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Double Feature Review: “Citizen Kane” & “Mank”

With Netflix’s latest auteur oriented film release, in the form of “Mank” directed by David Fincher, shining a light on the lesser known screenwriter behind “Citizen Kane”, I figured this would be the perfect excuse to write a double feature review on both films. I’ll start with ‘Kane‘ and then dive into “Mank” afterwards. I highly recommend looking into the history of Old Hollywood and its key players to fully enjoy and understand the extent of each of these films. If you don’t already know the name William Randolph Hearst, he’s an integral piece of the puzzle when it comes to these films, a quick google search would go a long way in parsing out “Citizen Kane” at the very least. Oh, and fair warning, I will be spoiling key plot points of these films in order to freely discuss them. I’d suggest giving them a watch first and then returning here for analysis. Enjoy!

Written by Herman J. Mankiewicz and Orson Welles, and directed by Welles, “Citizen Kane” is the film lauded for most of the twentieth century as “The Best Film ever made!“. While I’m loathe to give any one film such a title, Welles’ first film is certainly one that should be in the conversation when discussing some of the most groundbreaking and revelatory films in cinema’s young history. To better understand the context of this film you’ll have to dig into the history of both Orson Welles and William Randolph Hearst, the man that Charles Foster Kane was based on, and the very public feud between them. Hearst’s onscreen counterpart certainly has a lot in common with the real McCoy, and while there are differences between the man and the character, the broad strokes are there- and impossible to deny. Hearst was the son of a millionaire mining engineer who owned several gold rich mines. Both he and Kane went to, and were kicked out of, Harvard. Both men were fiery liberal progressives in their youth who bought out several newspapers across the country and started several salacious circulation wars between rival Newspapers of reknown. Both were titans of the print industry and each used their persuasive papers to push for a war with Spain over Cuba’s independence, and while historians have downplayed Hearst’s claim of personally starting the Spanish-American war of 1898, he did have an immense effect on the public’s fury over the topic. Later, after World War One, both men turned more conservative and isolationist in ideology. They both had mistresses that they made grandiose gestures for, one in Hollywood, the other in Opera. Both men also grew dissatisfied with the world after losing very publicly in their political pursuits, and each turned their isolationist views into reality by building outrageously over the top castles on acres and acres of land, the real one in California, with Kane’s “Xanadu” in Florida.

If you haven’t yet seen this film, (I highly encourage you to do so, it’s pretty good!), it begins with the death of Charles Foster Kane (Orson Welles) as he gasps his final word, “Rosebud”. Kane’s death reverberates through the News publications of the world, and one such outlet designing a visual obiturary reel titled “News On The March!” gives the audience a quick outline of the Newspaper Magnate’s life in bullet points. The editor of the Newsreel then delegates Jerry Thompson (William Alland) with finding the meaning behind Kane’s last words. The rest of the film is divided into flashbacks on Kane’s life through Thompson’s investigation and interviews with the people who were closest to Kane. Initially he tries to talk with Susan Alexander Kane (Dorothy Comingore), his mistress and second wife, though she’s inconsolable during his first attempt. Thompson next goes to the vault of the late banker Walter Parks Thatcher (George Coulouris) who oversaw Kane’s trust fund from childhood until his twenty-fifth birthday. While reading Thatcher’s personal memoirs, Thompson learns of Kane’s financial rise and fall. Under the prudent investments that Thatcher had made while Kane was in his youth, he had essentially become one of the richest men in the world by the time he took over his finances. Kane acquired many Newspapers and fiercely fought against the business practices of Thatcher himself and those of his ilk. None of this brought Thompson any closer to finding the truth about “Rosebud” however, and he moved on to interviewing Kane’s personal business manager, Mr. Bernstein (Everett Sloane). Bernstein’s interview and flashback is personally my favorite segment of the film. It focuses on the early days of Kane’s purchase of The New York Inquirer and his circulation war with Chronicle, of whom he effectively stole the top journalists from. This began his intense interest in collecting both people and things for the rest of his life. The scenes of the early days at The Inquirer are full of energy and confidence, with Welles’ Kane striking a resemblance to future onscreen billionaires like Robert Downey Jr.’s Tony Stark and Leonardo DiCaprio’s Jordan Belfort, AKA The Wolf of Wall Street. The next two candidates for interview were Jedediah Leland (Joseph Cotten) Kane’s estranged best friend and a return to interview a more collected Susan Alexander Kane. Both subjects clue Thompson in to the more intimate relationships and nature of Kane as a person and how he evolved over time in the latter half of his life. The final shot at finding the meaning behind Kane’s final words lay with Kane’s butler at Xanadu, Raymond (Paul Stewart). Raymond knows of at least one other time Kane uttered the word ‘Rosebud’, but it’s not enough to form a better understanding of its revelance to Kane or his life. Thompson finally ends his search with his time at Xanadu, saying that he doubts any one word could unlock the mysteries of a man such as Kane, or any other man for that matter. Though we, the audience, receive the truth as we witness unnamed workers clearing out the treasure trove of Xanadu’s massive collection. A small snow sled is casually tossed into the incinerator, which we see inscribed with the word Rosebud, as it is set ablaze.

With this film Orson Welles broke new ground in filmmaking, generating new techniques and methodology that would spur filmmakers of the future to similarly write new rules of cinema as they saw fit. Even though “Citizen Kane” didn’t make any money due mostly to the blackout campaign that Hearst waged against the film’s release, Orson Welles succeeded in making a revolutionary film that has stood the test of time. His career following this would be a constant battle against the studio system of Hollywood, ever vying for artistic control against the bottom line of the studio’s budget. In the end Welles’ career as a filmmaker would outlive the studio system that he battled against for decades, so, in that respect, he won. “Citizen Kane” is an excellent film, and a touchstone of history in cinema. If you care at all about the history of movies, this one is a must watch.

