"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
1 - Rear Window - The voyeurism completly drew me in.
2 - North by Northwest - Very entertaining, with a smart story and some classic scenes.
3 - Psycho - Scared the bejesus out of me when I saw it in high school, thought I saw "mother" in all my neighbors windows.
4 - Vertigo - Another great story, with a great performance by Jimmie Stewert.
5 - Notorious - Great performances from Grant and Bergman.
6 - The Birds - Another movie to freak you out, won't look at sea gulls or crows the same way ever again.
7 - Dial M for Murder - Always liked this film, Grace Kelly really helps.
8 - Strangers on a Train - Story grabs you early and really pulls you in.
9 - Rope - Something of a cinematic exercise, and feels like a play at times, but I like it.
Great list.
My list would probably be Rear Window, North By Northwest, Vertigo, Strangers on a Train, Psycho, Notorious, Shadow of a Doubt, Dial M for Murder, Frenzy and Rope.
Hitchcock is really one of the great directors of all time and if you are interested in film, you must see at least a few of his films.
I respectfully disagree. :v IMO Hitchcock was the greatest director of all time.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Slight problem, Craig's reboot has spoiled these films a bit as you kind of think, this movie should be a bit harder, imagine if they'd remade this to follow on Casino Royale. Even though I'm not a major fan of the reboot. Also, Moore is often credited with giving his best performance here, largely by non-Moore fans who feel he is more restrained, but I must say through adult eyes he is rather unctuous and smug, a school prefect. The way he cons Solitaire into losing her virginity, threatens to shoot wally Rosie Carver after banging her and so on. Ironically Mr Big seems to have more macho charisma and genuine sense of fun. With this and his caddish behaviour in Golden Gun, Moore only really turned into a decent guy with his third Bond film imo. Until then he's not exactly ruthless, more a bit of a sh1t.
Thoroughly Modern Millie
Great fun, overlong musical. Top larks, more a comedy with songs added really and nothing really moving about the tunes (the falling in love stuff is more a send up). It stars Julie Andrews, James Fox, Mary Tyler Moore and Bond connection John Gavin, would-be Bond for Diamonds Are Forever. It's set in the flapper 1920s. Top larks.
Much acclaimed Iraq war film about a US bomb detonator unit going about its business. Plenty of nerve-shredding tension, followed by more nerve-shredding tension. This is a real movie, almost an Indie film, and all American films would be kind of like this if I had my way. It's very authentic looking but of course with director Kathryn Bigelow in the frame for the next Bond film, I had my eye on that a bit. She'd be fine for the most part, especially as this film features a gung-ho defuser played by Daniel Craig lookalike Jeremy Renner, all short cropped hair and blue eyes. Her trademark, as also seen in Point Break, seems to be matey almost homo-erotic banter which I'm not sure would fit in a Bond film, though there's not too much of it.
One or two niggles in it bugged me. Maybe the Americans could learn to shout out a few phrases in Iraqi language such as "Move away! A bomb is about to blow!" and so on, instead of shouting it louder in English.
Not sure the director can do the Bond formula (ie wit, romance, sophistication) though in theory it's all up for grabs after the reboot anyway. And the film is an ensemble piece. Still, I guess they could do a lot worse, and she can do action.
I like Bigelow alot (although I'm not a big fan of Near Dark) and I can't wait to see this film. The only problem is that it hasn't been released here yet, and it probably never will. I might have to ask my father for it.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
) My father is so different from Red, it's ridiculous.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
I'm sure there's a "Your ma!" joke I could work in here...
Great show, one of my all-time favourite sitcoms, but I think you would struggle to find any similarities between my family and the Keaton family. Politically, yes; and I have two siblings (although the Keatons ended up with four children), but it's pretty different.
As for any "Your ma!" jokes, leave it the master. :v )
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
A black man, Arab and a Jew walk into a bar... and trash it. )
Ok, this is a 1989 French film that depicts the Parisian underclass on the housing estates and the social tensions that threaten to boil over into rioting. Quite timely still, as the Paris riots of a few years back testify. Vincent Cassel is the white guy, I suppose I now seem racist not checking the names of the other actors, but Cassel has of course gone on to international success and is currently seen in Gangster No 1 or whatever it's called.
