Hello there! First and foremost, I’m not dead and neither is the blog! Huzzah! Since this has been the longest break in between articles since I started this blog, I figured it was time to address that. This last year I watched more movies in one year than any previous trip around the sun, and that comes with a hefty time commitment on occasion. In the end, it was an informative and fascinating experience, and one that I may continue into the future.
In January of 2022 I joined a group of fellow online screen junkies to see who could watch the most movies in one year. I watched a heck of a lot of movies, but not quite enough to net the top spot. I’m quite happy with the onslaught of film titles that I finally got around to watching because of this though. This is partially the reason I haven’t been writing about films here on the blog as much this year, but also because I often saw a lot of current releases in theaters this year and usually offered to write up reviews for FilmsFatale.com- a great film criticism website that I highly encourage you to check out. I also did a huge project for them in November where I wrote up thirty Noir film reviews, one for each day in Noir November covering the classics through the twentieth century and up to our more recent era of filmmaking to see how Noir has evolved in that time, and how it changed cinema as well.
Below I will list the 170 times I watched a movie this last year. Most of them were singular viewings of a film that I hadn’t seen before- but there were several films that I saw multiple times over the course of the year. I’ll also post the date I saw the film and the score I gave it out of 10. I don’t usually rate films, but the group I was competing with did, so I decided to follow suit for this. I’ll also post links to all of the articles I’ve written for Films Fatale since my last post here. Here’s to next year’s movies!
1 Don’t Look Up (2021) Date Seen: 1/5/22 Score: 6.8
2 Vertigo (1958) Date Seen: 1/10/22 Score: 8.5
3 The Ghost of Peter Sellers (2018) Date Seen: 1/13/22 Score: 6.5
4 Rodan (1956) Date Seen: 1/15/22 Score: 7.5
5 Pickpocket (1959) Date Seen: 1/16/22 Score: 6
6 5 Card Stud (1968) Date Seen: 1/16/22 Score: 8
7 Copshop (2021) Date Seen: 1/17/22 Score: 8
8 Mysterious Object at Noon (2000) Date Seen: 1/17/22 Score: 6
9 No Way Out (1950) Date Seen: 1/19/22 Score: 8
10 King of New York (1990) Date Seen: 1/20/22 Score: 7.8
11 The Hateful Eight (2015) Date Seen: 1/21/22 Score: 9.5
12 Topaz (1969) Date Seen: 1/23/22 Score: 7.8
13 Branded to Kill (1967) Date Seen: 1/24/22 Score: 7
14 Mr. Arkadin (Comprehensive version) (1955) Date Seen: 1/26/22 Score: 7.5
15 Lady Snowblood (1973) Date Seen: 1/26/22 Score: 8.5
16 Justice League Dark (2017) Date Seen: 1/27/22 Score: 7
17 Lady Snowblood: Love Song of Vengeance (1974) Date Seen: 1/27/22 Score: 7.5
18 Killing Gunther (2017) Date Seen: 1/28/22 Score: 5
19 Darkman (1990) Date Seen: 1/28/22 Score: 8.3
20 Aquaman (2018) Date Seen: 1/29/22 Score: 7.8
21 The Grandmaster (2013) Date Seen: 1/31/22 Score: 8
22 The Gentlemen (2019) Date Seen: 2/1/22 Score: 7.5
23 1917 (2019) Date Seen: 2/2/22 Score: 8.5
24 Jackass Forever (2022) Date Seen: 2/4/22 Score: 7
25 In The Mood For Love (2000) Date Seen: 2/6/22 Score: 8.5
26 Cosmic Sin (2021) Date Seen: 2/7/22 Score: 1
27 Nightmare Alley (2021) Date Seen: 2/7/22 Score: 8.5
28 Tokyo-Ga (1985) Date Seen: 2/9/22 Score: 7.5
29 Zatoichi’s Flashing Sword (1964) Date Seen: 2/11/22 Score: 8.8
30 Pierrot le Fou (1965) Date Seen: 2/15/22 Score: 8
31 Persona (1966) Date Seen: 2/15/22 Score: 8.5
32 High and Low (1963) Date Seen: 2/17/22 Score: 10
33 Vagabond (1985) Date Seen: 2/17/22 Score: 8.5
34 Lone Wolf and Cub: Baby Cart at the River Styx (1972) Date Seen: 2/18/22 Score: 9.5
35 Lone Wolf and Cub: Baby Cart to Hades (1972) Date Seen: 2/18/22 Score: 9.5
36 Jules and Jim (1962) Date Seen: 2/19/22 Score: 7
37 Light Sleeper (1992) Date Seen: 2/19/22 Score: 6.8
38 Odds Against Tomorrow (1959) Date Seen: 2/19/22 Score: 8
39 Uncharted (2022) Date Seen: 2/23/22 Score: 6.5
40 The Batman (2022) Date Seen: 3/4/22 Score: 9
41 The Batman (2022) Date Seen: 3/16/22 Score: 9
42 Drive My Car (2022) Date Seen: 3/19/22 Score: 9
