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August 23, 2024

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Paramount Summer Classic Film Series- The Man who Knew Too Much (1956) Hitchcock Week

Jimmy Stewart returns to the Paramount with another Hitchcock thriller, a very rare remake of his own work “The Man Who Knew Too Much”. This is an international intrigue with a political assassination as the MacGuffin. The settings include  London and Marrakesh, and there are authentic location shots mixed with rear screen projection. Most of the interior shots were done in Hollywood on sound stages, but the film has an international flavor to it because of all the extras and the supporting roles.

The title gives away just enough to let us know that it is information which drives the plot. Stewart and Doris Day play the married couple, Doctor and Mrs. McKenna. He worked in the army Mash unit in North Africa during the war, and she was a well known pop singer when they met in London. They are returning to those haunts on a medical junket/vacation, with their little boy. They get connected to a man, Lois Bernard, who speaks Arabic as well as French and English, when he helps them with a cultural misunderstanding on a bus ride to Marrakesh from Casablanca. Bernard turns out to have been some sort of spy, who for is not clear, the local French authorities are suspicious of the Americans having any contact with him. It turns out there is a conspiracy, and the son of the nice American couple is used as a tool to keep them from sharing what they know.

Maybe the idea of an Indiana Doctor and his pop singer wife, turning into spies who travel to London, seems far fetched. The real strength that drives them is their love for their little boy and the animosity they feel toward those who betrayed them and threaten their son. Stewart gets tense in some scenes, clutching his fingers in anger below the surface of a table, struggling to contain his frustration. Day is more openly desperate and the scene where her husband has to sedate her before he can reveal their son’s abduction is frightening and sad. 

The British security authority who wants them to trust his agency, is incapable of following up on their promise. The bureaucratic mind of the police officers who could potentially have stopped the plot by taking an active crime as enough justification to enter a building is almost as infuriating as the assassination plot. Of course, social niceties are also why Jo McKenna and the Doctor, don’t disrupt a concert performance where the murder is supposed to take place. The final scream of warning comes at the last minute, which is thrilling for a drama, but makes little logical sense.

Having seen “Notorious” just two nights earlier, it is striking how much the descending staircase image dominates the climax of both movies. It seems to be a Hitchcock trope so when you watch “Psycho” remember, he has done this before. I think this is one of the few Academy Award winning songs that is actually relevant to the plot. Doris Day was a crossover star of the era, a singer and actress, and she took a simple little sing along tune and turned it into a moment of tension during the final act. She was famously uncertain about how she was doing in the role, but when you watch the screen, it is clear, she has command of her part.

This is another mystery thriller that mixes murder, espionage and ordinary people together in a well written script. The execution of the drama and suspense cannot be faulted, and the performances are top notch. If you ever get a chance to see this on the big screen, take it, you will be in the hands of a master.

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August 22, 2024

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Paramount Summer Classic Film Series Double Feature-Dial M for Murder and Rope (Hitchcock Week)

Dial M for Murder

A double dose of Hitchcock last Friday night, with two films based on plays that take place in a limited setting. First up, the star studded “Dial M for Murder” from 1954. Ray Milland, the Academy Award winning actor from a decade earlier in “The Lost Weekend”, plays a retired English tennis player, married to a socialite American played by Grace Kelly, who would win the Academy Award this same year for another film. There is however a love triangle going on as she is still emotionally involved with a former paramour, played by Bob Cummings.

The plot involves an elaborate murder plot that goes awry and deepens the sinister nature of the crime. Tony is a conniving dilettante, who is unsatisfied with his life as a married man who has retired from his sport.  He maneuvers an old school acquaintance into his plot through a blackmail threat. His goal is to do away with his wife, inherit her money and be safely alibied by his wife’s former lover. Things don’t go according to plan but Tony is a clever man if not an ethical one, he improvises a scenario that results in an even more solid cover for his crime.   

The Paramount Program Director, Steven Jannise, correctly lauds Grace Kelly as the victimized woman in the story, but I am not sure you can say she steals the picture because Milland as the villain, is unctuous, quick footed, and capable of making the most seemingly innocent things look bad, while also explaining away his own bad actions in a reasonable manner. The part is very cleverly written and Milland handles it with aplomb. Kelly does the distraught wife and victim role well, but there needs to be a little more to her indignance at what transpires.

There are two supporting performances that deserve some attention away from the shade of the stars. John Williams portrays the suspicious Chief Inspector Hubbard, who follows a false trail at first and then doggedly pursues the truth on a last minute bit of subterfuge. Williams is brilliant in the part, side eyeing everyone and  smiling at his own suspicions. It is exactly the kind of performance that makes a movie special. Also deserving some kudos is Anthony Dawson, who plays the shady schoolmate recruited by Tony to be his weapon. I hadn’t recognized him immediately, and I should have, perhaps the moustache was in fact a perfect disguise. Dawson is the actor that plays Professor Dent in Dr. No. He is on the receiving end of James Bonds Walther, when his Smith and Wesson runs out of ammo. As 

Charles Alexander Swann/Captain Lesgate, Dawson is sinister and charming as he loses a battle of wits with the well prepared Tony. 