This is a fine black and white movie based around 24 hours in the trio's life, including an all nighter. It doesn't unfold the way you expect and the three are probably more charismatic than they might be in real life, but that's movies. I liked the chemistry between the guys and the few unexpected plot twists. It's not Funny Face, that's for sure.
I hate Curb Your Enthusiasm and I'm not the world's biggest fan of Woddy Allen, or more specifically of him as an actor. So, you might expect that this would be a negative review. :v Well, you're wrong. I thought that the lastest film from Woody Allen was extremely funny and quite tender at times. It essentially tells the story of a physics genius who hates everyone, and who ends up in a relationship with a much younger woman. It's typical Allen, both in terms of the romance between a man and a woman half his age, but also David utilises numerous Allenisms. There were times when I could have sworn I was watching Allen. Which, ordinarily, would not particularly enjoyable as I've long tired of the whole 'Jewish, neurotic, hates all of mankind' schtick. But I loved watching David. Away from his usual brand of humour; uncomfortable, embarassing etc... which I dislike, he was matched with IMO a superior form of comedy and he was terrific! The entire cast was great; Patricia Clarkson, Evan Rachel Wood and Ed Begley Jr. were all fantastic.
The film is interesting as it acknowledges the audience watching, and David even speaks to the audience from time to time. One could interpret this in different ways. Perhaps Allen was merely continuing the same device from Annie Hall, where he acknowledges that there is an actual audience. However I think that David's character became so exasperated with humanity that he had to complain to God, the audience; afterall everyone were too stupid to really understand him. There were at least one time when fellow characters even accused him of being crazy, thus arguably giving credence to the God theory.
Whatever Works is not a perfect film. It's predictable, feels too much like a parable with a moral lesson, and considering Allen's personal life, his fixation on older man-younger woman relationships makes me wonder whether he's simply puting his fantasies onto screen. I'm no *moralist, so I won't judge him, but like with writer Phillip Roth, it would be nice if some of his older characters featured female partners who were not born after the Moon landing. Nonetheless, it's extremely sweet and is a very enjoyable film. I would certainly recommend it.
*Rather I agree with the message, and title, of the film.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
A spaghetti western with the unique distinction of having Ringo Starr cast as a Mexican bandit. His post, Let It Be, Magic Christian length hair and beard make for an accurate visual. Not asked to do much here, besides look good and play the main villain's headstrong brother.
The title character, a heroic blind gunman guided by his faithful seeing-eye horse, (!) is played by Tony Anthony, a veteran in this genre. With his sightless eyes and rapid fire rifle action, you simply can't turn away. The premise is a little hard to swallow but the end result is fascinating to watch.
The plot is anything but basic. On route to deliver 50 mail order brides to a group of miners for marriage, Ringo's older brother, the bandito named Domingo, hijacks the group to sell to the Mexican army. The rest of the story details Anthony's attempts at rescue. Not exactly a politically correct or fair depiction of women, but there is one strong female role figure who plays the sister of already mentioned villains. There is also some brief skin which is rare in westerns so I wouldn't recommend it for large family gatherings.
Seven Days in May:
A gem-Frankenheimer in his prime.
Rope:
Great Hitchcock vehicle, so full of tension and no cuts!
The Curse of Frankenstein:
One of the best horror films ever made.
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
Rope: Great Hitchcock vehicle, so full of tension and no cuts!
Actually, he shot it in ten-minute takes...the cuts are brilliantly disguised B-)
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Oct 26th : 25th anniversary Terminator -{:007):x{[]
Magnificent film.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
I watch The Transporter the other day (at least I think it was The Transporter...it had a picture on the cover of Jason Statham jumping through the air pointing a gun - wait, that could be any Jason Statham movie). I was very impressed with the jack mechanism built into the BMW Statham used when changing his tire.
Billy Wilder directed comedy starring Tom Ewell and Marilyn Monroe. The Seven Year Itch, which was originally a Broadway play, tells the story of a New York businessman whose family is away for the summer. Marilyn Monroe is the girl who takes the apartment above Ewell's for the summer. Ewell is intent on being a good faithful husband while his family away, but after bumping into Monroe while returning from work, it doesn't take long for his will to weaken. He invites Monroe down to his apartment, she accepts and the rest of the movie consists of Ewell trying to control his natural urges.
