I understand this movie has a special place in British culture, especially as the movie that launched a thousand nightmares. I actually read the books years ago, but it's the first time i've watched the movie. For those who don't know it's an animated movie about a group of rabbits supposedly made for children. That sounds nice, doesn't it? It's very well drawn and the themes of courage and friendship are powerful. I'd say it's a good movie. It's also brutal at times. It's reccomended for the more mature with steady nerves. I'm glad I didn't watch Watership Down at a very young age, but tonight I can sleep with all the lights off. Probably.
Have always loved Watership Down and I did watch it as a child, probably one of the reasons it has always stuck with me. Beautiful drawings, music, story and star studded cast. It's a true classic IMO. Oh, and still gets me going.. 😥
I won't say much, so as not to spoil for others, but if you love action films and you're in the camp of annoyed/disappointed with NTTD. You will love this film!
The long awaited sequel, which delivers pretty much what one would expect. Lots of good looking and exciting aerial photography of Navy fighter jets, and impressively shot footage of the actors which I presume was captured in flight in real jets. Also plenty of callbacks to the original film, and some familiar musical cues including a bar-room rendition of Great Balls of Fire. What took me somewhat by surprise is how much this film is based around training for a near impossible mission, in the vein of WWII classics like 633 Squadron. The original was much more about competition amongst the US pilots. The element of competition is still present, however, the focus is much more on the mission. Everyone in the cast does a pretty good job. Excellent casting for Goose's son, and the inclusion of Ed Harris early on makes a nice to connection to another classic aviation film, The Right Stuff. The one aspect that felt rather flat compared to the original was the romantic sub plot, but it doesn't take up much of the running time of the film, so it's not much of an issue. Overall, the film is pretty good popcorn entertainment although I don't see myself ever getting the same affection for this new film that I have for the original.
I know what you mean, Gymkata, and I certainly see your point. Unfortunately for me personally the big mission is probably the most disappointing aspect of the film for a number of reasons.
I went into the film with certain expectations, one of which is the emphasis on filming stuff for real which Tom Cruise always focuses on, especially in promotion of his films. He even appeared at beginning of the screening addressing the audience and emphasising again that the film features real F-18s, real G forces, etc. So that meant that my expectations were that it would be as 'real world' as the original, with an even greater emphasis on making it real.
However, when it becomes clear what the pilots' objective is, I immediately felt like we were in the territory of the 'over-the-top pilots preparing for a virtually impossible mission' film which makes it harder to take the movie seriously. I was happy enough to go along with that, but I hoped that they would at least avoid most of the clichés of that subgenre (which I think is best exemplified by 633 Squadron). Unfortunately I was left a bit deflated as they went and checked off virtually every one of the clichés as the film unfolded. The only one they avoided was most of the squadron perishing in the attack, but the fact that everyone got out of it alive also made it feel more lightweight in the end.
The other issue for me was that the nature of the mission meant that a lot of stuff would have to be 'faked', in stark contrast to the parts where things are filmed for real. Even early on in the training when Maverick and Rooster are engaged in a spiral dive towards the ground while flying in a mirror formation I already lost all illusion we were in the real world. Also, as soon as they pointed out on the satellite pictures that the enemy had old F-14s on their airbase, you just knew that somehow Maverick would end up stealing one. And since airworthy F-14s don't exist outside of Iran, it was obvious that would have to be faked as well. I just didn't think it would be as cartoonish as taking off on a short taxiway and pulling up over tall buildings. It felt like we were more in Iron Eagle territory than Top Gun.
Apologies for being a bit of a bore with my criticisms, but I am afflicted with an obsession about military aviation in film which goes back to my early childhood, and I tend to look at these things with a harshly critical eye because of my long attachment to the subject. I am always looking for these films to be very true to reality, and although I love watching air combat movies very few of them get a pass from me on that score. I was hoping for more from Top Gun: Maverick.
But, still it's a solid, entertaining and well made film. It just wasn't quite what I was looking for.
I felt like clapping too! I thought that some might. I'm afraid I didn't have 'the great balls of fire' to start up on my own.
**The following contains SPOILERS**
I prefer this film to the original. I like the whole mission thing and yes, it does hark back to the old WW2 movies in that vein. Similar to 2018's Hunter Killer also and a little like Behind Enemy Lines in places, both great films.
I actually really liked the sub plot love story and its moments of humour. And Jennifer Connolly.. always just, wow!😍
This film just had so many great pieces and nods to other great action films. All the Top Gun tropes from the original. The start reminded me of Firefox. The actual mission reminded me of the X-Wing Death Star one, including Maverick calling to Goose like Luke calling to Ben. Some other scenes also felt Star Wars esque, about Rooster not being ready. They didn't say 'use the force', but not far off.
Val Kilmer's scene was beautifully done and very moving.
Other positives - Maverick's workshop with his motorbikes, Penny's stunning 1973 Porsche 911S, a little physical training montage. Great cast and soundtrack. Tom Cruise just on top form and looking great.
Zimmer's score had definite shades of NTTD about it. I wonder which was written first? Given he came on to NTTD late on and TGM should have been released a couple of years ago, too.
This film just has the feel good factor, something I really missed from leaving the cinema after NTTD. I really needed it.