Final Score: 1 Snowglobe

Written by Jack Fincher and directed by David Fincher, “Mank” is the story of Herman J. Mankiewicz, screenwriter of one of the most infamous films of all time, “Citizen Kane”. Much like how ‘Kane‘ used flashbacks to try to understand the elusive fictional media figurehead, “Mank” also uses flashbacks of our titular character to better understand him and his reasons for writing what is effectively a character assasination of one of the most powerful men in media at the time. While the film eschews direct character interviews to provide the flashbacks structure, there is a similar string of characters important to Mank who visit him to persuade him not to take on Hearst, which is an entertaining flip. The film begins with Mank being driven out to a small homestead in the Mojave desert with a large cast entombing one of his legs. In this temporary abode Mank is supported by two women, Rita (Lily Collins) a British Secretary that types for him as he dictates from bed initially while also effectively working as a sounding board for script ideas and insight, and Fräulein Frieda (Monika Gossmann) who attends his medical needs as he needs them. He’s also repeatedly visited by John Houseman (Sam Troughton), the politely anxious assistant of Orson Welles (Tom Burke) who calls and eventually stops by for consultation. The series of flashbacks, which are charmingly introduced with screenwriting introductions like EXT. MGM STUDIOS – DAY – 1934 (FLASHBACK), begin in 1930 when Mank is introduced to William Randolph Hearst (Charles Dance) via a set visit of one of the films starring Hearst’s mistress Marion Davies (Amanda Seyfried). Thus beginning a near decade of Mank’s involvement in Hearst’s inner circle of friends and various recipients of his vast wealth and empire. The film goes back in forth in time as we garner information about Mank’s time with Hearst’s inner circle and how Mank views the film industry and politics (there’s probably some insight into how David Fincher views these as well). We see the effects of the great depression on the movie industry and the true nature of the old school movie studio executives like MGM’s Louis B. Mayer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley). There’s also a surprising amount of screentime given to Upton Sinclair’s (portrayed in one scene by Bill Nye) 1934 campaign for Governor of California, beseiged by the power hungry political machine run by Hearst, Mayer, and Thalberg to name a few.

What really hooked me with this movie was that the film wasn’t interested in the “how” of Mank writing ‘Kane‘, but the “why”? Sure, the real life drama was more about the fight for screenwriting credit of the script between Mank and Welles, and this film does touch on that, but only briefly near the end. Instead the film poignantly focuses on the years building to Mank’s writing of ‘Kane‘, when he was in the orbit of Hearst through most of the 1930’s, witnessing the reality of powerful people, and how they manipulate systematic control through crushing fiscal hegemony. Mank tries to do what he can to combat these actions, but ultimately hes’ a beneficiary of that exact system, and it’s not until he sees the brutal effects that these manipulations have on ordinary people that he decides to dig in his heels and do something about it. Personally, my favorite scene is the drunken monologue at Hearst mansion where Mank essentially pitches “Citizen Kane”, mockingly, to Hearst as he entertains a dinner. One by one the loyal roaches, like Louis B. Mayer of MGM, slink away from the table, eager not to be associated with the court jester’s imminent ousting. Apparently, the scene took over one-hundred takes to nail down before Fincher and company were happy with it- and I have to say, the juice was worth the squeeze with this one. While I’m not sure if this is technically the best film that was released in 2020, it may end up being my favorite film of this terrible, awful, year. For it shows that principles, in the end, matter more than power. At least, that’s what I got out of it. You also don’t have to twist my arm to get me interested in a film about a screenwriter, I’m the core audience- I just also happen to completely adore the character of Mank as portrayed by Gary Oldman in this movie. Witty, entirely fallible, Mank employs self-deprecating humor at every opportunity, and he’s incredibly capable of delivering corrosive criticism with sharp clarity while completely sauced. He uses words and a literary understanding of the world to not only get himself into far too much trouble, but to gracefully avoid it at times as well. The choice to cast Charles Dance as Hearst was Brilliant! Dance is particularly skilled at portraying powerful figures of aristocracy, and his performance here only enhances the production as a whole. I also have to praise the score by Trent Reznor and Atticus Ross, it’s perfectly period accurate and delightfully engaging! The cinematography by Erik Messerschmidt and editing by Kirk Baxter also pair to give the film an authentic ‘Old Hollywood‘ tangibility. I really just dig the look, sound, and feel of this film. For me, it all works gloriously.

“Mank” is out now on Netflix in the US and I highly encourage you to check it out if you can. Everything about this film worked for me, hopefully you’ll get some satisfaction out of it as well! I’ve also linked below to an article from the New York Times about the Upton Sinclair election in 1934, which was pretty neat and quite valuable in layering “Mank”‘s historical accuracy versus the fictional liberties they took in creating the film. Enjoy!

Final Score: A Debt of $24,000

For some more information on what “Mank” got right with the Upton Sinclair campaign in 1934, check out this informative NY Times article:

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What if Martin Scorsese made a Marvel Movie?

Everyone knows Martin Scorsese isn’t the biggest Marvel Movie fan. He sees the cinematic universe more as a theme park ride than as cinema. While I do agree with him to some degree on that factor (hey I’ll be here for that roller coaster all day long if I’m being honest), I do think that putting someone with as powerful a vision and sense of individualism as Scorsese at the helm would help to elevate whichever material he signed on to film. Now, obviously, this will not happen. Never in a million years, he’s got his opinion and that’s 100% okay, the man has earned it. However, it did get me thinking. If there was even the smallest of opportunities to get Martin Scorsese behind the camera of a Marvel Movie, what would it take? Which character/s would inspire or creatively ignite his passion for filmmaking most? For clues as to which Marvel character, team, or comic storyline, that would (or could) gel with the auteur, I re-read the opinion article that he penned for the New York Times after the initial “hubbub” had died down after his comments had stirred the nerd and film critic worlds ablaze. There was a small passage in that article that made me immediately dial in on what might work for him, “For me, for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation — aesthetic, emotional and spiritual revelation. It was about characters — the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves” (full article linked below). A few things clicked into place for me right away. I cannot think of a Marvel character with a more contradictory and paradoxical nature than Matt Murdock, AKA The Daredevil.