The film is set largely on the apartment of Tony and Margo, with brief exteriors in front of their building and a couple of scenes set in the police headquarters of Chief Inspector Hubbard. The part with the key switch was a memorable moment in “The West Wing” one of my favorite TV series. The President is screening “Dial M for Murder” and trying to connect with his middle daughter Elle, who is resisting his fatherly sense of humor. The resolution of the scene with the Hitchcock film in the background is one of the warm moments from the series.

Rope

The second feature was another movie based on a play, and it is a grand experiment for the master of suspense. Set entirely in the apartment of the two killers, “Rope” is a psychological tug of war between the killers and their former mentor, the head of their house at prep school. Jimmy Stewart was a frequent star in Hitchcock films, and this was his first foray into the thriller territory that Hitch was the ultimate authority in. 

Pseudo intellectual entitled miscreants Brandon Hall and Phillip Morgan, murder a former classmate and friend as an intellectual exercise in power and superiority. They have taken the late night bull sessions with their teacher, way too seriously. Swallowing whole the philosophy of Nietzsche’s “Superman”, they kill as a way of affirming their own superiority.  Brandon, a narcissist with a sadistic streak, secures the body of their victim in a  wooden chest that he turns into a center piece at a party he is hosting with Phillip in their apartment. The dead man’s father, Aunt and fiancé, as well as his former best friend are all in attendance.  When Rupert Cadell, their school house head and mentor, comes to the party, the intellectual cat and mouse games begin. Jimmy Stewart as Cadell, starts to suspect his former students are guilty of something as the snarky Brandon drops hints of his intellectual pretensions while the unnerved Phillip, drinks himself into a morose shell of himself and practically confesses to the crime repeatedly.

The movie is shot in continuity, as if it is all one take. The transitions between the film cuts, necessitated by the limit of ten minutes worth of film at a time, are covered by fades into someone’s back or shots cast into a shadow. The movie also plays out in real time, a brief eighty minutes of tense talk and camera movements limited by the setting. The conclusion is a little melodramatic but the film is a fascinating experiment and it features an interesting set of performances from the two villains. The idea that they are superior to a character like the decent Mr. Kentley , played by Cedric Hardwicke, is ultimately laughable. Their twisted self rationalizations are thin and not even convincing to the man they think they are taking inspiration from.

I’ve seen the film a couple of times, including a theatrical experience at a revival house back in the 1980s. I can’t quite remember if it was at the Rialto in South Pasadena or at the New Beverly in West Hollywood. Regardless, it is a great way to see the film, but it may be one Hitchcock that is not diminished by viewing on a TV. 

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August 16, 2024

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Paramount Summer Classic Film Series- Notorious (Hitchcock Week)

It’s Hitchcock Week at the Paramount Theater and last night was a chance to see one of the best from the master of suspense, “Notorious”, the 1946 spy thriller starring Cary Grant, Ingrid Bergman, and Claude Raines. Set mostly in Rio after the war, “Notorious” is about an attempt to penetrate a Nazi spy ring, operating in South America. Grant plays Devlin, an equivocating intelligence agent, who recruits the daughter of a German Spy, convicted of treason in Florida. For the romance element of the story to work, we have to believe that he is in the dark over exactly what his superiors want from Alicia Huberman. 

The world of espionage is particularly dark in Hitchcock’s films. Although we want the American agencies that he vaguely refers to to succeed, they do so through one of the most unpleasant means available. In both “Notorious” and “North by Northwest”, party girls with emotional vulnerabilities are asked to seduce the targets in order to gain intelligence. With Eva Marie-Saint we don’t get a lot of backstory, but Ingrid Bergman’s character is all backstory, especially for the first act of the film. Alicia has rebelled against her Nazi father and in drowning herself in booze, she has become a loose woman, who is taken advantage of by a variety of men. At the depth of her humiliation, Devlin, the character played by Grant, insinuates himself in her circle of friends and begins the process of luring her into an assignment in South America. I find it interesting, that Grant is the man who falls for the loose women turned spies in both films. In “North by Northwest” he is an innocent, caught up in plans beyond his ken. Here, he is a calculating cad, who learns the dangers of his own callousness. 

“Notorious” is at heart a love triangle, the third party being the erudite Alexander Sebastian,  a key member of the Nazi group. It seems that years earlier, when Sebastian was friends with Alicia’s father, he had a massive crush on her, and the U.S. and Brazilin intelligence group wants to take advantage of that by inserting her into his life. In essence, pimping her out for Uncle Sam.  The fact that Devlin has fallen for Alicia and she for him, is a big complication. Devlin is cold to Alicia, as a way of distancing himself and her from the unpleasantness of her activities. Regardless of what Devlin says to her however, he is defensive on her behalf with the intelligence group in private. In an excellent illustration of true movie dialogue here is an example:

Paul Prescott: [about Alicia] I don’t like this, I don’t like her coming here.