Stories of daring-do behind the enemy's lines is just perfect for me, but some how I've missed this one. For those who don't know it's based on the true story of a tiny Royal Marines WWII unit with the brilliant name The Boom Patrol Detachment that used kayaks to sabotage shipping in Bordeux, France. Obviously I liked it a lot, but it's not perfect. Like many old movies the sountrack relies to much on marches and fanfares. In my opinion the movie would've benefited from a more thriller-style soundtrack. The first half of the movie is almost a comedy, but shifts to straight drama in the second half. It sort of works but it's nice to know going in. The marines paddled at night, so many of the scenes are day for night. I found many of the "night" scenes to be too bright, making it look like a Nordic night in the summer and not France. The movie has some Bond connections such as being co-produced by Cubby, so-written by Maibaum and a short role for Christopher Lee. Interestingly Maibaum wrote a more serious script, but the producers brought in another writer to ad more humor. I would've likeked to see a version of the movie based on Maiboum's origonal script. Still, I enjoyed it. I just recomended the movie to a friend who enjoys kayaking and stories about behind-the-lines missions. I wonder what he'll make of it?
I always enjoy watching The Cockleshell Heroes. It's often on at Christmastime in the UK (amongst many other WW2 films). TCH has a nice feel to it with some good humour interspersed with the seriousness of the training and mission. I especially enjoy David Lodge's character and performance.
I'm watching Clint Eastwood's "White hunter black heart" from 1990. There's a scene about 34 minutes into the movie where Eastwood's character is dressed in a white tux, dining and drinking champagne with a beautiful woman. It's a short glimpse of what we could have got if he'd been cast back in 1970 when he was considered to play James Bond.
This is an unusual Clint Eastwood movie. Among other things he doesn't use his normal speech pattern, he wears a foppish 18th century costume in his first scene and is character actually loses a fistfight!
It's about a movie director (not John Huston!) who goes to Africa to shoot a movie (not The African Queen!). But what he's really interested in is going on safari and he's obsessed with killing an elephant, making the movie is more of an excuse. Eastwood portrays a colourful and interesting character, probably among his best. The locations are beautiful and the topic and location is unusual for its time, "Out of Africa " being a rare comparison. I wish more people watched this movie.
If @Golrush007 liked The Counterfeinters - and doesn't it feature 'Yes indeed' the financier from The Spy Who Loved Me who get blown up in the helicopter - I recommend the 80s comedy series Private Schultz with Michael Elphick, a story about a German hired to drop counterfeit notes into WW2 England.
Wonderfully atmospheric, sexual psychological shock thriller from the mind of producer Val Lewton. Simone Simon plays Irena, a Serbian artist who believes she’s possessed by an ancient curse which will transform her into a panther should a man be so adventurous as to fall in love with her. Kent Smith is that poor unfortunate, who endures a sexless marriage, before deciding to leave Irena for the voracious Alice, a co-worker, who doesn’t mince words or actions in pursuit of her flawed man. The curse, which initially appears only to be in Irena’s mind, gradually asserts itself for real and even Tom Conway’s psychiatrist, a man who secretly and unethically desires his patient, can’t help unravel the problem. Simon’s performance as a repressed sexually naïve woman works well within the slight framework of the plot, which spins its yarn quickly to good effect. There’s a couple of shadowy sequences where characters think, but are not certain, they are being pursued by wild beasts. Conway’s slightly too accommodating shrink makes an alternative villain with his sly, licentious glances at the feline Irena. The most surprising work is done by the makeup team who with subtlety make Simon ever so slightly resemble a cat. The lighting and photography crews turn the brief moments of suspense into dark, chilling silhouettes of vivid, frightening movement. The sound effects, the mewing, the snarling, the footsteps, add tension to scenes which would otherwise appear completely silly. The director, who should also get some credit, was Jacques Tournier and he utilises every trick he can to eek out the suspense in an otherwise simple plot about infidelity and a woman scorned. Unusually for the time the monster is never shown and this reminds us, much like Tobe Hooper’s original Texas Chainsaw Massacre, that it isn’t necessary to visualise the acts of horror if you’ve assimilated the evidence in the audience’s mind. Hitchcock too must have watched this film – it’s his kind of movie – as he borrowed the pet shop scene for his own The Birds. A shocker whose shocks really are in the mind.
I WALKED WITH A ZOMBIE (1943)
The follow up to Cat People. Same director, same producer, same result. A little low key for a horror film despite the intriguing no nonsense title, this one re-enacts Jane Eyre on a Caribbean island, but focusses more on the plight of the mad woman in the attic than the supposed love affair between a plantation owner and the nurse he’s employed to look attend to his comatose wife. There’s some chilling scene setters with the local island population which hint at the other-worldly, voodoo reliable existence of their lives. A subplot about two brothers fighting over the nurse doesn’t really succeed. Some splendid images which either were or would become staples of the genre: walks through shadowy cane fields, emotionless mute henchmen, deep sonorous shadows, sacrificial dances portrayed against burning torches, women walking about in diaphanous nightgowns, the old dark house, possession by the voodoo doll. I enjoyed it because I enjoyed the allusions to Charlotte Bronte’s novel, itself considered a gothic masterpiece, although the first person voice over is an unnecessary intrusion. No stars, although Tom Conway reappears, and the film probably benefits from not having any recognisable faces. Wonderfully brief, but perhaps too erudite for its own good; there’s more talk than you expect and little less horror.
This movie is a an od man out: A Clint Eastwood/Burt Reynolds action-comedy set in the 1930's. While both have experience in comedies (especially Reynolds) and period movies (particularely Eastwood and his westerners), City Heat feels unique for both actors. While both stars are funny it's Reynolds who does the heavy comedic lifting, but also most of the fistfights. Eastwood is literally the "straight shooter" here. As can be expected of a movie about crime in the 1930's it's a very stylish movie and very easy on the eyes. I think the movie handles the period and mix of generes well and the stars are clearly having fun. Robert Davi plays a heavy.