The more I thought about it, the more sense it made. Matt Murdock is an Irish Catholic Blind Lawyer who fights crime in, and outside of, the courtroom. He even has a background in Boxing! If Scorsese wanted to tackle a morally complex character who’s actually concerned with his spirituality, there’s not many other mainstream Marvel characters that even acknowledge Religion and its repercussions. Matt Murdock is also a character that works against himself despite his better judgements all the time. If you wanted to twist the knife with Murdock, you’d only get a better story out of it in my experience with the character and his supporting cast. Scorsese could play around with the Foggy Nelson and Karen Page characters as Murdock’s family. He could use Foggy as an excellent sounding board and morality check for Murdock, and Page is a firebrand journalist that just doesn’t quit. Murdock is consistently caught in-between love interests as well, he’s not always the most moral character- he certainly tries to be, but his failures keep him one of the most “human” superheroes out there. A more realism-centric film would probably line up with Scorsese’s talents and interests. For example, I’d keep the villains of the film centered around the Mob, or the organized crime portion of Daredevil’s rogues gallery.

The Netflix show, with it’s storylines and actors, must be considered in my opinion. I would keep at least four, maybe five, of the leading actors from the Netflix series. Obviously, Charlie Cox should be kept as Murdock, because that’s the best casting since Tom Holland’s Spider-Man or Robert Downey Jr.’s Tony Stark, it’s just excellent and incredibly true to the character. Deborah Ann Woll and Elden Henson should also be retained as Karen Page and Foggy Nelson- their work in the series should be supported and fleshed out, they had some of the best character work of the series as a whole- plus they’re just so darn likeable. There’s also no denying the inescapable fact that Vincent D’Onofrio is the best damn Kingpin we’re going to get, full stop. He has to be at the core of the strings being pulled. That character always gets out of whatever cell he’s thrown into. He just has that much power and pull in the criminal underworld. I know the third season of Daredevil went through this kind of story-arc already, but I’m betting there’s a way to incorporate Wilson Fisk into the story, hell, make him the Mayor of New York City- that could have beautiful repercussions for Holland’s Spider-Man anyways. I’d also consider keeping Wilson Bethel as “Dex” AKA Bullseye. He’s not entirely necessary, but having a real threat as one of the inciting incidents in the film could be fun and a nice nod to the Netflix series’ continuity.

Besides the core cast, it would be interesting to see if Scorsese could get any of his “usual” actors involved. Even if Robert DeNiro was just the Judge in one of the court case scenes, maybe one that Murdock loses in the opening of the film? That would be delightful. Having Leonardo DiCaprio as one of the heads of one of the New York Crime Families within the MCU, called “The Maggia”, also has the potential to be sublime. In fact, I’d lean heavily into the idea of the Kingpin, as Mayor, striking out at “The Maggia”. A full blow gang war with all of the different families could be enough to keep Daredevil on his toes at all times. We also have to acknowledge that Scorsese’s lack of interest with these films is the lack of risk. We need a real sense of mystery, we need ‘genuine emotional danger‘ as he said in his opinion piece. I would highly encourage him to take liberties with the characters and the material. Sure Daredevil may not die in the script, but what if Foggy did? I don’t necessarily want that- but if it’s handled with care and gives us some real stakes, some true desperation for Murdock and company? Then fine, I’m in. Scorsese’s said before that at one point he considered taking on “The Joker”, but that he just didn’t have the time for it. If he could see the potential in that film, then maybe he could see something to do with Daredevil? In reality, I know this will not come to pass, but it’s certainly fun to consider! I just hope now that Marvel Studios has the rights back to Daredevil, that the actors from the series are considered when thinking about the big leagues- they earned it.

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Old School Review: Orson Welles’ “The Magnificent Ambersons” (1942)

Written and directed by Orson Welles with additional direction by Fred Fleck and Robert Wise, and additional script work by Joseph Cotten and Jack Moss in Welles’ absence, “The Magnificent Ambersons” is a familial epic designed as a Shakespearian Tragedy set across several decades as the Ambersons chart their course in matters both historical and intimate. This being Orson Welles’ second feature after the powerhouse debut of “Citizen Kane”, known derisively in Hollywood at the time as “The Boy Wonder”, Welles was riding high after a decade of proving his naysayers wrong and possibly il-advised, he may have thought himself invincible, capable of the impossible even. This film however, was where his fracture with the studio system in Hollywood was forged, he never fully regained his artistic control within this system going forward. After digging into the story of the making of the film, I’ve found it to be a fascinating look into mistakes made by both the Hollywood executives, fearful of financial ruin after “Citizen Kane”, revolutionary as it was, didn’t make nearly enough profit to continually invest in the artistic whims of a supposed ‘boy genius’, and the mistakes made by Welles himself thinking that he could do it all. I’ve linked below this article to a story that Vanity Fair wrote on the entirety of the subject that I highly recommend for anyone seeking to understand the broader scope of it all, but for now, I’ll get back to the film at hand.

The story, while it remains an ensemble at it’s core, mostly follows the life and actions of George Minafer (Tim Holt) the son of Isabel Amberson Minafer (Dolores Costello) and Wilbur Minafer (Don Dillaway). Though the inciting incident of the whole story begins with Eugene Morgan (Joseph Cotten) as a young man partaking in the dying tradition of romantic youth at the time, the serenade. A mishap with Eugene accidentally falling over his cello and smashing it to bits in the yard of the Ambersons, as he had hoped to take the hand of Isabel in song, immediately dashed his chances of any serious courtship as this made him a social outcast in the town. So, he took his heartbreak and funneled his ambitions into his invention of the automobile instead. Flash forward twenty years or so and Morgan returns to town with his burgeoning automobile business in fruition and a daughter, Lucy (Anne Baxter), as he’s found himself an inventor and a widower. In that time Isabel had bore a petulant and insufferable child with Wilbur, a man she did not truly love, which harbored in young George a fiery and combative spirit. Young George was seen by the whole town as an annoying brat that they’d all like to see get the stuffing walloped out of him. Thus we have a lead character who’s unanimously seen as a blight on the town’s citizenry, and yet throughout the film we’re given moments and scenes in which the character’s complexity is hinted at, he’s not entirely a character that experiences sucess at every corner, but one that slowly eeks into abscurity in life, but most painfully, in love as well. Though, I have to say, he’s a character who’s earned a tragic end despite the upbeat studio enforced ending that we got. Which is that he’s ironically run over by an automobile, resulting only in a couple of broken legs with Eugene visiting him in the hospital in the last scene, hurridely conveying an off-screen resolved understanding between the two that belies the last half of the film’s path to tragedy. Which is the crux of the issue of this film. While broadly adequately telling the tale of the Ambersons and the notion of the erosion of family and tradition, this altered version of the film that we’ve got feels like it’s pulling its punches.

