Tag Archives: Marisa Berenson

#44 Favorite Film, 1975 Films, Drama, Epic, Marie Kean, Marisa Berenson, Murray Melvin, Patrick Magee, Philip Stone, Ryan O'Neal, Stanley Kubrick, Top 100 Films, Top 250 Films, Top 50 Films

Barry Lyndon-1975

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Barry Lyndon-1975

Director Stanley Kubrick

Starring Ryan O’Neal

Top 250 Films #44

Scott’s Review #211

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Reviewed January 4, 2015

Grade: A

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

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

The film is nothing short of a marvel to view.

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

Redmond is a poor Irish man but is an opportunist. The film follows his life travels throughout Ireland, England, and Germany, as he becomes involved in duels, is robbed, impersonates an officer, is reduced to becoming a servant, gambles, marries a rich widow, and feuds with his stepson.

When he woos and marries the wealthy Countess of Lyndon, he settles in England to enjoy a life of wealth and sophistication. He changes his name to Barry Lyndon. His ten-year-old stepson, Lord Bullingdon, becomes a lifelong enemy as their hatred for each other escalates and is the focal point of Act II of the film.

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

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

As with many masterpieces, if not for the great casting, the film would not be as wonderful.

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

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

At a running time of over three hours, it may initially turn viewers off, but as time goes on the film will grip hold of the viewer and not let go.

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

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

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

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

Cabaret-1972

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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)

#248 Favorite Film, 1971 Films, Björn Andrésen, Dirk Bogarde, Drama, Historical Drama, International, International Drama, Italian, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Luchino Visconti, Marisa Berenson, Mark Burns, Silvana Mangano, Top 250 Films

Death in Venice-1971

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Death in Venice-1971

Director Luchino Visconti

Starring Dirk Bogarde, Björn Andrésen

Top 250 Films #248

Scott’s Review #1,014

Reviewed April 22, 2020

Grade: A

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

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

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

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

While enjoying a tranquil holiday, he spots Tadzio (Björn Andrésen), a stunning, youthful beauty staying with his family at the luxurious Grand Hôtel des Bains, just as Gustav is.

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

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

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

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

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

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

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

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

In 2020, amid the vicious COVID-19 pandemic gripping the world, this classic film takes on a whole new importance. As Venice officials downplay the epidemic while tourists increasingly fall ill, a modern realism is conjured for the audience.

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

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

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

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

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

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

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

Oscar Nominations: Best Costume Design

2009 Films, Drama, International, International Drama, Italian, Luca Guadagnino, Marisa Berenson, Tilda Swinton

I Am Love-2009

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I Am Love-2009

Director Luca Guadagnino

Starring Tilda Swinton

Scott’s Review #545

Reviewed December 11, 2016

Grade: A

Tilda Swinton shines in I Am Love,  an amazing Italian film from 2009 that I wish received wider recognition, but alas, some of the best films do not receive their due.

Swinton stars as a matriarch of a wealthy Italian family, who owns a successful business. To make this film very authentic, it was shot in and around Milan and contains a highly stylish and exquisite appearance.

It is a grand film with high-class set pieces and a great look. I do not hesitate to categorize it as an artistic, female version of The Godfather because it is that good.

It focuses on the family as a whole but more so on Swinton’s character, who is bored and unhappy with her life and yearns for passion and feeling.

One day she meets a friend of her sons and drama ensues.

The boy is only half her age, but they share a passion that awakens her from her doldrums. The conflict in the film is how the affair looks to society and affects the family business- not to mention detrimental to her marriage.

I Am Love (2009) is a great film that should be discovered by those looking for a gorgeous film with great drama.

Oscar Nominations: Best Costume Design