Yes, I've seen a relatively new movie! The Last Duel is directed by Ridley Scott and written by Matt Damon, Ben Affleck and the slightly less famous Nicole Holofcener. The story is based on (one of) the last trials by combat in France, way back in 1386. Squires Jean de Carrouges (Matt Damon) and Jacques les Gris (Adam Driver) start up as friends, but after Carrouges marries Marguerite (Jodie Comer) they gradually become personal enemies because of conflicts about land and titles. Carrouges is a simple fighting man, but likes to hold on to grudges. Les Gris becomes friends with their patron Pierre (Ben Affleck) because they both like womanizing and les Gris' skills in administration and writing. Marguerite accuses les Gris of rape. Her husband supports her, but Pierre is the judge and supports les Gris. Carrouges challenges les Gris to trial by combat, an old custom based on the idea that God decides the result of the duel based on justice. This means Marguerite is guilty of false charges if her husband is killed, and she'll burn on the fire if this happens.
The structure of the movie is inspired by Rashomon where the same conflict is shown from the main characters' point of view. I'm not sure it works as well as it should have because it isn't subtle and open enough. We get the impression that the woman's version of events is the true one, especially since the duel and the aftermath is shown from her point of view. Most likely she was telling the truth because of the huge consequences her alligations could/would have legally and socially. but a more open storytelling would make the movie better. At the end of the day society is guilty because of how women were viewed and treated.
As one expects of Scott the movie is beautifully shot the the duel is brutal and impressive with the two men duking it out while Marguerite is dressed in black and chained to the bonfire. The acting is good, especially Jodie Comer is impressive. Adam Driver looks right at home in mediaval France, while Affleck and Damon have changed their appearance a lot. The Americans aim for some sort of European English, but to me they all break into American English from time to time.
The Last Duel suffered at the box office because of Covid. While it's no masterpiece it deserves a bigger audience, because it is good.
"Cat People" has a sequel, "Curse Of The Cat People", which though less horrific is even stranger. Recommended now you've seen the first one. It's on BBC iPlayer.
British people forgive me for I have sinned. This was my first viewing of The Dam Busters in my life .....
Did I like the movie? Yes I did. I liked how much time was spent on the research, planning and training phase of the mission. I liked how almost all of the mission has no score, as opposed to all the marches and fanfares so often heard in war movies. I liked how the movie spent time on the aftermath of the mission for the pilots- thinking of the men lost in the mission especially. I also enjoyed Michael Redgrave's portrayal of doctor Wallis. His frustrations when not finding a solution or his solutions not finding any interest in the halls of power, his giddiness when thngs work out, his nervousness when his tests or the men in the planes are at a balance. This is one of the better versions of the "mad scientist" tropes I've seen.
If only Richard Todd (a former paratroop captain and a D-day veteran) was as good as wing commander Gibson! Much of the time Todd looks like he thinks he's in a comedy. He's smiling and cheerful like a schoolboy who's just discovered math class has been called off. Todd is good in the dramatic scenes, but never more than good enough. The special effects are very far from the standards we are used to, but in an old film this can be forgiven. Did you know the dam buster raid would probably be considered a war crime today? The effects on the German war production was far from as great as the movie would have us believe. The effects on the civilian population isn't mentioned, but 1600 civilians were killed because of this mission, including 1000 Soviet POWs. Pausing on this sad fact would've given an extra dept to the movie I think. The bravery, inventiveness and skill of the bomber crews is still very admirable and impressive, the aftermath can't take this away from them.
I have always enjoyed the performance of Richard Todd in The Dam Busters, but your criticism is quite fair Number24. The real life character was not half as gregarious and charming as portrayed by Todd. I read Gibson's book Enemy Coast Ahead, and having also read a few other books related to the dams raid the impression I had was that the real Gibson was quite a difficult man to be around, not particularly friendly and with a bit of a surly streak. Todd's portrayal is, of course, quite typical of the 1950s British war film though. Douglas Bader's character was given a similar bonhomous treatment in Reach for the Sky a couple of years after The Dam Busters.
As for the effectiveness of the dams raid on the German war industry, I've encountered plenty of arguments both ways on this. Most recently from historian James Holland who argues that the impact on multiple aspects of German industry, infrastructure and labour were far greater than many have suggested over the years. You are spot on about the impact to the civilian population of course. The film doesn't touch on this at all, and that is unsurprising considering when it was made. However, the human tragedy of the dams raid is surely only a fraction of what was inflicted on the populace of the big German cities in the massive area bombing raids carried out by the RAF.
This movie is written and directed by Wes Anderson. Like all his movies it's very visually stylized and inventive, full of movie stars and regulars and the story is funny and extremely inventive. If you haven't seen his movies you're seriously missing out.
The movie is centered around the titular periodical in a fictional French town. If this was a book it would be called a short story collection with the Dispatch as a device that links up the stories, There are many movie stars in the cast, including Benicio del Toro, Lea Seudoux, Jeffrey Wright, Matieu Almaric and Christoph Waltz. We actually get a Bond henchman (del Toro) painting a nude of a Bond girl (Seudoux) in the great tradition of French actresses. But this is a bonus. The striking imagery (not like that!) and the bizzare storytelling is what makes the movie great!
This is one of those movies that mixes horror and comedy brilliantly. Charley Brewster finds that his new neighbour Jerry Dandridge is a vampire and coerces television vampire hunter Peter Vincent (played by the fabulous Roddy McDowall) to stop him. Chris Sarandon makes for a really good vampire a fine support cast makes this great fun.