Even in this form, the film showcases Welles’ skill in framing, blocking, camera movement and his pioneering of ‘Deep-focus’ onscreen. There’s a lot to enjoy here even if the film does indeed feel the absence of those forty minutes cut from its runtime. The film still does hold onto it’s notion of being ‘an epic’ even though its 88 minutes feel at odds with the story at hand. You can tell that there’s something missing, but the overall decline of the Ambersons family is intact, if not as biting as it could be. The last scene in particular feels one-hundred percent at odds with the last half of the film narratively speaking. It still works, but nowhere near as well as you might expect from Welles- which makes the Studio’s cuts that much more obvious. When looking back at this film, especially alongside his later film in “Chimes at Midnight”, Welles seems indeed to be a man in love with the romanticized past. The opening of this film brilliantly showcases this notion as Welles narrates over the way of life that had benefitted the Amberson family so greatly in the late 1800’s. As we’re shown men changing their fashion styles in a large mirror over the seasons as they pass Welles narrates the seemingly increasing speed at which life was (and still is) accelerating. “Too slow for us nowadays, because the faster we’re carried, the less time we have to spare….In those days, they had time for everything. Time for sleigh rides, and balls, and assemblies, and cotillions, and open house on New Year’s, and all-day picnics in the woods, and even that prettiest of all vanished customs: the serenade.” Throughout this he’s darkened the corners of the frames and made this sequence feel as though you were thumbing through old sepia-toned family photographs, a nostalgic and anxiety inducing look at the harrowing speed of humanity and its changing ways, which is more constant than we perceive it to be.

While the film isn’t what it could have been, I would still recommend a viewing of it. The performances, truncated they may be, are an idication of Welles evolving direction after ‘Kane‘. I also can’t forget to mention Agnes Moorehead as ‘Aunt Fanny’, she has some of the most playful and heartbreaking scenes with Tim Holt’s George throughout the film. Welles choosing not to impart his own performance as any of the leading characters allowed the audience to more aptly connect with them, or against them, on their own terms. Welles is all over the film in parts, but his bravado and presence would probably have taken away from the ensemble nature of the film, which I do believe was a wise choice. Though I have to admit the production design of the mansion itself, and the gliding, inventive, camera-work stole most of my attention the first time around. For the record, I do not believe that this film is better than “Citizen Kane” as some have come to say in recent decades, it’s a fine film- but just as almost every other film of the twentieth century, it’s no “Citizen Kane”.

Final Score: 2 Broken Legs

For an in-depth look into the history of “The Magnificent Ambersons” and it’s original edit’s status as film’s ‘Holy Grail’ of undiscovered glory, check out this article by Vanity Fair:

https://www.vanityfair.com/hollywood/2010/04/magnificent-obsession-200201

Here’s also another essay about the whole affair that appeared on The Criterion Collection’s ‘The Current’:

https://www.criterion.com/current/posts/6061-what-is-and-what-might-have-been

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Old School Review: “Paris, Texas” (1984)

Written by Sam Shepard and directed by Wim Wenders, “Paris, Texas” is a road movie that’s ultimately about troubled parents, loss, and connection. The film begins in southwest Texas as the camera travels over empty, grand, landscapes of rock and dust until we come upon a man wandering alone through the vast expanse. The lone figure is clad in jeans, a suitcoat, and a worn red baseball cap, his face sunburned and craggy, he has but a jug of water that he empties before continung onward. Eventually he comes across a small building that juts out from the nothingness. It’s a local watering hole, he enters, grabs some ice out of a freezer, and then passes out.

We soon discover that this man’s name is Travis (Harry Dean Stanton) and that he’s been lost wandering the desert for roughly four years after a Doctor (Bernhard Wicki) finds and calls Travis’ brother Walt (Dean Stockwell). Walt flies out from Los Angeles to retrieve his long lost brother, and after several false starts- Travis has a tendency to get up and walk away- they then embark on the road trip back home as Travis will not fly. This first third of the movie Travis is essentially mute, and despite all of his brother’s attempts to get him to talk back and tell him where he’s been this whole time, he barely utters a word until he slowly begins to reintegrate into society and seemingly remember his past, who he was… and is. Turns out that Travis had a wife and a son, and that Walt and his wife Anne (Aurore Clément) have been raising Hunter (Hunter Carson) as their own ever since Travis’ disappearance. The second act takes place in L.A. as Travis lives at his brother Walt’s home with Anne and Hunter. It’s a slow going reunion, but eventually both Travis and Hunter realize that they both remember each other and begin to reconnect. It’s rather charming in its own way.

Later, after the family watches some old footage of a beachside vacation before everything went to hell, both Travis and Hunter are entranced by the appearance of the missing wife and mother, Jane (Nastassja Kinski). This spurs the two to throw caution to the wind and depart to Houston, Texas on a hunch that they can indeed find her. The third act is mainly of father and son reuniting to rediscover their Jane. We also get a deeper realization of what each parent has gone through after Jane is found and they both take turns trying to explain to the other their deep existential crises, their sadness, and regret. It’s easily the best scene of the film with Harry Dean Stanton giving a powerfully emotional monologue. Strangely, out of their confessionals comes a heartfelt, if illogical, reunion between mother and son. Travis sacrifices his love for them as he knows he cannot be a father, or husband to either of them anymore.

To truly enjoy this movie, you must throw away the notion of realism. This film is Wenders engaging with the American Myth with a European eye guiding the characters. It feels like every sad country song you’ve ever heard- but depicted with earnest sincereity and shown plainly. The characters take their time with their words, almost irritating so, but this film isn’t interested in reason or logic. This is poetic allegory onscreen, and that may not work for every viewer, but for those that it does, you’ll find an emotional journey with carthartic release by the end. I myself am torn about how I feel about the movie. I’m glad to have watched and experienced it- but it’s my least favorite film of Wim Wenders’ that I have seen thus far. It is painfully slow paced. I’m game for a good slow burn, but it almost doesn’t feel like the wait was worth it. I would argue that the film is worth a watch for the cinematography and for Harry Dean Stanton’s acting. He does a lot with little to no dialogue. I also quite enjoyed the mystery of the first half of the film. Your enjoyment of this film may vary based on your patience.