The film has its fault, the movie feels like a play, as the majority of it takes place in Ewell's apartment and at times the comedy is very silly, especially the daydreaming fantasy bits. Despite these issues, I enjoyed the film for Monroe's performance which is flawless. She is sweet, she is innocent, she is sexy, boy is she sexy and she is likeable. In my opinion, her presence makes the film. Tom Ewell also played the role of the family free husband on Broadway and won a Tony, but his performane in this film, for me, was uneven. At times he is funny, trying to control his urges, at other times he is too over the top with his silliness. I enjoyed the film, at times laughing outload, at other times I was wishing they would have pulled back on a little of the silliness. If you are a fan of Monroe's, this film is a must.
Note - This film is famous for the subway grate scene where Monroe's skirt blows up while the subway train passes underneath. It is interetsing to note, that the scene in the movie is much more reserved than the famous still shot of Monroe holding her skirt down. In the film, the skirt blows up far less and Monroe is shot up close so you really don't see the skirt blow up that much.
Billy Wilder directed comedy starring Tom Ewell and Marilyn Monroe. The Seven Year Itch, which was originally a Broadway play, tells the story of a New York businessman whose family is away for the summer. Marilyn Monroe is the girl who takes the apartment above Ewell's for the summer. Ewell is intent on being a good faithful husband while his family away, but after bumping into Monroe while returning from work, it doesn't take long for his will to weaken. He invites Monroe down to his apartment, she accepts and the rest of the movie consists of Ewell trying to control his natural urges.
The film has its fault, the movie feels like a play, as the majority of it takes place in Ewell's apartment and at times the comedy is very silly, especially the daydreaming fantasy bits. Despite these issues, I enjoyed the film for Monroe's performance which is flawless. She is sweet, she is innocent, she is sexy, boy is she sexy and she is likeable. In my opinion, her presence makes the film. Tom Ewell also played the role of the family free husband on Broadway and won a Tony, but his performane in this film, for me, was uneven. At times he is funny, trying to control his urges, at other times he is too over the top with his silliness. I enjoyed the film, at times laughing outload, at other times I was wishing they would have pulled back on a little of the silliness. If you are a fan of Monroe's, this film is a must.
Note - This film is famous for the subway grate scene where Monroe's skirt blows up while the subway train passes underneath. It is interetsing to note, that the scene in the movie is much more reserved than the famous still shot of Monroe holding her skirt down. In the film, the skirt blows up far less and Monroe is shot up close so you really don't see the skirt blow up that much.
The Girlfriend Experience, Steven Soderbergh's no-budget, 76-minute attempt to keep his indie credentials intact. You'd think that casting a real-life porn star to play a New York call girl would result in a movie that's sexy, or at least provocative; but this is a talky, poorly-acted, poorly-shot bore. The structure of the movie is also out of sequence, as if to disguise the fact nothing particularly interesting is really going on. Avoid like a case of the crotch crickets.
I've seen this several times, however I recently rewatched it, and my belief that this is one of the best, as well as one of the least consisent, musicals of all time was confirmed. It's a film which combines genius with boredom. The energetic numbers are extraordinary. They are truly electrifying. The best element is perhaps the dancing; the first time that dance really was used as a weapon and its aggressive, intimidating and poetic nature is ultimately what makes the films timeless. As a huge fan of martial arts, I have long noticed the similarties between it and dancing; arguably two of the truly great art forms. The music, and the lyrics, are also wonderful, with Leonard Bernstein cementing his status as one of the greatest composers of the 20th century and Stephen Sondheim confirming himself as an absolute star.
The performances are also terrific, although I would have liked to have seen more of George Chakiris (playing Bernardo.) The cinematography, set design and editing (especially the editing) are all superb and Natalie Wood is truly gorgeous. :x
The film is not perfect. What lets it down are two things; the quiet moments, especially after Maria and Tony get together, and also Richard Beymer (Tony) is not particularly charismatic. The problem is that the film was co-directed by Robert Wise and Jerome Robbins, and it shows. The scenes that Robbins directed are arguably among the most exciting and most memorable scenes in the film and it became a film of two halves, to some degree. While there are some nice quiet moments, generally speaking, the film is at its best when it is speeding along like a racing car. Also, while Beymer is fine, his lack of charisma greatly lessens the chemistry between his Tony and Wood's Maria.