Walter Beardsley: She’s had me worried for some time. A woman of that sort.

Devlin: What sort is that, Mr. Beardsley?

Walter Beardsley: Oh, I don’t think any of us have any illusions about her character. Have we, Devlin?

Devlin: Not at all, not in the slightest. Miss Huberman is first, last, and always not a lady. She may be risking her life, but when it comes to being a lady, she doesn’t hold a candle to your wife, sitting in Washington, playing bridge with three other ladies of great honor and virtue.

Devlin gives himself away to his superior Paul Prescott, played by veteran actor Louis Calhern, with a dash of charm and a bureaucratic mind. Prescott has a clever scene revealing a little of his humanity when Devlin comes to him worried about Alicia, and the discussion takes place while he is prone in bed, eating cheese and crackers. Not the tightly controlled mission boss, but a man who has to kick his shoes off an dine alone in bed sometimes. He knows what he is doing with Alicia, but he is not the monster that he could be. A decade later, Leo G. Carroll will fill a similar role in the other spy film I mentioned.

My admiration for Claude Rains as an actor has been expressed before. In “Casablanca”, “The Adventures of Robin Hood”, and “The Invisible Man”, Rains has been one of the consistent lights of the golden age of Hollywood. He is the sweetest and most vulnerable Nazi in films, as a besotted member of this cabal, he is both murderously awful and sympathetic. That is a piece of cognitive complexity that only an expert performer like Rains could pull off. The defeated resignation of his denouncement is perfect for the character and the film.

There are several moments of tension in the movie. Bergman’s acquisition of a key without her husband discovering it is one of those sequences. Of course the search for the secret in the wine cellar is gripping as well. You could hear the audience last night, collectively inhaling and holding their breath, as a wine bottle teeters on the edge of a shelf. Finally, the elegant bluff and turning of the tide with Grant rescuing Bergman from the clutches of Rains, and his loathsome Mother. The mother, played by actress Leopoldine Konstantin, is one of the Mother’s that Hitchcock used as a tool for manipulating his male leads in the movies. While not as famous as Norman Bates mother, Mme. Sebastian, would certainly belong in a rogue’s gallery of villains. 

As usual with a Hitchcock film, the production design is impressive. Although the scenes set in Rio rely on rear projection, they still look convincing. Alicia’s house in Florida, and her apartment in Rio, swim in the deco elegance of the era and her outfits do the same thing. The camera work is impeccable, I liked the trick with the coffee cup in the foreground as Alicia is in the background, both in focus. There are a number of moments shot from above that also establish the pecking order of power in the household, but allowing us to track the activities of the characters as well. The final descent on the staircase is an excellent visual complement to the plot tension in the script. 

From 1945 to his death in 1980, Alfred Hitchcock made 24 films and in that thirty five year period, a dozen of them are essential and another half dozen are excellent. “Notorious” deservedly belongs on the top shelf with a cast of stars that were at the height of their powers. A big screen visit is always called for when a Hitchcock film is involved. Tonight, two more of the top tier films. 

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August 14, 2024

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Paramount Summer Classic Film Series Double Feature-Romancing the Stone/Three Amigos

Robert Rodriguez is a local Austin hero. As a film maker, he has worked extensively in the Austin area and used local crafts people and locations for his films. He has been able to select a group of movies for the Summer Classic Film Series, and present them to the audience with a live introduction for a few years now. This last Sunday, he had three films that he wanted to talk about that featured Mexican Actor/Director Alfonso Arau. Rodriguez was inspired by Arau when he was just starting out and he got a break, which allowed him to spend a week or so as a young man, assisting and hanging out with Arau. They have since become friends and it is fitting that Rodriguez selected his friend to feature in this summer’s presentations.

There were actually three features on Sunday that concerned Arau, unfortunately, we could not stay for the film he directed “Like Water for Chocolate”. I have it in my collection and we will catch up with it soon. The two films we were able to see were movies that Alfonso Arau had an acting role in. He is not the star of the films but he is an important featured player in both of them

Romancing the Stone

“Romancing the Stone” was 20th Century Fox’s entry into the Indiana Jones clone films. Everyone was looking for an adventure film with comedy, romance and stunts, to pull in audiences the way the Steven Spielberg films had done. The movie was a big success and it cemented the stardom of Kathleen Turner and created a partnership with Michael Douglas that would continue up to today. If you are interested in a more detailed look at the film, let me direct you to my post on the 30 Years On Project. This movie is a delightful summer entertainment, and holds up pretty well.

First lets talk about Alfonso Arau’s part in the film. He plays the role of a drug smuggler, who controls the local area that Romance Writer, Joan Wilder (Turner) and her guide/partner, Jack Colton (Douglas) find themselves stuck in. Through one of those wonderful movie coincidences, he knows her work and becomes a quick ally in her goal of escaping from the evil pursuers that are hot on their trail. The vast majority of his role involves him grinning as he drives them in his off road truck through the fields and jungles as they are chased by jeeps with machine guns.  Arau is probably not in the movie for more than seven or eight minutes, but like most good character actors, he makes those minutes count. 