If you haven’t seen it, do so, you won’t be disappointed.
Yeah, well, sometimes nothin' can be a real cool hand.
This movie should be of interest for many Bond fans. OSS is about a group of agents of the US Office of Strategic Services during WWII jumping into occupied France. The OSS was very much inspired by the British Special Operations Executive and later became the forerunner of the CIA and the special forces. The movie is also written. produced and narrated by Richard Maibaum.
The most important members in the group of agents in the movie are played by Alan Ladd and Geraldine Fitzgerald. I don't know Fitzgerald from any other work, but she does a good job here. I think Ladd is better cast here than in his most famous role in Shane, because here he plays an inteligence agent and not an experienced killer (usually not the same thing). In OSS he convays the inteligence and inner strengths of the character with doing little. I know the SOE better than the OSS, but the movie seems pretty realistic to me. One of the reasons is probably the dozen or so former OSS agents who consulted on the movie. I don't know if the idea came from the consultats or Maibaum, but disguising plastic explosives, timers and fuses as art store merchandice is the kind of thinking that made Maibaum a great Bond writer.. A good idea since I know from experience that plastic explosives really can be used as modeling clay, The scene where the idea is born is practically a Q scene before there were Q scenes.
Some of the scenes before they go to France seem a bit stilted, but I think the scenes in France are very good. This movie is worth watching both as an early spy movie, a way to learn some espionage history and of special interest to James Bond fans.
T.V. Guide describes The Internecine Project thus: “Although it has a nice thriller plot line, The Internecine Project, like the plan, is less than perfect in execution.” That’s a little unfair on a neat little thriller which isn’t pretending to be anything other than a neat little thriller. It would play out quite well as a two part television serial. It’s more flashy than a telly movie though, and has bigger stars, but all the same.
James Coburn is forceful as former secret agent Robert Eliot, who currently works as an economic advisor for a shady U.S. corporation known as E.D.C., a company that just happens to have the ear of the President. To achieve a position of political power, Eliot is advised to eliminate his old London spy cell. Keenan Wynn plays the potential kingmaker, Farnsworth, and it becomes obvious quite early on that both men are proto-fascists, as well as misogynists and terrible golfers. It’s never made clear exactly what kind of secret agent Eliot is / was, but suspicion rests with industrial espionage, as he seems mixed up with various directors and corporate entities, and uses a masseur and a whore to extract business secrets and coercion material from their well-to-do clients.
Challenged with the knotty problem, Eliot devises a clever scheme to be rid of all his problems in one night. He hasn’t however, foreseen the input of his old love, nosey journalist Jean Robertson, played by Lee Grant as a dedicated, unreliable, half-way alcoholic. The cast is packed full of British talent. Ian Hendry, Harry Andrews and Michael Jayston are Eliot’s agents, Julian Glover and David Swift pop up in small roles. Glamour is provided by Christiane Kruger, who graced the movie’s posters in a Psycho-resembling nude shower shot.
The film’s directed by Ken Hughes, who has a James Bond connection of course as he directed the Eon production of Chitty Chitty Bang Bang, as well as a few of the early Warwick pictures. He was also one of the contributors to that infamous disaster Casino Royale (1967). His career was always a bit up and down. His best is probably Cromwell. He’s well served by a decent script, which box ticks a little and was co-written by Jonathon Lynn, who would pen the comedy Yes Minister for the BBC having served an apprenticeship on shows like On the Buses and Doctor in the House. Geoffrey Unsworth provides shifty, dim photography. The strong incidental score is a jazzy little number from Roy Budd, who was at the top of his game in the early seventies. It’s a seedy little number and I spent most of the film wondering exactly how the writers / director had managed to make me sympathise with such an unpleasant character as Robert Eliot. I almost wanted him to succeed. The film almost doesn’t and it’s worth a look.
The late journalist and TV presenter David Frost of Frost/Nixon fame planned to produce a remake of The Dambusters and got Stephen Fry to draft a treatment but I never heard of it again. His main quote was how he was watching a modern military parade and suddenly the Theme to the Dambusters struck up and everyone wanted to salute. True, but doesn't fit with the modern take on the events such as the dead Russian POWs. The film is very good but I'm not sure these additional bits of information fit with it at all.
Todd was in The Longest Day of course as head of one of the glider pilots, he was actually one of the pilots some 20 years previously on that day.
The details of the bomb itself in The Dambusters weren't allowed to be shown some 15 years after so that was fabricated. I'm always tempted to wish someone could just go in and 'fix' those poor special effects of the dams going kaput in this film, otherwise I think it holds up well. Oh, the name of the dog doesn't really work for a remake unless you had Gibson played by Samuel L Jackson, but that might cause other controversy.
Comments
Watership Down (1978)
I understand this movie has a special place in British culture, especially as the movie that launched a thousand nightmares. I actually read the books years ago, but it's the first time i've watched the movie. For those who don't know it's an animated movie about a group of rabbits supposedly made for children. That sounds nice, doesn't it? It's very well drawn and the themes of courage and friendship are powerful. I'd say it's a good movie. It's also brutal at times. It's reccomended for the more mature with steady nerves. I'm glad I didn't watch Watership Down at a very young age, but tonight I can sleep with all the lights off. Probably.
The movie: (4) Watership Down 1978 Movie - YouTube
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Have always loved Watership Down and I did watch it as a child, probably one of the reasons it has always stuck with me. Beautiful drawings, music, story and star studded cast. It's a true classic IMO. Oh, and still gets me going.. 😥
Top Gun: Maverick. Brilliant.