Final Score: 1 new pair of boots

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What is David Lynch’s “Wisteria”?

So, I never take the time to write about “Breaking News” on this blog because I’m mostly interested in film analysis and discussion. Besides, I have no contacts in the industry and no real interest in that sort of thing to begin with. That being said, I just so happened to see a tweet declaring that David Lynch is gearing up for pre-production for a show that he will write and direct. According to several random internet sources, “Wisteria” is going to be an episodic limited series that will debut on Netflix. Production is likely to begin in the spring of 2021 based on everything that I’ve been able to dig up in a couple hours of light internet research. So, what could it possibly be?

Outside of Twin Peaks, Lynch hasn’t really done much else in Television. It’s one of those properties that bends all reality and logic, so… it’s a possibility. However some of the sources cite “Wisteria” as being a new IP for the auteur. Wisteria isn’t just the working title of this project though, it’s also a Purple Flower that is described as “a high climbing vine with large, drooping clusters of lilac or bluish-purple flowers”. Could this be related to “Twin Peaks” via the top secret “Blue Rose” program that the in-show F.B.I. used to investigate paranormal occurances? Perhaps. But it’s just as likely to be something completely original like Lynch’s previous work with Netflix in the short film “What did Jack do?” which is very good and you should watch it.

I know this isn’t much to go on, but I’m personally very excited to hear that David Lynch is working on a new project. If it’s a continuation of Twin Peaks, then that’s great and I highly look forward to it. If it’s something completely original and new, then hey, that’s great too! Beyond this news, I also highly recommend checking out his youtube channel listed below with a couple other links. His daily weather reports are exactly what you might expect from David Lynch, they’re charming, odd, and maybe just a bit unsettling at times. Enjoy the wild speculation, because with David Lynch, even if we had any concrete details, nobody would likely be able to interpret just what the hell he’s doing anyways. Can’t wait!

https://www.youtube.com/channel/UCDLD_zxiuyh1IMasq9nbjrA

https://twinpeaks.fandom.com/wiki/Blue_Rose

https://en.wikipedia.org/wiki/Wisteria

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What if Quentin Tarantino’s “last film” was a Musical?

He’s made two Westerns, a World War Two film, a two-parter Samurai inspired Revenge epic, a love letter to grindhouse cinema, and two crime dramas in “Reservoir Dogs” and “Pulp Fiction”. Not to mention his most recent project in “Once Upon a Time… in Hollywood” and “Jackie Brown”. Clearly, Tarantino is in love with cinema and it’s past. His work, while uniquely his own style, reflects periods of film history that ran roughshod over the Box Office for decades upon decades.. but there’s a fairly large part of American film history that he’s not touched upon, yet. Personally, I think making his final film a Musical would not only be a fascinating creative challenge for the auteur Director, but it would fill in the gap of referential Hollywood inspiration. Now, that’s not to say that I think the director would choose to make something along the lines of “Singin in the Rain” or “West Side Story” necessarily, but I believe he has the potential to make a statement and a hell of an exit from Hollywood if he truly does stick to his mantra of only making an even Ten movies. I’m not quite sure what the subject matter would or should be, but I have an idea of at least four major themes or ideas that would be intregral for a Tarantino Musical.

Revenge

Revenge has been a major player in the back half of Tarantino’s filmography. Depicted most acutely in the “Kill Bill” movies, “Django Unchained”, “Inglorious Basterds”, and “Jackie Brown”, Tarantino is perhaps the filmmaker who has contributed most to this sub-genre of film in the last couple of decades. I’m not the most literate in the motivations of characters in Musicals over the decades but I don’t think there were many that focused on revenge as a major factor for a character’s plot progression. If so, then Tarantino would be breaking ground in the genre, and even if it has been done before, I doubt anyone could do it quite like Tarantino would. Guns, swords, knives, and Samuel L. Jackson (in some capacity), sounds like a recipe for one hell of a musical to me!

Nostalgia

Tarantino himself has said that he spends the majority of his free time watching and analyzing old movies ad nausem, so perhaps there are certain films, actors, or styles of musicals that he’d like to homage. Much like how “Once Upon a Time… in Hollywood” recontextualizes the transition period of the late 1960’s that forced the old Hollywood studio system to fall from grace as audiences wanted grittier and more complex stories- perhaps there is a time period that Tarantino could use to his storytelling advantage? Who says the film has to be set in the modern era? Orson Welles, for example, used several of Shakespeare’s plays to differentiate the passing of one time period to the next and his associations with the past and the future in “Falstaff (Chimes at Midnight)” (https://spacecortezwrites.com/2020/11/26/old-school-review-orson-welles-falstaff-chimes-at-midnight-1966/). Tarantino could similarly paint his own rose-colored glasses onto whatever time period he saw fit to best represent his well recorded disdain for modern filmmaking compared to the rest of film history.

Melancholy

To be honest with you, I wouldn’t have even considered anything Tarantino does to be associated with the idea of Melancholy before “Once Upon a Time… in Hollywood”. That film, however, is doused in waves of a melancholic nostalgia that is present throughout the film’s runtime. This idea does pair with the previous notion listed above, but I believe there is enough of a difference for it to be it’s own category. For while Nostalgia is a longing for a time that’s past, one could fondly remember those times, whereas Melancholy is a more pensive sadness that can infect a person’s entire perspective of life. What better medium to express an inherent sadness at the idea of time and society’s evolution, than music and singing? Tarantino’s movies have always been powerful, funny, shockingly violent and occasionally crass- but he’s hardly ever touched upon sadness with the same commitment. Though, there are shades of it in “Inglorious Basterds” and “Kill Bill”- it’s a different kind of grief and despair in those films. Those were more “present” reflections and reactions due to personal and intimate actions taken against the main characters rather than a macro scale despondency at the state of things and people on the whole. “La La Land” would be the best most recent film that I can point to that expertly executes those emotions, though in a bittersweet heartwarming fashion. Tarantino probably wouldn’t go that route exactly, but if he could effectively pull on people’s heart strings like that movie did, maybe he’d ride out into the sunset with another slew of Oscars.