West Side Story is a masterpiece, albeit a flawed one. Truly recommended. -{
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Jumping back and forth between The Spy Who Loved Me and Oliver! on a Sunday afternoon with the folks.
Obscure fact: Spy director Lewis Gilbert dropped out of Oliver! at the last minute, and Carol Reed took over.
Spy: Good of course, odd to see George Baker in his role much the same time as he played the Emperor Tiberius in I Claudius. Moore is less boorish than before, but does seem rather smug (he was least like this in AVTAK imo). Anya's meeting with the Kremiln after the credits must be the shortest on record. "Our submarine's been hijacked. Your boyfriend's dead. You fly tonight."
Oliver! has great sets but lacks charm. Fagin, Sykes and Artful are well cast but Nancy is a shrew and Oliver is a little mite. It tries too hard.
I watched Michael Bay's latest shrapnel-fest Transformers: Revenge of the Fallen. I never felt the need for a Transformers sequel, and T:ROTF did nothing to change that opinion. The film did, however, bring me to the realization that Shia LeBouf no longer holds any interest for me as an actor.
The most interesting part of the movie was when I realized there were some scenes shot only a few miles from my home in the aircraft boneyards. Through the magic of film, our heroes bust through a wall in the Smithsonian and are smack in the middle of the Sonoran Desert, with the Santa Catalina mountains in the back! )
My second Billy Wilder directed comedy this week, the movie stars Tony Curtis, Jack Lemmon and Marilyn Monroe. This film often shows up in the top 100 films of all times, or top comedies of all time. It is not a laugh riot, but it is amusing througout.
Lemmon and Curtis are down on their luck musicians during the 20's prohibition period, who unwittingly witness the infamous mob hit known as the St. Valentines Day massacre. To escape Chicago and the mob they dress like women and join an all female band that is on a train trip to Florida. One of the fellow band members is Sugar Kane played by Monroe. Once in Florida, Curtis tries to seduce Monroe, Lemmon is romanced by a millionaire playboy and the mob shows up at the same hotel for a convention, all of which leads to some amusing situations.
As I said, the movie is not wall to wall laughs, but the story is engrossing and funny. Curtis and Lemon are very good playing the cross dressing on the run musicians and Monroe, is well, Monroe, gorgeous, sexy and sympathetic. Monroe does some singing and does well, she also wears a dress during her first number that really shows her curves. Good movie, highly recommend.
I am working my way through the series of Private Schultz, a 1981 BBC comedy series.
It's about a German fraudster released from jail on the eve of World War II who winds up working as a translator for the SS. He hits upon the idea of faking bank notes to undermine the English war effort, only to find that his SS boss, played by Ian 'Frances Urquart' Richardson is holding him to it, as he has made a promise to the Fuhrer.
Michael Elphick is perfect as Schultz, his hangdog demeanour matched by Carl Davis' lugubrious theme tune which gives the sense that nothing is going to pan out at planned. A similar story was covered in a more serious way by the recent The Counterfeiters. Private Schultz holds up well, although I have to say it would have been more fun on telly in the 1980s with my family rather than watching it by myself on the plasma where it seems a bit more hollow than I remembered. Still, Dunkirk is effectively conveyed, unlike last night's Churchill drama where the Battle of Britain is undertaken with just two Spitfires....
My third Marilyn Monroe film in the last week, this one directed by Howard Hawks is an old fashioned Hollywood musical, with lavish sets, gorgeous costumes and big dance numbers. The film stars Marilyn Monroe and Jane Russell (Russell gets top billing) as two singer/entertainers who are looking for love. Monroe would like that love to come with money, Russell isn't as picky. Monroe becomes engaged to a rich gentleman; however the gentleman's father is opposed to the marriage and is intent on proving Monroe is only after money. While on a cruise to Europe a private eye gets incriminating evidence on Monroe, but the private eye has a thing for Russell. Will the private eye turn Monroe in, will Russell still fall for the private eye despite his initially deceiving her, will Monroe keep the tiara (have to see the movie for that one), will Monroe's future father-in-law accept her. I won't give it away, but this is Hollywood.