I won't say much, so as not to spoil for others, but if you love action films and you're in the camp of annoyed/disappointed with NTTD. You will love this film!
😄 Absolutely. I think everybody will. It's a really good film.
TOP GUN: MAVERICK.
The long awaited sequel, which delivers pretty much what one would expect. Lots of good looking and exciting aerial photography of Navy fighter jets, and impressively shot footage of the actors which I presume was captured in flight in real jets. Also plenty of callbacks to the original film, and some familiar musical cues including a bar-room rendition of Great Balls of Fire. What took me somewhat by surprise is how much this film is based around training for a near impossible mission, in the vein of WWII classics like 633 Squadron. The original was much more about competition amongst the US pilots. The element of competition is still present, however, the focus is much more on the mission. Everyone in the cast does a pretty good job. Excellent casting for Goose's son, and the inclusion of Ed Harris early on makes a nice to connection to another classic aviation film, The Right Stuff. The one aspect that felt rather flat compared to the original was the romantic sub plot, but it doesn't take up much of the running time of the film, so it's not much of an issue. Overall, the film is pretty good popcorn entertainment although I don't see myself ever getting the same affection for this new film that I have for the original.
I know what you mean, Gymkata, and I certainly see your point. Unfortunately for me personally the big mission is probably the most disappointing aspect of the film for a number of reasons.
I went into the film with certain expectations, one of which is the emphasis on filming stuff for real which Tom Cruise always focuses on, especially in promotion of his films. He even appeared at beginning of the screening addressing the audience and emphasising again that the film features real F-18s, real G forces, etc. So that meant that my expectations were that it would be as 'real world' as the original, with an even greater emphasis on making it real.
However, when it becomes clear what the pilots' objective is, I immediately felt like we were in the territory of the 'over-the-top pilots preparing for a virtually impossible mission' film which makes it harder to take the movie seriously. I was happy enough to go along with that, but I hoped that they would at least avoid most of the clichés of that subgenre (which I think is best exemplified by 633 Squadron). Unfortunately I was left a bit deflated as they went and checked off virtually every one of the clichés as the film unfolded. The only one they avoided was most of the squadron perishing in the attack, but the fact that everyone got out of it alive also made it feel more lightweight in the end.
The other issue for me was that the nature of the mission meant that a lot of stuff would have to be 'faked', in stark contrast to the parts where things are filmed for real. Even early on in the training when Maverick and Rooster are engaged in a spiral dive towards the ground while flying in a mirror formation I already lost all illusion we were in the real world. Also, as soon as they pointed out on the satellite pictures that the enemy had old F-14s on their airbase, you just knew that somehow Maverick would end up stealing one. And since airworthy F-14s don't exist outside of Iran, it was obvious that would have to be faked as well. I just didn't think it would be as cartoonish as taking off on a short taxiway and pulling up over tall buildings. It felt like we were more in Iron Eagle territory than Top Gun.
Apologies for being a bit of a bore with my criticisms, but I am afflicted with an obsession about military aviation in film which goes back to my early childhood, and I tend to look at these things with a harshly critical eye because of my long attachment to the subject. I am always looking for these films to be very true to reality, and although I love watching air combat movies very few of them get a pass from me on that score. I was hoping for more from Top Gun: Maverick.
But, still it's a solid, entertaining and well made film. It just wasn't quite what I was looking for.
I felt like clapping too! I thought that some might. I'm afraid I didn't have 'the great balls of fire' to start up on my own.
**The following contains SPOILERS**
I prefer this film to the original. I like the whole mission thing and yes, it does hark back to the old WW2 movies in that vein. Similar to 2018's Hunter Killer also and a little like Behind Enemy Lines in places, both great films.
I actually really liked the sub plot love story and its moments of humour. And Jennifer Connolly.. always just, wow!😍
This film just had so many great pieces and nods to other great action films. All the Top Gun tropes from the original. The start reminded me of Firefox. The actual mission reminded me of the X-Wing Death Star one, including Maverick calling to Goose like Luke calling to Ben. Some other scenes also felt Star Wars esque, about Rooster not being ready. They didn't say 'use the force', but not far off.
Val Kilmer's scene was beautifully done and very moving.
Other positives - Maverick's workshop with his motorbikes, Penny's stunning 1973 Porsche 911S, a little physical training montage. Great cast and soundtrack. Tom Cruise just on top form and looking great.
Zimmer's score had definite shades of NTTD about it. I wonder which was written first? Given he came on to NTTD late on and TGM should have been released a couple of years ago, too.
This film just has the feel good factor, something I really missed from leaving the cinema after NTTD. I really needed it.
The Cockleshell Heroes (1955)
Stories of daring-do behind the enemy's lines is just perfect for me, but some how I've missed this one. For those who don't know it's based on the true story of a tiny Royal Marines WWII unit with the brilliant name The Boom Patrol Detachment that used kayaks to sabotage shipping in Bordeux, France. Obviously I liked it a lot, but it's not perfect. Like many old movies the sountrack relies to much on marches and fanfares. In my opinion the movie would've benefited from a more thriller-style soundtrack. The first half of the movie is almost a comedy, but shifts to straight drama in the second half. It sort of works but it's nice to know going in. The marines paddled at night, so many of the scenes are day for night. I found many of the "night" scenes to be too bright, making it look like a Nordic night in the summer and not France. The movie has some Bond connections such as being co-produced by Cubby, so-written by Maibaum and a short role for Christopher Lee. Interestingly Maibaum wrote a more serious script, but the producers brought in another writer to ad more humor. I would've likeked to see a version of the movie based on Maiboum's origonal script. Still, I enjoyed it. I just recomended the movie to a friend who enjoys kayaking and stories about behind-the-lines missions. I wonder what he'll make of it?