I also have to say that Kathleen Turner was the draw in the film. Douglas was the producer and first listed star on the film, but Turner is the character that we spend the most time with. She starts off as a mousy pawn in the story, but as her successes in confronting complications grow, so does her self confidence and natural beauty. By the end of the film, she has truly become the heroine of her own romance novels. It’s pretty obvious that Michael Douglas also worked in the film as adventurer Colton. This movie set him up as a romantic lead for the next twenty years, in thrillers and dramas as well as comedies. 

The cast also included Danny DeVito, who was a buddy of Michael Douglas after appearing in the Academy Award winning “One Flew Over the Cuckoo’s Nest” which Douglas produced. He later directed both of the stars in the excellent but sometimes forgotten “War of the Roses”. So it was a fortuitous collaboration for all involved. Director Robert Zemeckis had had a hand in three films that had bombed for Steven Spielberg and his production company. He took this job to try and get a hit outside of the Spielberg umbrella, so his career did not dissipate. Robert Rodriguez told us as part of his introduction to the film that Zemeckis had said this was the hardest location shoot he had ever done, and that he instructed his agent that if ever he was given a script that started “Exterior:   A vast Jungle”, the agent should just automatically pass. 

The Three Amigos !  

The second of our Double Features includes a much bigger role for Alfonso Arau. He is the antagonist in the story, a bandit named El Guapo, modelled after the character played by Eli Wallach in “The Magnificent Seven”. Of course this is a comedy, so the character will have a number of features that would not likely appear in a real bandit of this ilk, including a love of sweaters. John Landis directed this film and it is a loose adaption of “The Magnificent Seven” and “The Seven Samurai”. A village, terrorized by a gang of bandits, seeks outsiders as defenders. The conceit in this film is that the woman who contacts the supposed heroes, has misunderstood what a movie is (the film is set in 1916). The three actors who star in a series of Westerns set in Mexico during the silent film era, are playing landowners who are heroically on the side of peasants in many of their films. When the actors lose their jobs at the studio, they take up an ambiguous offer from the woman in the village, a heavily edited telegram leads them to think they are putting on a show, not that they are confronting real criminals.

Of course the film is pretty silly at times. There is a singing bush, a singing tortoise and singing horses in the film. There is also an invisible swordsman, and the actors skills as action stars in the movies, turn out to be useful. The cross cultural jokes are not offensive, and it’s hard to be put off by anything the three leads do. Steve Martin, Chevy Chase and Martin Short  are the three actors who get in over their heads. The sequence where they realize the reality of their situation is quite amusing, and they do a nice cowardly retreat that will provoke a smile or two. The consistent smile generator however is the Amigos salute, you can probably do it yourself if you have seen the movie. 

Alfonzo Arau gets to ham it up as the leader of the bandit gang, and he gets a lot of mileage out of his broad smile and subdued line readings. If you have seen this movie before, you will probably remember the dialogue that features a “plethora” of jokes about the meaning of the word. Actor Tony Plana plays “Jefe” the second in command to “El Guapo” and he and Arau have some nice timing in their scenes together. 

This is a lightweight movie, that has nothing on it’s mind other than making us laugh at some absurdities, and it does that just fine. It is the only screenwriting credit that composer/songwriter Randy Newman has, that may be in large part because of the songs he contributed to the story, although he is also credited as contributing to the payoff joke of the birthday presents for El Guapo, so I won’t say he was not writing outside of the songs. 

It was a minor hit at Christmas time in the year of it’s release, but it has never been a critical favorite. It is probably fair to say, that like a lot of other 1980s movies, it achieved a reputation because of repeated cable showings and now has a cult following. It’s nonsensical and sweet, with enough energy for it’s running time. 

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August 13, 2024

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Paramount Summer Classic Film Series- The Goonies

I never thought of myself as the biggest fan of “The Goonies”, in spite of the fact that it came out in the mid 80s, and was directed by Richard Donner from a script by Chris Columbus, and produced by Steven Spielberg. Those would all be things that would be going in its favor, and seem to make me the target audience for the film. The big exception being that I was probably 10 years too old to experience the movie the way it was meant to be consumed. This is a movie for kids and teens, and although my adult self often feels nostalgia for adventure stories like this I’ve always been a little detached from it. After today’s screening, I’d say that’s a little less true, I liked it a lot but it still seems slightly off base to me.

The biggest problem for me is that the kids who star in the film are made to be overly loud, and talking over each other constantly. This was a choice that was done I’m sure to create energy for young people, but it had the opposite effect on me. I have the same problem with Steven Spielberg’s “Hook”, too many Lost Boys yelling over one another. However when we do get to moments where Sean Astin’s character is trying to figure out a clue, or young Josh Brolin is engaging in some physical activity designed to show his alpha male status to a bunch of kids, the film works pretty well.