Wasn't sure I would like this film, but I did, the sets and costumes are gorgeous, the film is at times very funny, and Monroe & Russell are excellent as they sing, dance, deliver funny lines and look fantastic. Monroe's, Diamonds are a Girl’s Best Friend number is a highlight.
Mr MartiniThat nice house in the sky.Posts: 2,703MI6 Agent
Double Feature Today:
Talledega Nights: The Ballad Of Ricky Bobby
Not a great movie, but it did keep me entertained for two hours. Not sure if I'll watch it again anytime soon. 3 out of 5 stars.
A Few Good Men
This has been sitting on my DVD shelf for two or three years. Glad I finally pulled it down and watched it. This is a great movie. I love courtroom dramas. 5 out of 5 stars. A must see.
Some people would complain even if you hang them with a new rope
I watched a compilaton dvd supplied by a lads mag a while back - no, not that sort Dan Same - of top movie car chases including Bullett, The Italian Job, Le Mans, Vanishing Point, Ronin and a French film in which a speeded-up motorbile ride is filmed in a deserted Paris at the crack of dawn.
Of course, I thought, you can't have a compilation like this without a Bond car chase! But then I figured, I dunno. When I saw Bullett, I realised that it was very well done and no Bond film can really touch it. The Bonds were great as a kid, as they had some coup de grace type stunt like the alleyway thing in DAF. But I'm not sure the action really is so well done compared to these classic scenes. For instance, the chase in Danger Diabolik which the Lotus chase in TSWLM rips off is far superior, more electrifying. The exception I would make, ironically, is the QoS opener which many hate, but it did have a zip to it and works on its own as a great chase. It has a distinctive visual flair, even if it's not to your taste.
Another exception would be the ski chase in OHMSS - no gimmicks, just straight excitement.
Bullitt is great because a) it's unique, the way it utilises the Frisco hills is its usp. b) we get to see the opposition close up, in the car (see above) and get to personally dislike them. In fact the internal shots of the car reminded me of a similar shot in the Aston in the pts of OHMSS, filmed around the same time. It's very effective, but you don't see it used in many films, even other Bond films.
Another exception would be the ski chase in OHMSS - no gimmicks, just straight excitement.
The first skiing chase in OHMSS was IMO the greatest chase in the film and a contender for the title of best Bond chase of all time, along with perhaps the chase scene from TSWLM due to its ending. Thus, if any Bond chase were to have featured in a compliation of the all-time great chases in cinematic history, I think those two are worthy contenders.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Comments
Roger Moore 1927-2017
My list would probably be Rear Window, North By Northwest, Vertigo, Strangers on a Train, Psycho, Notorious, Shadow of a Doubt, Dial M for Murder, Frenzy and Rope.
I respectfully disagree. :v IMO Hitchcock was the greatest director of all time.
Slight problem, Craig's reboot has spoiled these films a bit as you kind of think, this movie should be a bit harder, imagine if they'd remade this to follow on Casino Royale. Even though I'm not a major fan of the reboot. Also, Moore is often credited with giving his best performance here, largely by non-Moore fans who feel he is more restrained, but I must say through adult eyes he is rather unctuous and smug, a school prefect. The way he cons Solitaire into losing her virginity, threatens to shoot wally Rosie Carver after banging her and so on. Ironically Mr Big seems to have more macho charisma and genuine sense of fun. With this and his caddish behaviour in Golden Gun, Moore only really turned into a decent guy with his third Bond film imo. Until then he's not exactly ruthless, more a bit of a sh1t.
Thoroughly Modern Millie
Great fun, overlong musical. Top larks, more a comedy with songs added really and nothing really moving about the tunes (the falling in love stuff is more a send up). It stars Julie Andrews, James Fox, Mary Tyler Moore and Bond connection John Gavin, would-be Bond for Diamonds Are Forever. It's set in the flapper 1920s. Top larks.