I always enjoy watching The Cockleshell Heroes. It's often on at Christmastime in the UK (amongst many other WW2 films). TCH has a nice feel to it with some good humour interspersed with the seriousness of the training and mission. I especially enjoy David Lodge's character and performance.
I'm watching Clint Eastwood's "White hunter black heart" from 1990. There's a scene about 34 minutes into the movie where Eastwood's character is dressed in a white tux, dining and drinking champagne with a beautiful woman. It's a short glimpse of what we could have got if he'd been cast back in 1970 when he was considered to play James Bond.
White hunter black heart (1990)
This is an unusual Clint Eastwood movie. Among other things he doesn't use his normal speech pattern, he wears a foppish 18th century costume in his first scene and is character actually loses a fistfight!
It's about a movie director (not John Huston!) who goes to Africa to shoot a movie (not The African Queen!). But what he's really interested in is going on safari and he's obsessed with killing an elephant, making the movie is more of an excuse. Eastwood portrays a colourful and interesting character, probably among his best. The locations are beautiful and the topic and location is unusual for its time, "Out of Africa " being a rare comparison. I wish more people watched this movie.
White Hunter Black Heart (1990) Clint Eastwood, Jeff Fahey, Charlotte Cornwell - Bing video
If @Golrush007 liked The Counterfeinters - and doesn't it feature 'Yes indeed' the financier from The Spy Who Loved Me who get blown up in the helicopter - I recommend the 80s comedy series Private Schultz with Michael Elphick, a story about a German hired to drop counterfeit notes into WW2 England.
Roger Moore 1927-2017
Two RKO classics on the Beeb the other night:
CAT PEOPLE (1942)
Wonderfully atmospheric, sexual psychological shock thriller from the mind of producer Val Lewton. Simone Simon plays Irena, a Serbian artist who believes she’s possessed by an ancient curse which will transform her into a panther should a man be so adventurous as to fall in love with her. Kent Smith is that poor unfortunate, who endures a sexless marriage, before deciding to leave Irena for the voracious Alice, a co-worker, who doesn’t mince words or actions in pursuit of her flawed man. The curse, which initially appears only to be in Irena’s mind, gradually asserts itself for real and even Tom Conway’s psychiatrist, a man who secretly and unethically desires his patient, can’t help unravel the problem. Simon’s performance as a repressed sexually naïve woman works well within the slight framework of the plot, which spins its yarn quickly to good effect. There’s a couple of shadowy sequences where characters think, but are not certain, they are being pursued by wild beasts. Conway’s slightly too accommodating shrink makes an alternative villain with his sly, licentious glances at the feline Irena. The most surprising work is done by the makeup team who with subtlety make Simon ever so slightly resemble a cat. The lighting and photography crews turn the brief moments of suspense into dark, chilling silhouettes of vivid, frightening movement. The sound effects, the mewing, the snarling, the footsteps, add tension to scenes which would otherwise appear completely silly. The director, who should also get some credit, was Jacques Tournier and he utilises every trick he can to eek out the suspense in an otherwise simple plot about infidelity and a woman scorned. Unusually for the time the monster is never shown and this reminds us, much like Tobe Hooper’s original Texas Chainsaw Massacre, that it isn’t necessary to visualise the acts of horror if you’ve assimilated the evidence in the audience’s mind. Hitchcock too must have watched this film – it’s his kind of movie – as he borrowed the pet shop scene for his own The Birds. A shocker whose shocks really are in the mind.
I WALKED WITH A ZOMBIE (1943)
The follow up to Cat People. Same director, same producer, same result. A little low key for a horror film despite the intriguing no nonsense title, this one re-enacts Jane Eyre on a Caribbean island, but focusses more on the plight of the mad woman in the attic than the supposed love affair between a plantation owner and the nurse he’s employed to look attend to his comatose wife. There’s some chilling scene setters with the local island population which hint at the other-worldly, voodoo reliable existence of their lives. A subplot about two brothers fighting over the nurse doesn’t really succeed. Some splendid images which either were or would become staples of the genre: walks through shadowy cane fields, emotionless mute henchmen, deep sonorous shadows, sacrificial dances portrayed against burning torches, women walking about in diaphanous nightgowns, the old dark house, possession by the voodoo doll. I enjoyed it because I enjoyed the allusions to Charlotte Bronte’s novel, itself considered a gothic masterpiece, although the first person voice over is an unnecessary intrusion. No stars, although Tom Conway reappears, and the film probably benefits from not having any recognisable faces. Wonderfully brief, but perhaps too erudite for its own good; there’s more talk than you expect and little less horror.
City Heat (1984)
This movie is a an od man out: A Clint Eastwood/Burt Reynolds action-comedy set in the 1930's. While both have experience in comedies (especially Reynolds) and period movies (particularely Eastwood and his westerners), City Heat feels unique for both actors. While both stars are funny it's Reynolds who does the heavy comedic lifting, but also most of the fistfights. Eastwood is literally the "straight shooter" here. As can be expected of a movie about crime in the 1930's it's a very stylish movie and very easy on the eyes. I think the movie handles the period and mix of generes well and the stars are clearly having fun. Robert Davi plays a heavy.