Corey Feldman and the other two kids who form the core of the Goonies are the most fun characters, but they are also the ones that do the most shouting and that’s really what puts me off a bit from the movie. Chunk, the pudgy kid who makes friends with the giant member of the bad guys family, is pretty sympathetic as the conduit between “Sloth” and the rest of the characters. The late John Matuszak manages to give a sympathetic reading to the misshapen Fratelli brother. The make up overwhelmed his face but the small movements combined with some animatronics made it work anyway. 

A lot of the cast went on to solid careers in film. Astin starred in the “Lord of the Rings” films as everyone’s favorite Hobbit,  Josh Brolin has been nominated for an Academy Award and played the ultimate antagonist in the Marvel Cinematic Universe. Martha Plimpton continues to work and had her own TV series. The great surprise in the group is Ke Huy Quan who plays the 007 inspired “Data”. He was largely absent from the screen after his child roles in this and the “Indiana Jones” film, but made a big screen appearance and won an Academy Award for “Everything, Everywhere All at Once”.  So whoever was the casting director for the film, seems to have done a good job in assembling child actors.

The treasure map, pirate ship and the booby traps are the things that make this movie worthwhile. Kids on a treasure hunt is a fun idea, the traps are all Rube Goldberg style setups that give the movie some visual excitement. The production design for the caves and the pirate ship in a hidden cove look great. The backsrory about the homes of the kids is a little clunky, and the performances of the adult parents was weak. Robert Davi, Joe Pantoliano and Anne Ramsey are a bit over the top, but the tone they set is right. It’s a solid and fun film. Maybe not the classic some of it’s fans think it is, but definitely worth a watch. Oh, and I got to wear my shirt. 

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August 10, 2024

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Paramount Summer Classic Film Series-Butch Cassidy and the Sundance Kid

Let’s get this straight off the bat “Butch Cassidy and the Sundance Kid” is a terrific film, hugely entertaining, written in a style that was fresh and well researched. There is nothing about this film that is problematic. Which makes it so much easier for me to spend this post focusing on just a single element of the film, instead of finding a new way to evaluate a movie that people already love. So this post will be dedicated to the consistent crime that is committed by one of the world’s greatest character actors, he not only steals the scenes he often steals the movie, Strother Martin.

It should be tough for an actor like this to make a big impact on a movie that is over 2 hours long and in which he appears for only about 10 minutes. However, when William Goldman is the screenwriter and the actor is the late Strother Martin, it’s easier than a pickpocket lifting a wallet from an inattentive subway rider. Martin plays Percy Garris, the mine operator who hires Butch and Sundance to be payroll guards while they are down in Bolivia. This sequence takes place more than 80% of the way into the film, but it has the consistent humor, and dramatic heft that the film has sustained up to this point, and the gets elevated by the Percy Garris character. .

Percy Garris is diminutive fellow with an ill-fitting vest. a military style hat and a habit of burying his hands in his pockets when he’s not quite sure what to do with them. However, when he is sure what to do with them, Strother Martin uses them like instruments to pull us into the story. When trying to test Sundance to see if he really can shoot accurately, he first asks to see the firearm that Sundance wears on his hip. Garris handles it efficiently, but without the flourish of a gunfighter or someone who knows how to brandish a weapon effectively. He takes the gun admires it and hands it back to Sundance, but puts his hands up in the air and pushes down when Sundance tries to put the gun back in his holster. All Garris wants to see is whether or not he can hit a target. He then reaches into his own pocket, pulls out what looks to be a small package, maybe of chewing tobacco, and tosses it about 20 ft away. Nothing flashy is being done here, but Martin actually dominates the scene when he is playing against Robert Redford and Paul Newman. The character constantly spits, and frequently without the force necessary to hit a target himself. When he does however hit whatever target on the ground he is eyeing,  Garris announces “bingo”. We never see exactly what it is he hit, we just know the satisfaction that he gets from saying the word.

When Redford misses, Martin gives us a bemused look, when Sundance wants to draw on the target down on the ground, but he also gives a look of amazement as Sundance moves quickly and hits the target twice. Garris announces immediately “you start tomorrow”. Martin’s timing on all the comedic lines in the scene is perfection

As they begin their Journey down the mountain, Garris on a mule and Butch and Sundance behind on their horses, Garris sings a song full of innuendo, and old-fashioned cadences. He leans back in his saddle, comfortable and confident because he knows no one is going to rob them going down the mountain. Which is why he thinks of Butch and Sundance is being morons when they are being overly watchful on the trip to the bank. As he puts it, “I’ve got morons on my team”. This is his key line in the movie. He is an old hand in Bolivia and feels superior to the two rookies he is hired to prevent a robbery. Of course later on, we do discover that he is capable of making a mistake. That mistake comes immediately after he explains to the two, that he’s not crazy, he’s just colorful.