Roger Moore 1927-2017
Much acclaimed Iraq war film about a US bomb detonator unit going about its business. Plenty of nerve-shredding tension, followed by more nerve-shredding tension. This is a real movie, almost an Indie film, and all American films would be kind of like this if I had my way. It's very authentic looking but of course with director Kathryn Bigelow in the frame for the next Bond film, I had my eye on that a bit. She'd be fine for the most part, especially as this film features a gung-ho defuser played by Daniel Craig lookalike Jeremy Renner, all short cropped hair and blue eyes. Her trademark, as also seen in Point Break, seems to be matey almost homo-erotic banter which I'm not sure would fit in a Bond film, though there's not too much of it.
One or two niggles in it bugged me. Maybe the Americans could learn to shout out a few phrases in Iraqi language such as "Move away! A bomb is about to blow!" and so on, instead of shouting it louder in English.
Not sure the director can do the Bond formula (ie wit, romance, sophistication) though in theory it's all up for grabs after the reboot anyway. And the film is an ensemble piece. Still, I guess they could do a lot worse, and she can do action.
Roger Moore 1927-2017
Roger Moore 1927-2017
The Same family...
I'm sure there's a "Your ma!" joke I could work in here...
Roger Moore 1927-2017
As for any "Your ma!" jokes, leave it the master. :v
A black man, Arab and a Jew walk into a bar... and trash it.
Ok, this is a 1989 French film that depicts the Parisian underclass on the housing estates and the social tensions that threaten to boil over into rioting. Quite timely still, as the Paris riots of a few years back testify. Vincent Cassel is the white guy, I suppose I now seem racist not checking the names of the other actors, but Cassel has of course gone on to international success and is currently seen in Gangster No 1 or whatever it's called.
This is a fine black and white movie based around 24 hours in the trio's life, including an all nighter. It doesn't unfold the way you expect and the three are probably more charismatic than they might be in real life, but that's movies. I liked the chemistry between the guys and the few unexpected plot twists. It's not Funny Face, that's for sure.
Roger Moore 1927-2017
I hate Curb Your Enthusiasm and I'm not the world's biggest fan of Woddy Allen, or more specifically of him as an actor. So, you might expect that this would be a negative review. :v Well, you're wrong.
The film is interesting as it acknowledges the audience watching, and David even speaks to the audience from time to time. One could interpret this in different ways. Perhaps Allen was merely continuing the same device from Annie Hall, where he acknowledges that there is an actual audience. However I think that David's character became so exasperated with humanity that he had to complain to God, the audience; afterall everyone were too stupid to really understand him. There were at least one time when fellow characters even accused him of being crazy, thus arguably giving credence to the God theory.
Whatever Works is not a perfect film. It's predictable, feels too much like a parable with a moral lesson, and considering Allen's personal life, his fixation on older man-younger woman relationships makes me wonder whether he's simply puting his fantasies onto screen. I'm no *moralist, so I won't judge him, but like with writer Phillip Roth, it would be nice if some of his older characters featured female partners who were not born after the Moon landing.
*Rather I agree with the message, and title, of the film.
A spaghetti western with the unique distinction of having Ringo Starr cast as a Mexican bandit. His post, Let It Be, Magic Christian length hair and beard make for an accurate visual. Not asked to do much here, besides look good and play the main villain's headstrong brother.
The title character, a heroic blind gunman guided by his faithful seeing-eye horse, (!) is played by Tony Anthony, a veteran in this genre. With his sightless eyes and rapid fire rifle action, you simply can't turn away. The premise is a little hard to swallow but the end result is fascinating to watch.
The plot is anything but basic. On route to deliver 50 mail order brides to a group of miners for marriage, Ringo's older brother, the bandito named Domingo, hijacks the group to sell to the Mexican army. The rest of the story details Anthony's attempts at rescue. Not exactly a politically correct or fair depiction of women, but there is one strong female role figure who plays the sister of already mentioned villains. There is also some brief skin which is rare in westerns so I wouldn't recommend it for large family gatherings.
A gem-Frankenheimer in his prime.
Rope:
Great Hitchcock vehicle, so full of tension and no cuts!
The Curse of Frankenstein:
One of the best horror films ever made.
