Monday, May 22, 2017
Tom Courtenay: The Dresser
Albert Finney: The Dresser
Michael Caine: Educating Rita
Tom Conti: Reuben, Reuben
Robert Duvall: Tender Mercies (winner)
Sunday, May 21, 2017
Format: DVD from Mokena Community Public Library through interlibrary loan on laptop.
I don’t know why I haven’t really warmed to Jessica Lange as an actress. You don’t get six Oscar nominations with two wins without being good at what you do, though. It’s strange, because I tend to like her when I see her in films. I just don’t really think of her that often. I’ve said before that I thought Sweet Dreams was her best work on camera, but that was before I saw Frances.
Frances is a biopic of the life of actress Frances Farmer (Lange), who was the definition of a troubled star. The film opens with Farmer as a junior in high school winning a contest for an essay about believing that God is dead. Since this is in the ‘30s, this naturally causes a great deal of controversy, putting her in the crosshairs of some of the locals in her native Seattle. She finds herself back in the news a few years later by winning and accepting a trip to Moscow to visit the Moscow Art Theater. This is before the Cold War (before World War II, in fact), but still raises some eyebrows. After all, people already have her pegged as an atheist, and she’s apparently doubled-down by visiting the godless communists.
Saturday, May 20, 2017
Format: DVD from NetFlix on rockin’ flatscreen.
When I first heard about Hidden Figures, I knew it was going to be a movie that I really wanted to see. As I’ve said multiple times on this blog, I’m a sucker for anything involving space and NASA, and space race stuff is what gets me the most excited. A story I knew nothing about? Involving the early days of NASA? I’m all in. That it also happens to be a civil rights story and feature the work of American treasure Octavia Spencer is just added bonus. Seriously, it had me at “space race.”
Hidden Figures follows the stories of three African-American women working for NASA as “computers,” which really was the term before people actually had computers. Their jobs were to more or less work on doing calculations for various aspects of the space program. Without trying to be too maudlin or sappy, the story depicts the struggles that these women face in accomplishing their jobs in a world where segregation was still in force and where a lot of people thought that a woman’s place was in the kitchen. That’s a lot to unpack, and there really are three different, fully-realized stories here.
Friday, May 19, 2017
Michael Haneke: Amour
Benh Zeitlin: Beasts of the Southern Wild
Ang Lee: Life of Pi (winner)
Steven Spielberg: Lincoln
David O. Russell: Silver Linings Playbook
Thursday, May 18, 2017
Format: Internet video on laptop.
I don’t claim to be a genius, but it’s a rare film where I don’t have something to say. It’s entirely possible that what I have to say might be completely insipid, of course, but at least I’m bringing something to the table. A few times a year, though, I get a film like Ulysses where, at the end, I have no idea what to say and no idea where to start. And yet, here we go; the film is watched and on the Oscar list, so I’m more or less committed.
I should probably come completely clean at the top on this as well. Despite the fact that I have a degree in English literature I can’t really call myself a huge fan of the work of James Joyce. I’m not opposed to Joyce; I just haven’t read a great deal of his work. Ulysses is based on his book of the same name, so while I know the book by reputation, I’m essentially going into this completely cold.
Wednesday, May 17, 2017
Format: Streaming video from Kanopy on laptop.
Watching from a list means opening yourself up to a lot of possibilities. In the case of Cannibal Holocaust, I was prepared for nastiness. The legend of the movie is that director Ruggero Deodato was arrested and charged with murder of several of the lead actors who he had demanded stay hidden for a year to build up the legend of what happens on camera. He had to produce the actors themselves to avoid facing life in prison.
Cannibal Holocaust is a legendary horror film because of the brutality of the footage. It’s also more or less the progenitor of the found footage concept, since a good portion of the last chunk of it is exactly interspersed with scenes of characters discussing the footage that they have seen. The footage itself is of those four filmmakers heading into the Amazon rainforest to encounter cannibal tribes and learn about them. Naturally, the four filmmakers, director Alan (Gabriel Yorke), script girl Faye (Francesca Ciardi), and cameramen Jack (Perry Pirkanen) and Mark (Luca Giorgio Barbareschi) have disappeared. Anthropologist Professor Harold Monroe (Robert Kerman) has decided to follow their expedition to discover what has happened to them.
Tuesday, May 16, 2017
Format: Streaming video from Kanopy on laptop.
In the last few months, I’ve gone on a tear about Holocaust films wearing on me a bit. I’ve said the same thing about coming of age films in the past, and it’s still true. My problem with coming of age films is that about 90% of them fall into two specific categories. Coming of age films about boys mean encountering and dealing with mortality. This means that something or someone in the boy’s life will die before the credits roll. If it’s about a girl, it will be about sex, and before the film is over, our heroine will have sex, quite probably with someone inappropriate. Yes, there are notable exceptions (the teen sex comedy tends to be about everyone coming of age through sex, for instance), but the bulk are exactly this. So I can’t say that I genuinely looked forward to My Life as a Dog (or Mitt Liv som Hund if you prefer it that way).
The film concerns the life of Ingemar (Anton Glanzelius), a 12-year-old Swedish boy. He lives with his brother Erik (Manfred Serner) and his ailing mother (Anki Liden). Imgemar isn’t a bad kid, but he could be best described as “misadventurous,” a sort of classic schlimazel on whom misfortune simply happens. Case in point, while talking with a young local girl, the two shelter under a railroad trestle. Her father finds them, assumes the worst, and chases Ingemar away, who decides to run away and live on his own. He builds a fire to keep himself and his pet dog warm, and the fire gets out of control. In short, his intentions tend to be good, but the results are not generally that favorable.