

Gosford Park-2001

Gosford Park-2001

Director Robert Altman

Starring Maggie Smith, Helen Mirren, Ryan Phillippe

Top 250 Films #105

Scott’s Review #350

60021796

Reviewed January 9, 2016

Grade: A

Somewhere between the brilliant PBS series of the 1970s and the ultra-modern cool of Downton Abbey (also PBS) lies the masterpiece that is Robert Altman’s 2001 gem, Gosford Park.

Ironic is that the creator, writer, and executive producer of Downtown Abbey, Julian Fellowes, wrote the screenplay of Gosford Park.

No wonder, combined with Altman’s direction, they created genius.

The period is 1932 and the wealthy, along with their servants, flock to the magnificent estate of Gosford Park, a grand English country home. The guests include both Americans and Brits and everyone is gathered for a shooting weekend- foreshadowing if ever there was.

Following a dinner party, a murder occurs and the remainder of the film follows the subsequent police investigation, and the perspectives of the guests and the servants as a whodunit ensues.

Many of the character’s lives unravel as secrets are exposed.

Sir William, the murder victim, is a powerful industrialist. After he announces he will withdraw an investment, the ramifications affect many of the guests so that the set-up is spelled out for the audience.

At the risk of seemingly nothing more than a plot device- it is so much more than that.

During a pheasant shoot, Sir William receives a minor wound thanks to a stray birdshot- is this intentional or merely an accident? When Sir William meets his fate that evening, the potential suspects pile up.

If there are two compelling aspects to a great film, they are a good old-fashioned whodunit and an enormous cast, all potential suspects.

What makes Gosford Park exceptional is that every character is interesting in some way and all are written well.

Secrets abound for miles in this film and are revealed deliciously. Torrid affairs, sexuality secrets, and blackmail abound as revelations make their way to the surface and Altman knows exactly how to cast doubt or suspicion on many of his characters.

The compelling relationship between American film producer Morris Weissman and his valet, Henry Denton (Ryan Phillipe), along with the domineering head housekeeper, Mrs. Wilson (Helen Mirren) are my favorite characters and dynamics.

How clever that Maggie Smith would play similar roles as stuffy aristocrats in both Gosford Park and Downton Abbey.

Rich in texture is the balancing between the haves and the have-nots and how those characters mix (sometimes in secret rendezvous!)

Typical of Altman films, the character dialogue commonly overlaps, and the actors largely improvise the script. In addition to being an actor’s dream, this quality gives a dash of realism to his films and Gosford Park is no exception.

Since there are so many characters and so many plots and sub-plots going on at once, my recommendation is to watch the film at least twice to fully comprehend the layers of the goings-on.

Gosford Park (2001) will become more and more appreciated.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Helen Mirren, Maggie Smith, Best Screenplay Written Directly for the Screen/Original Screenplay (won), Best Art Direction, Best Costume Design

The Red Shoes-1948

The Red Shoes-1948

Director Michael Powell, Emeric Pressburger

Starring Moira Shearer, Marius Goring

Top 250 Films #108

Scott’s Review #683

Reviewed September 19, 2017

Grade: A

The best in the collection of cinematic ballet films, 1948’s The Red Shoes is a highly artistic and influential film, one that is undoubtedly studied in film schools everywhere.

One cannot view The Red Shoes without amazement, and the realization that this piece must have been dissected by legendary director Darren Aronofsky before he created his creepy 2010 psychological thriller, Black Swan, is evident.

The Red Shoes is a British film that imbues it with a transparent element of grace, class, and sophistication, perfectly encapsulating the themes of love, ambition, and jealousy —the Brits do it right.

Director Michael Powell later crafted the odd and controversial 1960 film Peeping Tom, which was sure to have wholly ruined his career, yet he brought his A-game to this 1948 work.

Decades later, Powell is now considered a genius director.

The film is laden with foreshadowing, at least a handful of times during its running time, as we meet our heroine, Vicky Page (Moira Shearer), a bright-eyed young woman with flowing red locks and aspirations of grandeur as she emerges as a fledgling ballerina in the Covent Garden area of London.

Partially due to her aristocratic upbringing and her assertive, snooty aunt, she lands an audition for the ballet company led by the sophisticated Boris Lermontov (Anton Walbrook).

He is immediately enamored of her, yet gives her the cold shoulder, making her question her talent. The key here is the incorporation of trains in multiple sequences.

As Lermontov and Vicky’s lives begin to intertwine, a young music student named Julian (Marius Goring) is perturbed by the plagiarism of his music by his professor, who had conducted Heart of Fire under the guise of it being his work. When Julian expresses his displeasure to Lermontov, he is hired to perform with the orchestra.

The addition of Julian to the plot kicks off a compelling triangle between the three characters, whose lives overlap in a mixture of young love, passion, and jealous rage.

The action takes off even further as the film moves to the gorgeous setting of Paris and Monte Carlo, a treat for any worldly or aspiring world traveler, as the photography and cinematic angles of the lush locales are breathtaking.