Actually, he shot it in ten-minute takes...the cuts are brilliantly disguised B-)
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Billy Wilder directed comedy starring Tom Ewell and Marilyn Monroe. The Seven Year Itch, which was originally a Broadway play, tells the story of a New York businessman whose family is away for the summer. Marilyn Monroe is the girl who takes the apartment above Ewell's for the summer. Ewell is intent on being a good faithful husband while his family away, but after bumping into Monroe while returning from work, it doesn't take long for his will to weaken. He invites Monroe down to his apartment, she accepts and the rest of the movie consists of Ewell trying to control his natural urges.
The film has its fault, the movie feels like a play, as the majority of it takes place in Ewell's apartment and at times the comedy is very silly, especially the daydreaming fantasy bits. Despite these issues, I enjoyed the film for Monroe's performance which is flawless. She is sweet, she is innocent, she is sexy, boy is she sexy and she is likeable. In my opinion, her presence makes the film. Tom Ewell also played the role of the family free husband on Broadway and won a Tony, but his performane in this film, for me, was uneven. At times he is funny, trying to control his urges, at other times he is too over the top with his silliness. I enjoyed the film, at times laughing outload, at other times I was wishing they would have pulled back on a little of the silliness. If you are a fan of Monroe's, this film is a must.
Note - This film is famous for the subway grate scene where Monroe's skirt blows up while the subway train passes underneath. It is interetsing to note, that the scene in the movie is much more reserved than the famous still shot of Monroe holding her skirt down. In the film, the skirt blows up far less and Monroe is shot up close so you really don't see the skirt blow up that much.
I love her sympathy towards the gill man.
(What a beauty)
I've seen this several times, however I recently rewatched it, and my belief that this is one of the best, as well as one of the least consisent, musicals of all time was confirmed. It's a film which combines genius with boredom. The energetic numbers are extraordinary. They are truly electrifying. The best element is perhaps the dancing; the first time that dance really was used as a weapon
The performances are also terrific, although I would have liked to have seen more of George Chakiris (playing Bernardo.) The cinematography, set design and editing (especially the editing) are all superb and Natalie Wood is truly gorgeous. :x
The film is not perfect. What lets it down are two things; the quiet moments, especially after Maria and Tony get together, and also Richard Beymer (Tony) is not particularly charismatic. The problem is that the film was co-directed by Robert Wise and Jerome Robbins, and it shows. The scenes that Robbins directed are arguably among the most exciting and most memorable scenes in the film and it became a film of two halves, to some degree. While there are some nice quiet moments, generally speaking, the film is at its best when it is speeding along like a racing car. Also, while Beymer is fine, his lack of charisma greatly lessens the chemistry between his Tony and Wood's Maria.
West Side Story is a masterpiece, albeit a flawed one. Truly recommended. -{
Obscure fact: Spy director Lewis Gilbert dropped out of Oliver! at the last minute, and Carol Reed took over.
Spy: Good of course, odd to see George Baker in his role much the same time as he played the Emperor Tiberius in I Claudius. Moore is less boorish than before, but does seem rather smug (he was least like this in AVTAK imo). Anya's meeting with the Kremiln after the credits must be the shortest on record. "Our submarine's been hijacked. Your boyfriend's dead. You fly tonight."
Oliver! has great sets but lacks charm. Fagin, Sykes and Artful are well cast but Nancy is a shrew and Oliver is a little mite. It tries too hard.
Roger Moore 1927-2017
The most interesting part of the movie was when I realized there were some scenes shot only a few miles from my home in the aircraft boneyards. Through the magic of film, our heroes bust through a wall in the Smithsonian and are smack in the middle of the Sonoran Desert, with the Santa Catalina mountains in the back!
My second Billy Wilder directed comedy this week, the movie stars Tony Curtis, Jack Lemmon and Marilyn Monroe. This film often shows up in the top 100 films of all times, or top comedies of all time. It is not a laugh riot, but it is amusing througout.
Lemmon and Curtis are down on their luck musicians during the 20's prohibition period, who unwittingly witness the infamous mob hit known as the St. Valentines Day massacre. To escape Chicago and the mob they dress like women and join an all female band that is on a train trip to Florida. One of the fellow band members is Sugar Kane played by Monroe. Once in Florida, Curtis tries to seduce Monroe, Lemmon is romanced by a millionaire playboy and the mob shows up at the same hotel for a convention, all of which leads to some amusing situations.