City Heat (1984) Clint Eastwood, Burt Reynolds, Jane Alexander - Bing video
The last duel (2021)
Yes, I've seen a relatively new movie! The Last Duel is directed by Ridley Scott and written by Matt Damon, Ben Affleck and the slightly less famous Nicole Holofcener. The story is based on (one of) the last trials by combat in France, way back in 1386. Squires Jean de Carrouges (Matt Damon) and Jacques les Gris (Adam Driver) start up as friends, but after Carrouges marries Marguerite (Jodie Comer) they gradually become personal enemies because of conflicts about land and titles. Carrouges is a simple fighting man, but likes to hold on to grudges. Les Gris becomes friends with their patron Pierre (Ben Affleck) because they both like womanizing and les Gris' skills in administration and writing. Marguerite accuses les Gris of rape. Her husband supports her, but Pierre is the judge and supports les Gris. Carrouges challenges les Gris to trial by combat, an old custom based on the idea that God decides the result of the duel based on justice. This means Marguerite is guilty of false charges if her husband is killed, and she'll burn on the fire if this happens.
The structure of the movie is inspired by Rashomon where the same conflict is shown from the main characters' point of view. I'm not sure it works as well as it should have because it isn't subtle and open enough. We get the impression that the woman's version of events is the true one, especially since the duel and the aftermath is shown from her point of view. Most likely she was telling the truth because of the huge consequences her alligations could/would have legally and socially. but a more open storytelling would make the movie better. At the end of the day society is guilty because of how women were viewed and treated.
As one expects of Scott the movie is beautifully shot the the duel is brutal and impressive with the two men duking it out while Marguerite is dressed in black and chained to the bonfire. The acting is good, especially Jodie Comer is impressive. Adam Driver looks right at home in mediaval France, while Affleck and Damon have changed their appearance a lot. The Americans aim for some sort of European English, but to me they all break into American English from time to time.
The Last Duel suffered at the box office because of Covid. While it's no masterpiece it deserves a bigger audience, because it is good.
I like the unusual themes for a movie: rape and trial by combat in the middle ages.
I really enjoyed 'The Last Duel'.
I was initially put off because it has Matt Damon in it. He didn't seem very medieval to me but he somehow worked.
"Cat People" has a sequel, "Curse Of The Cat People", which though less horrific is even stranger. Recommended now you've seen the first one. It's on BBC iPlayer.
The Dam Busters (1955)
British people forgive me for I have sinned. This was my first viewing of The Dam Busters in my life .....
Did I like the movie? Yes I did. I liked how much time was spent on the research, planning and training phase of the mission. I liked how almost all of the mission has no score, as opposed to all the marches and fanfares so often heard in war movies. I liked how the movie spent time on the aftermath of the mission for the pilots- thinking of the men lost in the mission especially. I also enjoyed Michael Redgrave's portrayal of doctor Wallis. His frustrations when not finding a solution or his solutions not finding any interest in the halls of power, his giddiness when thngs work out, his nervousness when his tests or the men in the planes are at a balance. This is one of the better versions of the "mad scientist" tropes I've seen.
If only Richard Todd (a former paratroop captain and a D-day veteran) was as good as wing commander Gibson! Much of the time Todd looks like he thinks he's in a comedy. He's smiling and cheerful like a schoolboy who's just discovered math class has been called off. Todd is good in the dramatic scenes, but never more than good enough. The special effects are very far from the standards we are used to, but in an old film this can be forgiven. Did you know the dam buster raid would probably be considered a war crime today? The effects on the German war production was far from as great as the movie would have us believe. The effects on the civilian population isn't mentioned, but 1600 civilians were killed because of this mission, including 1000 Soviet POWs. Pausing on this sad fact would've given an extra dept to the movie I think. The bravery, inventiveness and skill of the bomber crews is still very admirable and impressive, the aftermath can't take this away from them.
The Dam Busters (1955) - Bing video
I have always enjoyed the performance of Richard Todd in The Dam Busters, but your criticism is quite fair Number24. The real life character was not half as gregarious and charming as portrayed by Todd. I read Gibson's book Enemy Coast Ahead, and having also read a few other books related to the dams raid the impression I had was that the real Gibson was quite a difficult man to be around, not particularly friendly and with a bit of a surly streak. Todd's portrayal is, of course, quite typical of the 1950s British war film though. Douglas Bader's character was given a similar bonhomous treatment in Reach for the Sky a couple of years after The Dam Busters.
As for the effectiveness of the dams raid on the German war industry, I've encountered plenty of arguments both ways on this. Most recently from historian James Holland who argues that the impact on multiple aspects of German industry, infrastructure and labour were far greater than many have suggested over the years. You are spot on about the impact to the civilian population of course. The film doesn't touch on this at all, and that is unsurprising considering when it was made. However, the human tragedy of the dams raid is surely only a fraction of what was inflicted on the populace of the big German cities in the massive area bombing raids carried out by the RAF.
The French Dispatch (2021)
This movie is written and directed by Wes Anderson. Like all his movies it's very visually stylized and inventive, full of movie stars and regulars and the story is funny and extremely inventive. If you haven't seen his movies you're seriously missing out.
The movie is centered around the titular periodical in a fictional French town. If this was a book it would be called a short story collection with the Dispatch as a device that links up the stories, There are many movie stars in the cast, including Benicio del Toro, Lea Seudoux, Jeffrey Wright, Matieu Almaric and Christoph Waltz. We actually get a Bond henchman (del Toro) painting a nude of a Bond girl (Seudoux) in the great tradition of French actresses. But this is a bonus. The striking imagery (not like that!) and the bizzare storytelling is what makes the movie great!