As former prima ballerina Irina Boronskaya decides to leave the company to be married, Lermontov creates a new ballet, The Red Shoes, starring Vicky, with music composed by Julian.

This creates enormous pressure for all involved as the film takes a dark turn.

Dashes of influence surrounding the exquisite performance of the famous Swan Lake dance number heavily influenced the 1950s classic An American in Paris (1951).

The long, colorful, dramatic sequence emits lush, vivacious music and performance. This “time out” from the heavy drama encompassing the rest of the film is beautiful and peaceful, and one of the sheer highlights of The Red Shoes.

The film hinges on the dynamic between the three principal characters, as each actor is spot-on and rich in flair.

Incredibly profound are the performances by Shearer and Walbrook, as each actor brings their respective character to life with the perfect amount of fury, ambition, and tension. Still, Goring as Julian is equally worthy of mention. Kudos.

I adore witnessing Moira Shearer dance; her talent and tenacity are astounding. An internationally renowned British ballet dancer and actress, Vicky’s role is ideally suited to her, as the character must have been close to her heart.

Who can forget the most famous scene, where a determined and crazed Vicky finishes her stage performance, Powell firmly holding the camera on her makeup-stained face, her blue eyes wide and hair wild?

Her look of triumph and insanity, lost in the moment, is a grand and unforgettable image that is often repeated in cinema reference books.

Equal parts dramatic, romantic, eerie, lustful, and wise, The Red Shoes (1948) is a classic film made way ahead of its time. Its startling visuals, treasured art and set designs, powerful acting, and compelling story make it a must-see.

No wonder this film had such a profound influence on other masterpieces to come.

Oscar Nominations: 2 wins-Best Picture, Best Motion Picture Story, Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Color (won), Best Film Editing

Maurice-1987

Maurice-1987

Director James Ivory

Starring James Wilby, Hugh Grant

Top 250 Films #111

Scott’s Review #14

60010639

Reviewed June 17, 2014

Grade: A

A brilliant film adaptation of the E.M. Forster novel set at Cambridge University during the turn of the twentieth century, it tells the story of oppression and social norms that took place at the time.

It is a gorgeously shot film, with beautiful landscapes, photography, and costumes.

Reminiscent of the British films “A Room with a View”, and “Howard’s End”, it is a male love story during a time when it was forbidden and lives were ruined because of sexuality like this.

The film’s characters make choices: some repressed, others celebrate, with differing results. In the middle of it, all is a beautiful love story.

Maurice (1987) is a timeless, brave treasure.

Oscar Nominations: Best Costume Design

Rebel Without a Cause-1955

Rebel Without a Cause-1955

Director Nicholas Ray

Starring James Dean, Natalie Wood

Top 250 Films #112

Scott’s Review #885

Reviewed April 14, 2019

Grade: A

Rebel Without a Cause (1955) is usually most associated with being the best-remembered film of star James Dean’s short-lived career. East of Eden (1955) and Giant (1956) are his other notable films in a much too brief time.

With Rebel Without a Cause, Dean and underappreciated director Nicholas Ray crafted a story about teenage angst and rebellion that has brilliant authenticity and was the first of its kind to influence countless other films.

In Los Angeles, three teenagers meet and commiserate at the juvenile section of the police station, revealing their respective crimes. Jim Stark (Dean) has been brought in for drunkenness and meets John “Plato” Crawford (Sal Mineo), who was brought in for killing a litter of puppies, and Judy (Natalie Wood), who was brought in for curfew violation.

All three suffer from problems at home and confide in one another. Their most profound revelations connect them and bond them for life.

To complicate matters, Jim is a new student and must endure challenges associated with this, in addition to his troubled home life. His main rival is Buzz Gunderson (Corey Allen), who challenges Jim to a knife fight and, finally, a deadly “Chickie Run” game.

This leads to Buzz’s death, which infuriates his gang, who mistakenly assume that Jim ratted them off to the cops. This puts a target on Jim’s back as he slowly falls in love with Judy and develops a deep friendship with Sal, who idolizes him.

One key to the success of Rebel Without a Cause is in the casting. Dean, rebellious in real life and the roles he portrayed, chews up each scene he appears in.

The famous scene in which Jim quarrels with his father (Jim Backus) results in a bombastic emotional unraveling and an exclamation of “You’re tearing me apart!” as his blind-sided parents bicker with one another over how best to handle the situation.

Dean is a pivotal reason for the film’s success and landmark status.

Wood infuses her character, Judy, with poignancy and a calm demeanor. Judy is a good kid who behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper).

Finally, Plato (Mineo), who is so sensitive that he threatens to break apart at the seams, has taken to killing puppies as a desperate cry for attention from his wealthy, always absent parents.

Wood and Mineo support the film in brilliant form.

Jim and Judy are likable as a pair from opposite sides of the tracks, another influential aspect of the film that became commonplace in oodles of entertainment genres over the years.