Punk Attitude

There’s an inherent rebellious punk attitude in much of Tarantino’s work, and while he has changed, matured, and evolved since his days of “Reservoir Dogs”, even “Once Upon a Time… in Hollywood” has that fiery spirit at its core. I believe that however he chose to approach the genre of Musicals, it would have that insurgent undercurrent throughout it. For someone that utilizes music and the scores of each film very specifically, I think he’s got what it takes to forge a unique take on the form. So, instead of that “Star Trek” adaption, why not make a completely unexpected move for his last hurrah? He could make an ode to cinema and further wedge himself into the annals of film history than he already has. Though, to be honest, I’ll watch whatever his last film is, he’s fucking Quentin Tarantino, man!

For fun, here’s a link to a Youtube video essay on the History of Musicals:

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Old School Review: Orson Welles’ “Falstaff (Chimes at Midnight)” (1966)

Written, edited, produced, starring, and directed by Orson Welles, “Falstaff (Chimes at Midnight)” is an adaption of several plays by William Shakespeare regarding Henry the IV, Henry the V, and notably Sir John Falstaff, knight of mischief. My relationship with Shakespeare has been an evolving one since having to read through several of his most famous plays in High School. I’ve never much cared for “Romeo and Juliet” or even “Macbeth” for that matter, but I’ve come to greatly admire the plays concerning the ruling hand of England, academically called the “Henriad” plays, meaning four to eight (depending on who you ask) of his works dealing with Historical figures and events (though my favorite piece by Shakespeare is “King Lear”). Orson Welles took the comic side character of John Falstaff and decided to tell a story that focused more on the relationship between Hal (Keith Baxter), or Henry the V, and his two father figures in Falstaff and Henry the IV (John Gielgud).

More than that however, the film seems to be intently focused on the changing of the times, going from a more “Arthurian” romanticized and nostalgic past, versus the new, cold, modern age. The first act is full of playful scenes full of movement amongst Hal and Falstaff and company that is perfectly juxtaposed against the later scenes in the film concerning Henry the IV and the colder, harsher, future. The scenes in the Castle are rigid, somber, with architecture filling the frame rather than the first half of the film which focused more intimately on the faces and action of Hal and his companions. Welles’ blocking and cutting on movement greatly assist in the pace and kinetic energy of the story as it’s being told. Which, I must say, helped to keep me personally invested in the film. While, yes, the langauage is old and a bit difficult to understand at times, the actors all emote so effectively that you get the general idea of what’s happening and how the story is moving. I found this film to be far more approachable than Laurence Olivier’s adaption of “Henry V” for example. That film had few camera movements and felt as though it were itself a stageplay and didn’t quite use the medium of film to its advantage.

After the mesmerizingly well executed battle sequence halfway through the movie (more on that in just a bit), you may begin to have an inkling that this story, or at least this version of the story, isn’t one that may end in joyous good fortune, but rather, one of tragedy. It’s as much Orson Welles’ longing for a good pair of rose-colored glasses as it is for the simplicity of easier times gone by, and Falstaff embodies that wholeheartedly. The character is one of charming ego and pathetic lies, conjured from exaggeration and jovial, bawdy, good times. Which, in the light of modernity, cannot exist side by side such a serious and brutal world. That brutality is borne out in the expertly crafted war scenes in the middle of the film, which were particularly exciting. The whole sequence felt surprisingly modern in its depiction. Quick cuts with the editing amid the dirty, chaotic, action with many men dying in the mud felt revelatory for its time. The battle feels appropriately frantic with handheld shots and close ups of horrified faces, especially when you compare it to the earlier scene in which Falstaff and Hal commit a small scale robbery in the woods, filmed on gliding dolly shots set against a beautiful forest with a very playful mood. When you focus on how Falstaff is depicted during the battle, it’s as if the two time periods of England are merging. Falstaff running around cowardly in his huge armor and hiding from the fight- while intercut with rapid shots of men dying awful deaths, most of which is indescernable when trying to figure out who’s who on the battlefield. In this beginning of the new era, Falstaff is out of place. He does not fit in this violent and serious world of conflict. I must also take a moment to point out that though rotund and portly, Welles was shockingly nimble and quick on his feet in several scenes throughout the film. I did not expect that.

This film was far more complex and fascinating than I expected going in. It’s actually quite funny too. There’s a scene early on when Hal and Poins (Tony Beckley) turn Falstaff’s cheeky robbery on him by spooking him into running off, which turns into a great bit when they hear him greatly exaggerating his pursuers and his bravery in fending them off. I highly recommend this one, and if you can get past the archaic language barrier you’ll find a satisfying and endearing story. Orson Welles himself cites this as his favorite film to have worked on and completed, despite it being a financial failure. Check it out!

Final Score: 12 Chimes

Orson Welles on “Chimes at Midnight”:

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What should Robert Downey Jr. do now that his time as Iron Man has come to an end?

After the fallout of “Avengers: Endgame” Robert Downey Jr. has one of the most unique opportunities in the film game, he can choose to do whatever he wants with his time at this point. Any feature that has his name attached will likely garner more attention than most, even though his “Dolittle” didn’t quite mesh with audiences and critics, it still made over two-hundred million. Though I wouldn’t recommend big budget, overly CGI reliant tentpoles anymore. I would, however, recommend several options that could flavor the third act of his career in performance with bold, daring, choices. Or simply just weird and abstract roles. I’d recommend a future similar to the path that Daniel Radcliffe has taken, who went out of his way to choose downright insane, wildly fun, character pieces since leaving Hogwarts behind (My favorite being “Swiss Army Man” https://spacecortezwrites.com/2016/07/11/review-swiss-army-man-or-undead-harry-potter-farts-a-lot-paul-dano-talks-to-him-about-it/). Downey is no stranger to abstract or somewhat bizarre films, just look at “The Singing Detective” (https://spacecortezwrites.com/2017/12/16/review-the-singing-detective/) or “Kiss Kiss, Bang Bang” for a glance at some of his pre-Marvel Studios out-of-the-box roles. Below are just a couple of ideas I’ve been mulling lately.