43 Tango & Cash (1989) Date Seen: 3/25/22 Score: 7
Well folks, it finally happened. I caught Covid-19 about a month ago and dove into movie after movie whilst dying on the couch. In that unexpected Movie Marathon I mostly relied on genre-heavy films that caught my eye, or completely random selections. Occasionally this yielded amazing results, other times, not so much. One end of this spectrum of cinema held thrilling and downright magical stuff from time to time, but there were also a few films that were less than satisfactory, and that’s quite a generous sentiment if I’m being honest. Below you’ll find a western, a Japanese heist flick, several seafaring tales, a Kaiju trilogy, a paranoid political thriller, a South Korean horror flick, a martial arts comedy, and a few black and white films- one of which is a silent era classic. Since there are so many films on this edition of the Rapid Fire Reviews, this article will operate almost exactly like the 25 Days of Zatoichi pieces. In those daily articles I reviewed each film in small bursts where I focused on a quick summary of the story, my favorite part of each film, and why its great. Though this time the last portion will be changed to whether or not I recommend the film. Hopefully you’ll find something to enjoy below, I certainly did, even if I had to sift through a few duds in the process.
The Quick and The Dead(1995)
Summary: Written by Simon Moore and directed by Sam Raimi, “The Quick and The Dead” is a western that focuses on a gun dueling tournament in the frontier town of Redemption. The town’s run by John Herod (Gene Hackman), a ruthless Outlaw who forces the tournament upon the townsfolk with gunslingers from all walks of life entering the contest. The story mostly concerns Ellen, or “The Lady” (Sharon Stone) as she’s most commonly referred to, as a mysterious gunslinger who enters the tournament initially claiming to only be interested in the high-dollar cash prize. Though, in truth she has ulterior motives of the revenge sort. Of course, that mystique can be extended to all of the tournament’s participants too. While all claim their only interest is in the money, everyone’s got their own goals. The young gun himself, solely called The Kid, (Leonardo DiCaprio) just wants recognition and respect from his father, John Herod. Cort (Russell Crowe) a former member of Herod’s gang who became a pastor to amend for his sins of the past, is dragged into the conflict quite literally by Herod and his henchmen. Herod keeps Cort Prisoner in-between duels, as he knows just how good Cort is with a gun, preacher or not. The cast itself was a real treat, I certainly didn’t expect Keith David or Lance Henriksen to be in this Western, and their presence was much appreciated!
While there are many standout scenes and moments throughout the film due to the eccentric cast of character-actors on hand, the key aspect of this film that I loved the most was the tournament structure in the storytelling. The whole film is centered on that most nostalgic and romanticized of Western tropes, the duel. Every character that enters the tournament must fight one of the other participants per day, each may challenge any other, no challenge can be refused, and the duel continues until one contestant either yields, or dies. This allows Raimi and Moore to squeeze the most dramatic potential from each duel and stylize it with Raimi’s signature flair with the camera.
Personally, I highly recommend giving this one a shot. It’s all pure Western tropes with the genre shenanigans cranked to Eleven. You can certainly tell that it’s Raimi behind the camera, and the cast is *chef’s kiss* perfection. Gene Hackman has always had a great presence, villainous or not, and with Herod he brought to life a charismatic outlaw worth remembering. Every actor was a treat if I’m being honest, but Sharon Stone played the mysterious gunslinger role excellently. Her performance reminded me a lot of Clint Eastwood’s silent wryness from his Spaghetti-Western days, particularly the way The Man with No Name uses silence to their advantage. If you’re a fan of Westerns, or just Sam Raimi in general, this one’s worth your time.