This is a 55-year-old film so it’s probably too late to worry about spoilers, but Percy Garris does not make it to the end of the movie. He is the one character who dies, before the end of the film, that we care anything for. He’s hired our anti-heroes, he’s passed on some wisdom, and he’s engaged in some jocular conversation with the two outlaws he has hired to guard against robbery. This makes it a poignant moment when he is killed so suddenly, without much of an exit line. The character is well written, but it is the delivery of those lines, and the unique voice of Strother Martin that makes these scenes work. Martin worked with Paul Newman a half dozen times or more, this was his only collaboration with Robert Redford. He almost certainly would have been in “The Sting”, had he not been shooting another picture. That’s because he also worked with director George Roy Hill multiple times. Having an acting ensemble is one of the things that made these movies from 50 years ago so much more memorable.

Oh yea, he is fourth billed, right after the three stars.

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August 2, 2024

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Paramount Summer Classic Film Series-The Lunchbox (2013)

Two of the most pleasant surprises I’ve had at the Paramount classic film series over the years have been films from India. Last year it was “RRR”, a rousing action film that got the audience shouting out encouragement laughing uproariously, and generally rooting for the heroes. This week a film with a very different tone joins my list of films from India that I have enjoyed greatly, “The Lunchbox” from 2013.

I wish I could say I knew the actors in this film well, but as far as I can tell I’ve only seen the lead actor  in a couple of movies before, Irrfan Khan was in “Jurassic World”, “The Life of Pi” and “Slumdog Millionaire”.  They were all terrific. Khan plays the lead,  a man nearing retirement, somewhat unwillingly. He doesn’t seem like he would be a romantic leading man but that’s how deceptive looks can be. The real heart of romance lies in the ability to understand and relate to another human being, and this character, Saajan Fernandes, manages to do that, although very tentatively.

For those of you not familiar with the story, which I assume is most everybody reading this site, “The Lunchbox” concerns the developing relationship between two strangers through a series of notes that are delivered via a lunch box delivery service, which is noted for its accuracy. The twist in this film, of course, is that the service is not infallible. The lunch box order of our widowed soon to be retiree is mixed up with the lunch sent by a woman to her husband. She is attempting to keep her marriage together by preparing meals with love and care and the right amount of ingredients. She succeeds in her meals with the advice of an older woman who we never see, but who shouts advice from an apartment upstairs, and sends spices and special ingredients via a hanging basket to the leading lady’s kitchen. I don’t know how typical this is in India, but it makes it feel like a pretty friendly place.

At the workplace of the soon to be retired accountant, we see that he is a circumspect man, who doesn’t exude much outward warmth and appears to have closed himself up after the death of his wife. A young man, played by  Nawazuddin Siddiqui is supposed to replace him, and the older man is expected to train him in the job but he is clearly reluctant to do so. It looks at first like the younger man will be annoying and a character that we will look down on. The joy and clever script writing, comes when characters are revealed to us slowly and in interesting ways, and the young apprentice accountant certainly turns out to be more interesting and more appealing than initially thought to be.

The woman in the story, lla, played by Nimrat Kaur, is a loving mother, and a wife who wants to make her husband’s life better, but who seems to be ignored by an indifferent spouse. As the lunches travel back and forth, she finds the older man an outlet where she can share her thoughts in a way that is a little bit more honest than she is able to manage with her upstairs neighbor. He also begins to reach out a little more and it is his tentative connection with her that allows him to create a stronger connection with his younger coworker. Of course there are complications, and some dramatic turns in the story, but they are all reasonable and set up with plenty of legitimacy.

The actors in this film are all perfectly cast. The older man is handsome but clearly feeling the years. The younger man seems eager and a little naive, but he is also so politely brash that he’s hard to resist after a while. I think when I read about this film that everyone received some awards for their performances in the film and as far as I’m concerned they deserved them. The part of the woman is difficult because she is so conflicted. There is a terrific sequence where she finds the dress that she wore on her honeymoon, and models it for her husband, hoping for some attention from him that she clearly needs. You can see in her acting the heartbreak that comes from being ignored. In another scene as she sits in a restaurant waiting for her anonymous correspondent to meet her, we can see the anxiety and confusion on her face when he is not on time. This was a very subtle performance but still very effective.

This is an unexpected love Story, with a fantastic premise, in a world and culture that I know little about but could appreciate from the distance that I have from it. The characters all have good arcs to make us interested in following them, and there is a great deal of humor as the story plays out. This is the kind of charming foreign language film that I have fallen for over the years. I would compare it to a film like “Eat, Dink, Man, Woman”, or “Shall We Dance?”, two films from the ’90s that I still count among my favorite romances. It’s nice to add another film to that list, and one that comes from a different culture it helps give me a little insight into the rest of the world.

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August 2, 2024

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Paramount Summer Classic Film Series-Blade Runner (1982)

I looked, and it is hard to believe, in the fourteen years I have been writing on this blog, there is not a post solely devoted to the movie “Blade Runner”. This film came out 42 years ago, and I saw it on opening night. I have seen it several more times on the big screen since then, but apparently not once in the last decade and a half. I do remember going to a screening at the Archlight in Hollywood with my daughter while she was still in college, so that must have been 2009 or 2010 early on. This is one of the most influential films of the last fifty years, in spite of it’s commercial failure. The version we saw last Saturday was the “Final Cut” which looks like it will really be the last version of the movie, at least from Director Ridley Scott.