FRIGHT NIGHT (1985)
This is one of those movies that mixes horror and comedy brilliantly. Charley Brewster finds that his new neighbour Jerry Dandridge is a vampire and coerces television vampire hunter Peter Vincent (played by the fabulous Roddy McDowall) to stop him. Chris Sarandon makes for a really good vampire a fine support cast makes this great fun.
If you haven’t seen it, do so, you won’t be disappointed.
Thanks @Number24 for your considered review. And no apology necessary!😊
OSS (1946)
This movie should be of interest for many Bond fans. OSS is about a group of agents of the US Office of Strategic Services during WWII jumping into occupied France. The OSS was very much inspired by the British Special Operations Executive and later became the forerunner of the CIA and the special forces. The movie is also written. produced and narrated by Richard Maibaum.
The most important members in the group of agents in the movie are played by Alan Ladd and Geraldine Fitzgerald. I don't know Fitzgerald from any other work, but she does a good job here. I think Ladd is better cast here than in his most famous role in Shane, because here he plays an inteligence agent and not an experienced killer (usually not the same thing). In OSS he convays the inteligence and inner strengths of the character with doing little. I know the SOE better than the OSS, but the movie seems pretty realistic to me. One of the reasons is probably the dozen or so former OSS agents who consulted on the movie. I don't know if the idea came from the consultats or Maibaum, but disguising plastic explosives, timers and fuses as art store merchandice is the kind of thinking that made Maibaum a great Bond writer.. A good idea since I know from experience that plastic explosives really can be used as modeling clay, The scene where the idea is born is practically a Q scene before there were Q scenes.
Some of the scenes before they go to France seem a bit stilted, but I think the scenes in France are very good. This movie is worth watching both as an early spy movie, a way to learn some espionage history and of special interest to James Bond fans.
O.S.S. (War Drama, USA 1946) 720p; Alan Ladd, Geraldine Fitzgerald (ok.ru)
Saw this at the time, and yes it's a lot of fun for horror fans. "Peter Vincent" 😁😁😁
The Empty Man
Absolute waste of time. Not sure why I stuck with it but I did. Had to look it up on Wikipedia afterwards to understand what it was about 🤣
THE INTERNECINE PROJECT (1974)
T.V. Guide describes The Internecine Project thus: “Although it has a nice thriller plot line, The Internecine Project, like the plan, is less than perfect in execution.” That’s a little unfair on a neat little thriller which isn’t pretending to be anything other than a neat little thriller. It would play out quite well as a two part television serial. It’s more flashy than a telly movie though, and has bigger stars, but all the same.
James Coburn is forceful as former secret agent Robert Eliot, who currently works as an economic advisor for a shady U.S. corporation known as E.D.C., a company that just happens to have the ear of the President. To achieve a position of political power, Eliot is advised to eliminate his old London spy cell. Keenan Wynn plays the potential kingmaker, Farnsworth, and it becomes obvious quite early on that both men are proto-fascists, as well as misogynists and terrible golfers. It’s never made clear exactly what kind of secret agent Eliot is / was, but suspicion rests with industrial espionage, as he seems mixed up with various directors and corporate entities, and uses a masseur and a whore to extract business secrets and coercion material from their well-to-do clients.
Challenged with the knotty problem, Eliot devises a clever scheme to be rid of all his problems in one night. He hasn’t however, foreseen the input of his old love, nosey journalist Jean Robertson, played by Lee Grant as a dedicated, unreliable, half-way alcoholic. The cast is packed full of British talent. Ian Hendry, Harry Andrews and Michael Jayston are Eliot’s agents, Julian Glover and David Swift pop up in small roles. Glamour is provided by Christiane Kruger, who graced the movie’s posters in a Psycho-resembling nude shower shot.
The film’s directed by Ken Hughes, who has a James Bond connection of course as he directed the Eon production of Chitty Chitty Bang Bang, as well as a few of the early Warwick pictures. He was also one of the contributors to that infamous disaster Casino Royale (1967). His career was always a bit up and down. His best is probably Cromwell. He’s well served by a decent script, which box ticks a little and was co-written by Jonathon Lynn, who would pen the comedy Yes Minister for the BBC having served an apprenticeship on shows like On the Buses and Doctor in the House. Geoffrey Unsworth provides shifty, dim photography. The strong incidental score is a jazzy little number from Roy Budd, who was at the top of his game in the early seventies. It’s a seedy little number and I spent most of the film wondering exactly how the writers / director had managed to make me sympathise with such an unpleasant character as Robert Eliot. I almost wanted him to succeed. The film almost doesn’t and it’s worth a look.
The late journalist and TV presenter David Frost of Frost/Nixon fame planned to produce a remake of The Dambusters and got Stephen Fry to draft a treatment but I never heard of it again. His main quote was how he was watching a modern military parade and suddenly the Theme to the Dambusters struck up and everyone wanted to salute. True, but doesn't fit with the modern take on the events such as the dead Russian POWs. The film is very good but I'm not sure these additional bits of information fit with it at all.
Todd was in The Longest Day of course as head of one of the glider pilots, he was actually one of the pilots some 20 years previously on that day.
The details of the bomb itself in The Dambusters weren't allowed to be shown some 15 years after so that was fabricated. I'm always tempted to wish someone could just go in and 'fix' those poor special effects of the dams going kaput in this film, otherwise I think it holds up well. Oh, the name of the dog doesn't really work for a remake unless you had Gibson played by Samuel L Jackson, but that might cause other controversy.
Roger Moore 1927-2017