Work with Mel Gibson

Okay, so we might as well get this one out of the way as some will outright reject any notion of Mel Gibson getting any work after his history of less than welcomed anti-semitic rants (obviously, not cool to say the least). However, it has been some time since then, and Gibson has apologized (http://content.time.com/time/specials/packages/article/0,28804,1913028_1913030_1913025,00.html), and as far as I know he hasn’t had any further instances of hate speech, and I have to admit that I admire his skill as an actor and a filmmaker. Why then, you might be asking, should Robert Downey Jr. work with Mel Gibson specifically? Well, for starters, the two have been longtime friends who have helped each other out in times of strife. Gibson acutally helped to produce the earlier mentioned “Singing Detective” which was Downey’s first role after his bout with rehab (link below to article about said friendship). Personally, what I would want most from a film starring these two as leads, is either A) a modern Noir in the same vein as “Chinatown” with the two as detectives chasing down Macguffins in the rain with shootouts and gritty mystery afoot; or B) some sort of cop drama with the two as partners, but less in the stylized noir genre and more like Downey’s previous work in “Zodiac” for example. There’s a lot that could be done with either premise, but both sound like a roaring good time to me!

https://archive.jsonline.com/entertainment/newswatch/149496285.html/#:~:text=During%20a%202003%20interview%20at,he%20could%20return%20the%20favor.

A24?

As previously stated here on this blog many times before, my love for the film studio A24 is boundless. Regardless of whether or not each film they distribute will be a box office juggernaut or a penniless dud- they simply refuse to make normal, broad-based appeal films. They always choose fascinating and artistically divergent films from filmmakers with a voice and vision. Which is why I would love to see Downey star in a film distributed by A24. The possibilities are unlimited. Just look at fellow MCU star Scarlett Johansson’s abstract film “Under The Skin” (The sixth film in this link: https://spacecortezwrites.com/2020/05/03/quarantine-2020-catch-up-rapid-fire-reviews-3-politics-and-or-absurdity/) for an idea at the potential. Could you imagine what Ari Aster or Robert Eggers would do with Robery Downey Jr in a starring role? I’m getting goosebumps just thinking about it!

Horror? Action?

While I feel like this category is the least likely, it’s also possibly the most enthralling of all the possibilities for me personally. If Downey got involved with the genre hits that have been cropping up more and more in recent years, I think there could be some excellent material for him to work with, plus I legitimately think his presence in these suggestions would better the films overall. If Jordan Peele, for example, wanted to work with Downey in a starring or supporting role in whatever horror concept he’s been stewing on as of late, I feel safely assured in the quality of that possible outcome. I also think it would be a real treat if Downey popped up in the next “Conjuring” sequel (mainline, not the spinoffs) as a Catholic priest, or even as one of the ghosts, or spirits, with a more involved role. That just seems like a good time. There’s also the possibility of him getting involved with the last of the planned “Halloween” sequels, “Halloween Ends”. I don’t quite know how he could fit in there- but damn it, I’d be happy if he showed up. Horror aside, it just struck me- What if Robert Downey Jr was in one of the next “John Wick” movies? Can you imagine it? What if he was a power player at the High Table? He could be a ruthless suit, or a gritty ringleader of some other faction within New York City or even the head of another major international city’s Continental! Or maybe just an old acquaintance of Mr. Wick’s that can assist him in his time of need? Awe man… now I really want him to be involved in the “John Wick” series…

Indie! Indie! Indie!

Maybe, however, RDJ just wants something … quieter? Something smaller, that speaks to our times, or simply a powerful drama about the human condition? He’s been nominated twice for the Oscars, but he has yet to take home the gold, maybe pairing with a critically acclaimed director for a good old-fashioned drama would merit him a shiny golden statue for his mantlepiece. There are a TON of filmmakers out there that could work with Downey to craft something truly unique, but the ones that immediately come to mind are Chloé Zhao, Martin McDonagh, David Lowery, or even Taika Waititi if he reverted to smaller scale drama/comedies like “The Hunt for the Wilderpeople” after his next Thor film. If he chose to go this route, I think we’d all be rewarded by the change in pace.

Well, there you have it! Those are just a few of my thoughts on the exciting future that awaits both audiences and Robert Downey Jr himself! Granted, this article is about a year and a half behind the crowd, but hey, I write ’em as they come to me. Whatever he chooses to do from here on out will be something to look forward to, that’s for sure! I’m still waiting on that third “Sherlock Holmes” movie if I’m being honest with you, but anyways, hope you had fun with all this RDJ speculation! Stay safe out there!

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Old School Review: “Three Outlaw Samurai” (1964)

Written by Eizaburo Shiba, Gin’ichi Kishimoto, Keiichi Abe, and Hideo Gosha, and directed by Hideo Gosha, “Three Outlaw Samurai” is a blistering Chanbara, or ‘sword-fighting‘, film that excels in its characterization of the three titular Samurai while keeping a tight and satisfying pace. The aspect of the film that struck me most while watching was how familiar the film felt. Not simply because the film relies on staples of the Samurai genre of cinema, it most certainly does, but rather the three Samurai themselves and their personalities. It reminded me most of the Western Epic, “The Good, The Bad, and The Ugly”. Now, both this film and Sergio Leone’s first entry in what would be come commonly known as ‘The Dollar Trilogy’ starring Clint Eastwood as The Man with No Name, were completed and released in 1964. “Fistful of Dollars” was a Western intrinsically tied to another Samurai film, “Yojimbo” which provided the foundation of what the dollar trilogy would become. So, is it unreasonable to suggest that Sergio Leone, Clint Eastwood, or someone involved with the production of “The Good, The Bad, and The Ugly” saw this film and decided to return to the well of Samurai film homage?

Titular Samurai left to right; Kikyô, Shiba, & Sakura.