This version of the film is the most coherent, and the plotline is clear. One of the things that has changed about the film in the last forty years is the narration. When the film came out, there was a narrative track by Harrison Ford as the character Deckard, and it contained exposition that tried to clarify characters and plot. In reality, it only cluttered things, although it did add a noir style trope to this dark future noir story. Ultimately, no one will miss it. The ending has also been altered, in the original release, there is a more upbeat is not entirely happy ending. The ambiguity of the “Final Cut” ending is a lot more in line with the questions raised by the film’s premise.

Over the years, there has been controversy about whether or not Deckard, Ford’s character, is actually a replicant himself. Ridley Scott has asserted that he is, and some of the additions to the film have tried to hint at that. The insertion of the unicorn flashback/dream, is meant to suggest that Gaff, the nominal partner working with Deckard, has knowledge of his thoughts, as exemplified by the unicorn origami found on Deckard’s doorstep near the end of the film. I have a couple of problems with this approach. First of all, it undermines the romance between Deckard and Rachel, who is in fact a replicant. The value of the emotional theme is that a human can fall in love with a product and it can be meaningful. If it is simply two manufactured beings, it doesn’t mean anything. Also, as Deckard fights with Roy at the climax of the film, it is clear that he is a superior physical specimen. Why would the inferior model be the one set upon the rogue replicants? It makes no sense. One last thought on this point, Rick Deckard returns in the sequel set 31 years later, and if he is a replicant, there would have to have been some planned obsolescence because Deckard has aged substantially. 

Scott and the screenwriters were a little optimistic about some technological elements of the future. We are not operating colonies off world, we still don’t have flying cars, and although AI is getting dangerously close to sentience, we don’t have slave labor replicants. However, most of the dystopia about Los Angeles is spot on. Homelessness is rampant, languages are not shared, and advertising dominates the vista. I left California in the middle of a multi year drought, but in the last two years, the precipitation seen in the movie appears to have overwhelmed the people still living there. The models of the buildings seen in th film are shot in a spectacular manner. I remember going to a museum exhibit in the early 90s, where the police headquarters building from the film was on display, it was incredible. The visual elements are the thins that make this movie such a touchstone for modern film makers.

Regarding the plot, there is a dilemma that I was reminded of as I watched the film. We are clearly supposed to have sympathy for the replicants who simply want to live, but we are conflicted by the brutality they show to all humans, even the ones who assist in their cause or at least sympathize with them. The four replicants seem to be irredeemably vicious. Chew, the clueless Eye engineer is murdered for no reason except spite. Tyrell is murdered out of frustration, and Sebastian, the kind but naive human who has assisted the remaining two replicants, is killed for no reason at all.  The replicants seem to have been designed with no empathy neural patterns, only rage. Only at the very end, do we get a sense of progress when Batty spares Deckard with his final gesture. I don’t know if it is enough to redeem the more than two dozen people they killed in the course of the story. I want it to mean something, and Rutger Hauer’s performance and final monologue is almost enough. 

The theater was packed for the show. We had been to the “Dick Tracy” screening earlier, but I was able to go back to the car and pick up my Blade Runner shirt for the evening film. I wore it over my long sleeve shirt because it was very chilly in that first show, and the lightweight material would not have kept me warm during this film. Every actor in the movie was excellent, but Rutger Hauer and Darryl Hannah are the standouts. It is for good reason that this is probably the late Mr. Hauer’s signature role. 

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August 1, 2024

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Paramount Summer Classic Film Series-Dick Tracy (1990) Re-Visit

The 1990 version of Dick Tracy from director/star Warren Beatty has a lot going for it that I think people have ignored over the years. The look of this movie is impressive, coming years before the innovation of CGI that would make movies like this much more typical. This film uses a very simple color palette to make the comic strips from the Sunday funny papers come to life as a motion picture.

Warren Beatty probably remembered the comics fondly from his childhood which explains why he finds Dick Tracy a compelling character. I read the comics as well but I mostly knew Dick Tracy from the cartoons that played during the 1960s. Because those cartoons featured ethnically questionable characters, it is rare to find them easily available. Beatty did the right thing by leaving out all of those sidekicks from the cartoons and sticking with the villains who are cartoonish in the first place.

The movie also features Madonna, who sings three or four of the songs, and does a great job vamping it up as a femme fatale in what is basically a children’s cartoon. That is except for the one sheer black nightgown that she’s wearing which leaves little to the imagination and would certainly justify dad accompanying the children to see this movie in a theater. They’re also some risqué lines that are delivered by Madonna and to which Beatty’s character of Dick Tracy seems nonplussed. It’s a lot of fun and full of cliches, but still spectacular looking with the photography and the production design.

People may forget that Al Pacino got an Academy Award nomination for supporting actor in his role as Big Boy Caprice in this movie. Pacino appears under a thick layer of makeup and an exaggerated bodysuit that makes him look thicker and nearly a hunchback in his role as the mobster who wants to run the city. This is one of those roles where the actor hams it up and gets away with it because of the nature of the film. I was happy to see Pacino get honored, but there’s so much about this film that is enjoyable that he is not the only reason to see it.