Good Girl meets Bad Boy is dangerous, tender, and filled with story possibilities.

It is implied that Plato is in love with Jim, but in 1955, films were meticulous about pushing the envelope much further than an implication when it came to homosexuality. Rumors ran rampant that Dean and director Ray had a torrid love affair off-screen.

Another positive is that the film is told within twenty-four hours, providing excellent pacing and an action-packed emotional punch. The best scenes occur at night, especially the deadly car race, and the fantastic conclusion takes place in the old deserted mansion that the trio of friends claim as their sanctuary.

The tragic final ending is sure to result in the shedding of a tear or two by anyone who watches and is entranced by the decisive finality of the event.

Watching the film in the present day, one must appreciate the enormous influence that Rebel Without a Cause has achieved.

Some classics that succeeded Rebel and stand out on their own include American Graffiti (1973), The Breakfast Club (1985), and even West Side Story (1961), which also starred Natalie Wood. Each is riddled with teenage angst, hormones, and elevated emotions, and all contain a seriousness and a depth all their own.

Rebel Without a Cause (1955) is a film that should be viewed and viewed again for more than the prominent and impressive story it tells.

The film is directed well and speaks to a generation of unruly and angry teenagers, giving them a much-needed voice. It is fraught with emotion and balance for current and future generations of teenagers to learn from.

Oscar Nominations: Best Motion Picture Story, Best Supporting Actor-Sal Mineo, Best Supporting Actress-Natalie Wood

Carol-2015

Carol-2015

Director Todd Haynes

Starring Cate Blanchett, Rooney Mara

Top 250 Films #117

Scott’s Review #308

80058700

Reviewed December 27, 2015

Grade: A

My comparison would be that this film is the female version of Brokeback Mountain (2005).

Carol is a story of hidden romance and secret lives in the early 1950s when it was difficult to lead an alternative lifestyle openly (or even in hiding!).

The film is a marvel in its honest storytelling, exquisite class, and gracefulness with excellent cinematography and a nice, heartwarming tale.

Carol is directed by Todd Haynes, a director known for films about doomed romances faced with societal challenges. Carol is a wonderful piece of work.

The film contains two equal female lead roles- Carol Aird (Cate Blanchett) is a gorgeous, sophisticated socialite.  She exudes confidence and style in everything that she does.

Always perfectly dressed, well made up, manicured fingernails, her mannerisms relay confidence, and control. She is married to a wealthy businessman, Harge (Kyle Chandler), who is madly in love with her, yet they are divorcing because of her “problem”.

The fact that Carol is a lesbian is known to Harge and they share somewhat of an understanding, and a five-year-old daughter. The divorce they are going through is difficult.

Therese Belevit (Rooney Mara), is the polar opposite of Carol.  Young, and naïve, she is a part-time shopgirl, fascinated by photography. She dates men and goes to parties, living out a typical young girl’s life.

When Carol and Therese meet at the store where Therese works, they are immediately enamored with one another and a friendship develops. Both seem caught off guard and the chemistry between the two actresses sizzles.

The focus is the budding romance between Carol and Therese, and the societal differences that they face, not to mention the age difference between the two women. I found the chemistry quite evident thanks to Blanchett and Mara.

Worlds apart, the two women somehow find their way to each other and form a bond. Their relationship is tender, gentle, and carefully laid out for the audience. They are neither animalistic nor barbaric in a sexual way, but rather sweet.

When Therese takes a spontaneous car trip from New York to Chicago, leaving her boyfriend, Richard, conflict develops. He wants them to run off to Paris but Therese wants to be with Carol. He breaks up with Therese and accuses her of having a crush on Carol.

Therese and Carol’s romance is finally consummated in a mid-western hotel. It is New Year’s Eve and Todd Haynes chooses to shoot this scene in a romantic, spontaneous way. They are celebrating the holiday, but both are blue and vulnerable. It makes perfect sense that they would turn to one another.

The film delves into many different emotions that Carol and Therese face- love, glee, anger, rage, confusion, rejection, and loneliness. These adjectives and the tone of the film are why it succeeds.

From an acting perspective, both Blanchett and Mara are great, but I am more partial to Blanchett’s performance. She embodies this character. From when she orders a martini dry with one olive, to how she brazenly approaches Therese, she is a woman in control. But faced with family issues she becomes vulnerable and we see her as human.

Besides the interesting story of a love faced with many challenges, the look of the film is grand. The sets, hairstyles, clothes, and makeup are graceful and rich. To summarize- everyone looks great and it portrays a perfect picture of the 1950s.

A progressive Hollywood tale, Carol showcases glamour, and great acting, and sends a powerful message of acceptance and struggle during a difficult time to be “different”, to fulfill one’s life.

Oscar Nominations: Best Actress-Cate Blanchett, Best Supporting Actress-Rooney Mara, Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Todd Haynes, Best Female Lead-Cate Blanchett, Rooney Mara, Best Screenplay, Best Cinematography (won)