Granted, these two films are incredibly different in many ways. The runtime for the dollar trilogy capper was a lofty four hours long, whereas “Three Outlaw Samurai” is a compact hour and a half. Sergio Leone’s third outing with The Man with No Name was also stylized more as an ‘epic’ with vast distances traveled while this film’s consequences and geography are smaller in scope- though no less violent! The worlds of both films are indeed brutal, death surrounds all the major players of each film, the major difference here is that the Western keeps the three titular characters at odds with each other throughout the film while the Samurai movie has it’s characters eventually working together against their adversaries. There are shifting allegiances in both films, but the back and forth morality was a trait more fervent in the Western. The characterization of all six share some similarities between each and their counterpart. Shiba (Tetsurô Tanba), for example, is ‘The Good’ of this tale. We start the film with this ronin as he wanders into a constantly evolving hostage scenario at a mill just outside the town. He enters and sees that three village peasants have captured the local Magistrate’s daughter in order to force the local government’s hand in lowering the collective tax of eight surrounding villages. After several attempts at diplomacy with the Magistrate, the villagers felt they had no choice but to take drastic measures to feed their families and stay alive. Shiba plays the aloof ronin part well in the first act, when the government’s goons show up, he helps the farmers defend the mill and makes sure the Magistrate’s daughter eats as well. Cue the introduction of ‘The Bad’ Kikyô (Mikijirô Hira), a hired Samurai working for the Magistrate who enjoys the finer things in life. He takes a lot of motivation to eventually join the cause, but betrayal can be very persuasive. The last one to be introduced to the story, Sakura (Isamu Nagato), is our freewheeling and slightly rotund Samurai who is this film’s ‘The Ugly’. He begins in the Magistrate’s prison, but ends up switching sides to help the farmers when ordered to assist in slaughtering them at the Mill with their ronin guardian. Though admittedly, Sakura is a far more moral character than Tuco aka ‘The Ugly’.

“Three Outlaw Samurai” does a lot with it’s runtime, the storytelling economy is inspiring and compelling. There’s a lot to love here, the film’s action sequences are expertly crafted, thrilling to watch, and while it may not reinvent the wheel, the execution of it’s familiar elements paired with stylistic flourishs throughout the runtime make it a stellar example of the Samurai film genre. I highly encourage anyone that’s interested in Japanese cinema to give this one a watch. Revenge, loyalty, love and loss- this film has it all!

Final Score: 3 Samurai Outlaws

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Remaking JAWS: How to cast for a remake that no one wants (including me)

There are always going to be remakes of beloved classics it seems. It’s an unfortunate truth of filmmaking over the last thirty years that, despite a few original stories and ideas being lucky enough to get funded and procured, most films that aren’t a sequel, prequel, or a remake often get left in the dust. Hollywood is more than content to recycle what’s worked in the past, but with a few inert changes to the core of what came before. Thus, while I have no interest in a remake of one of my favorite films of all time- there may well come a time when Universal Studios decides to forge ahead on a remake of “Jaws”, so it got me thinking; who would I cast in a remake of one of the most beloved movies of the last forty-five years? I believe there are four major players of the story that would need the most focus, obviously competent and well considered actors would fill out the sides of this ensemble cast, but I am mostly concerned with the Mayor of Amity Island, Chief Brody, Hooper the Oceanographer, and the old man of the sea himself, Quint.

Brody- Jason Bateman

Over the last decade Jason Bateman has turned his cheeky everyman persona into a more beaten down everyman who’s willing to break the rules, like the one he’s recently portrayed in Netflix’s crime drama series, “The Ozarks”. Bateman’s dramatic chops have evolved a bit since his more comedic turns in shows and movies like “Game Night”, “Arrested Development”, and the two “Horrible Bosses” flicks. I think he has the potential to portray newly appointed Police Chief Brody with the pathos and empathy required to establish Brody as a man trying to keep his community, and new home, safe and free from harm. Besides, I think Bateman would work well between the opposing forces of ocean nerd Hooper, and the old sea-dog Quint.

Hooper- LaKeith Stanfield

LaKeith Stanfield has just the right amount of fire to bring Hooper’s upper middle class antics and scientific sarcasm to the team. My choice stems mostly from his performance in “Sorry to Bother You” in which LaKeith portrays Cassius Green, a young phone bank caller who rides the corporate escalator after using his ‘white voice’ to soothe potential white customers on the other end of the line. That performance, particularly the latter half, has the ingredients that could fuel a fiery Hooper that argues with every character at some point about the science at hand. I believe LaKeith could bring a unique perspective to the character while staying true to the core of who Hooper is.

Quint- Willem Dafoe

Maybe it’s just because I love “The Lighthouse” by Robert Eggers, or purely out of adoration for the old Wickie in that wild ride of a movie, but I believe Willem Dafoe could steal every scene of a “Jaws” remake with him as Quint. Dafoe’s ability to chew scenery and deliver monologue like there’s no tomorrow would be absolutely perfect for this role. The man can contort his expressive face in a myriad of ways, and I’ve seen Dafoe portray admirable characters, heinous villains, charismatic hams, and inquisitive detectives. There’s no question (in my mind at least) that if a remake were to happen anytime in the near future, Willem Dafoe would be the perfect Quint for the job. I can practically hear him singing now… “Farewell and adieu to you, fair Spanish ladies. Farewell and adieu, you ladies of Spain…”

Mayor Vaughn- Alec Baldwin

I can’t think of anyone better to portray a local politician that denies reality for monetary gain more so than Alec Baldwin. Just a quick note, this is not due to his recent portrayals of Donald Trump who also chose to deny reality to keep money flowing over the health of his constituents- that improv character is simply too silly for a role like this. No, Alec Baldwin’s inclusion here is due to character work like his C.I.A. and I.M.F. chief Alan Hunley in the two most recent Mission Impossible movies, or his role as Captain Ellerby in “The Departed” as two examples. More over, Baldwin has the arrogant bravado and overly confident nature that a character like the Mayor of Amity Island needs. Besides, he would get to deliver the line “Martin, it’s all psychological. You yell barracuda, everybody says, ‘Huh? What?’ You yell shark, well, then we’ve got a panic on our hands on the Fourth of July.” Personally, I can think of no actor that could embody this role more snugly than Alec Baldwin.

There you have it! There’s a lot of consideration that would have to go into a proper remake of “Jaws” if there was ever going to be one, but those four characters are the most important part of the film if you ask me. Of course who’s directing the remake, who the cinematographer will be, who’s scoring it if John Williams isn’t available or uninterested in the project- all of these aspects and more would weigh heavily on the production and the quality of this theoretical film if it came to pass. I sincerely hope no one attempts to remake this film however, I highly encourage new creative endeavors instead. If “Jaws” has inspired you, take that inspiration and use it to fuel your new project. Who knows? Maybe you’ll end up writing the next big creature feature that someone else will be writing about twenty years from now. The future is out there.