As I said, the movie is not wall to wall laughs, but the story is engrossing and funny. Curtis and Lemon are very good playing the cross dressing on the run musicians and Monroe, is well, Monroe, gorgeous, sexy and sympathetic. Monroe does some singing and does well, she also wears a dress during her first number that really shows her curves. Good movie, highly recommend.
It's about a German fraudster released from jail on the eve of World War II who winds up working as a translator for the SS. He hits upon the idea of faking bank notes to undermine the English war effort, only to find that his SS boss, played by Ian 'Frances Urquart' Richardson is holding him to it, as he has made a promise to the Fuhrer.
Michael Elphick is perfect as Schultz, his hangdog demeanour matched by Carl Davis' lugubrious theme tune which gives the sense that nothing is going to pan out at planned. A similar story was covered in a more serious way by the recent The Counterfeiters. Private Schultz holds up well, although I have to say it would have been more fun on telly in the 1980s with my family rather than watching it by myself on the plasma where it seems a bit more hollow than I remembered. Still, Dunkirk is effectively conveyed, unlike last night's Churchill drama where the Battle of Britain is undertaken with just two Spitfires....
Roger Moore 1927-2017
My third Marilyn Monroe film in the last week, this one directed by Howard Hawks is an old fashioned Hollywood musical, with lavish sets, gorgeous costumes and big dance numbers. The film stars Marilyn Monroe and Jane Russell (Russell gets top billing) as two singer/entertainers who are looking for love. Monroe would like that love to come with money, Russell isn't as picky. Monroe becomes engaged to a rich gentleman; however the gentleman's father is opposed to the marriage and is intent on proving Monroe is only after money. While on a cruise to Europe a private eye gets incriminating evidence on Monroe, but the private eye has a thing for Russell. Will the private eye turn Monroe in, will Russell still fall for the private eye despite his initially deceiving her, will Monroe keep the tiara (have to see the movie for that one), will Monroe's future father-in-law accept her. I won't give it away, but this is Hollywood.
Wasn't sure I would like this film, but I did, the sets and costumes are gorgeous, the film is at times very funny, and Monroe & Russell are excellent as they sing, dance, deliver funny lines and look fantastic. Monroe's, Diamonds are a Girl’s Best Friend number is a highlight.
Talledega Nights: The Ballad Of Ricky Bobby
Not a great movie, but it did keep me entertained for two hours. Not sure if I'll watch it again anytime soon. 3 out of 5 stars.
A Few Good Men
This has been sitting on my DVD shelf for two or three years. Glad I finally pulled it down and watched it. This is a great movie. I love courtroom dramas. 5 out of 5 stars. A must see.
Of course, I thought, you can't have a compilation like this without a Bond car chase! But then I figured, I dunno. When I saw Bullett, I realised that it was very well done and no Bond film can really touch it. The Bonds were great as a kid, as they had some coup de grace type stunt like the alleyway thing in DAF. But I'm not sure the action really is so well done compared to these classic scenes. For instance, the chase in Danger Diabolik which the Lotus chase in TSWLM rips off is far superior, more electrifying. The exception I would make, ironically, is the QoS opener which many hate, but it did have a zip to it and works on its own as a great chase. It has a distinctive visual flair, even if it's not to your taste.
Another exception would be the ski chase in OHMSS - no gimmicks, just straight excitement.
Bullitt is great because a) it's unique, the way it utilises the Frisco hills is its usp. b) we get to see the opposition close up, in the car (see above) and get to personally dislike them. In fact the internal shots of the car reminded me of a similar shot in the Aston in the pts of OHMSS, filmed around the same time. It's very effective, but you don't see it used in many films, even other Bond films.
Roger Moore 1927-2017
The first skiing chase in OHMSS was IMO the greatest chase in the film and a contender for the title of best Bond chase of all time, along with perhaps the chase scene from TSWLM due to its ending. Thus, if any Bond chase were to have featured in a compliation of the all-time great chases in cinematic history, I think those two are worthy contenders.