It may be the Warren Beatty fell in love with shooting machine guns when he made “Bonnie and Clyde” back in 1967, and he still hasn’t gotten over the thrill of pointing a Tommy Gun in the direction of things you want to destroy and pulling the trigger. This movie is full of gangsters and cops who arm themselves with this weapon from 1930s gangster films, and then go out at it in a largely bloodless outcome but with lots of explosions. In the wake of “Batman” the year before, I’m sure the studio was looking for a Hero film with spectacular visuals, and they almost got it. When Warren Beatty as Dick Tracy swings around and his yellow top coat flies open at the waist as he points his Tommy Gun in the direction of criminals who are shooting at him, it’s a perfect trailer moment.

A terrific Glen Headley played Tess Trueheart, Tracy’s love interest, and she is really under playing it in comparison to both Beatty and Madonna. She feels like a real character from a 1930s screwball comedy, although she’s not the daffy one in the film. There are a variety of character actors who joined Pacino in the makeup chair to portray the Rogues gallery of criminals that Dick Tracy faces down. We can also throw in Charles Durning and Dick Van Dyke, both without much makeup, as characters in the film that add some interesting elements to the plot. The kid actor, Charlie Korsmo, appeared in a few other films as a child, but as far as I know his acting career didn’t reach much further than the early 1990s. There should have been a sequel to this movie. It probably underperformed, and I know that Beatty fought some rights issues. 

When this movie was first released, it got a lot of publicity to launch it and of course the studio was marketing the images from the film as much as they could. I wish I had saved all of the McDonald’s toys, and drinking glasses, and t-shirts that I purchased at the time. The most interesting artifact from my point of view, was the original ticket for the preview screening that we went to. It was a t-shirt with the ticket printed on it, and you wore it to gain admission to the theater on the night of the show. Even though my children were only four and two at the time, I was going to make them attend with me and so our whole family, all four of us, wore our t-shirts that night. I really wish I had that t-shirt to wear to the Paramount screening this last Saturday.

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July 31, 2024

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Paramount Summer Classic Film Series-Repo Man (1984) Re-visit

The circumstances that gave rise to the aesthetics of this movie are long gone. Punk attitudes rose and fell in the 80s, and in the forty years since this came out, new attitudes of entitlement, resentment and envy have replaced the punk ethos.  The contempt for normative lifestyles continues but it is much less interesting now than it was in 1984. If we set aside the angry young man motif of the film, there still remains an off beat story about losers, struggling to make it in the world, and the complications that arise when they cross paths with society. In other words, this is still a punk movie, it just has lost it’s cause.

No characters in the movie are particularly likeable. Otto, the main protagonist played by Emilio Estevez, is an angry, self centered punk, with no respect for women, who feels entitled to something more, but he doesn’t quite know what. He does seem to have some ethics, but those morals are constantly undermined by his associates, both the professionals he takes up with, and the girl he supposedly cares about. It may be understandable why he has such attitudes, everyone he interacts with lets him down in some way.  Bud, the Harry Dean Stanton character, is his mentor, but also an antagonist who second guesses and manipulates Otto from the start. Thankfully, their story does get a more satisfactory conclusion than that of Leila, the girl who betrays him after he has rescued her a couple of times. 

The great Tracey Walter, plays Miller , a non-driving cog in the repo man world, who passes out wisdom like candy at Halloween. The only problem is, when you look in your bag, it is full of those circus peanut candies that are disgusting. Nothing Miller says means much, and most of the time it is simply designed to provoke those around him. His commentary on John Wayne is a good example of that. Lite, is another repo man that Otto works with and his philosophy is at complete odds with the one Bud has been espousing.  There is not a homogenous set of opinions in this culture. The Rodriguez brothers, who are set up as antagonists early in the film, turn out to be not so bad in the end. The UFO group that seeks the McGuffin, are not heroic revolutionaries but jaded outsiders who are indifferent to their own benefactor .

There is a ton of stuff to laugh about in the film. The banality of normal life is lampooned by the use of the “generic” products of the era. Otto’s parents are hypnotized by the television and a preacher that they are sending all their money too. The customers who are losing their cars are often nitwits or trying to pull a fast one themselves. The former friends of Otto, who have become stick up artists, are the most inept of all, suggesting that writer/director Alex Cox is is not all that sympathetic to the youth in the picture at all. My favorite moment in the film is an exchange between two of Alex former friends,

Debbi: Duke, let’s go do some crimes.

Duke: Yeah. Let’s go get sushi and not pay.

I wrote about this movie originally on my 30 Years On Project, saluting the films I saw in 1984. This Screening at the Paramount was the first time I have seen the movie in a theater since 1984. It really holds up well. Just as a side note, the Chevy Impala that Bud drives in the movie, had a parking decal on the bumper from Fullerton College, which was a duplicate of the one I had on my car because I was teaching there in 1984.