Cruel Gun Story(1964)
Summary: Written by Hisataka Kai and Haruhiko Ôyabu and directed by Takumi Furukawa, “Cruel Gun Story” is a fairly by-the-book heist gone wrong film. Not that that’s a bad thing, the film is well handled by the filmmakers and cast throughout the runtime, and it’s a thoroughly entertaining romp into old school noir heists. Joe Shishido stars as Joji Togawa, a hired gun that’s released from prison a few years early thanks to his former criminal connections. Togawa was imprisoned for the revenge killing of the man that put his sister in a wheelchair for life. While he wanted to go straight and get out of the game after his release- the crime boss that released him, Matsumoto (Hiroshi Nihon’yanagi), had other plans for Togawa. Reluctantly, Togawa accepts his role as the lead of a heist trying to intercept an armored truck carrying 120 Million Yen in Racetrack holdings. After Togawa vets the team that Matsumoto set up for him, replacing a con that gave up their details immediately in one example, the film performs the usual genre tropes. We see the gangsters’ perfect vision of how the heist will go, crafting audience understanding of the characters’ expectations for the crime. Thus making their inevitable failure impact us all that much more as we see the gangsters realize events in real time. I won’t ruin exactly how everything falls apart for you, but it’s a serviceable entertaining romp in crime genre filmmaking.
The third act eventually turns into an all–guns-firing shootout with double crosses aplenty. Its nothing groundbreaking, but its certainly thrilling. Though the character work done by Joe Shishido throughout the film was solid and reliable as the cool tough guy forced into that ages old trope of one last job.
If you enjoy a good heist film, this one should suffice. There’s just enough to make it unique, but it did remind me of two films I’ve reviewed here before, Jean-Pierre Melville’s “Bob Le Flambeur” (Bob the Gambler) and Stanley Kubrick’s “The Killing”, both of which I’ve linked below. All three films are doomed heists, but each one falls apart in their own ways. All three are certainly worth your time.
The Sea Wolf(1941)
Summary: Written by Robert Rossen and directed by Michael Curtiz, adapted from the novel by Jack London, “The Sea Wolf” is a thrilling nautical tale about the dangers of mad men in leadership roles on the high seas. While aboard a ferry just off the waters of San Francisco, Ruth Webster (Ida Lupino), a con avoiding the law, and Humphrey Van Weyden (Alexander Knox), a studious intellectual, are both cast into the open ocean when their ferry collides with another much larger ship. As fate would have it, the two are fished out of the sea by The Ghost, an aptly named seal hunting ship. Once brought aboard we’re met once again by the character that the film began with, George Leach (John Garfield), a man desperate enough to get out of San Francisco in a hurry that he willfully boarded The Ghost, knowing the ship’s reputation all too well. The star of the show however is the Captain of The Ghost, “Wolf” Larsen (Edward G. Robinson). The complex Captain is altogether brutish and cruel, but also incredibly well read and far more academic in nature than one would expect. Larsen leads his men by dividing them against each other through a hard fought competitive atmosphere where none of the crew have a higher value than their own personal gain. Larsen quickly sees Van Weyden as a fellow learned man and the two have intellectual battles throughout the film. While Larsen finds his cerebral match in Van Weyden, he also finds his physical match in Leach as well. After being brought aboard, Larsen and crew have the ship’s doctor, Louis J. Prescott (Gene Lockhart), tend to Ms. Webster’s apparent illness from their dip in the drink. The alcoholic Doctor finds purpose in treating Ms. Webster, and when he finds that she needs a blood transfusion, Larsen orders Leach be the donor even though they don’t know her blood type. Luckily, the punchy Leach’s blood matches and Ms. Webster is brought back to the realm of the living. It’s but one of many examples the film gives in Larsen’s iron fist rule aboard The Ghost. Barry Fitzgerald also gives a cheeky and motley performance as Cookie the chef, an informant whose loyalty to Larsen is rewarded by being thrown overboard. The film’s third act is particularly intense and entertaining as Larsen’s ideology and wits are ultimately outmatched by Van Weyden and Leach right as Larsen’s brother, “Death” Larsen attacks The Ghost, sending “Wolf” Larsen and Van Weyden to watery graves with a satisfactory finale.
My favorite part of this film were the debates between Larsen and Van Weyden. Larsen believes that the atmosphere he’s fomented on the ship with the crew will challenge and change Van Weyden into a man without civility, one who no longer abides by morality. Ultimately Van Weyden gets the last laugh by tricking Larsen into giving up the sinking vessel’s key, allowing Ms. Webster and Leach to escape with their lives in the end. Van Weyden’s self sacrifice to go down with Larsen and The Ghost, puzzles Larsen initially (He’s temporarily blinded by a migraine), thinking he missed Van Weyden with his gun, once Van Weyden no longer responds from being shot, Larsen acknowledges his fate.
If you’ve got any interest in tales that take place on the high seas, this one was a fascinating little romp. I was also surprised to see the filmmakers behind the film, Michael Curtiz would be directing “Casablanca” just a year later while the screenwriter, Robert Rossen, would go on to write the exceptional Paul Newman breakout hit “The Hustler” roughly two decades later. You can see the broad similarities that both men would bring to their more well known films later on within “The Sea Wolf”. It’s certainly a film worth your time in my opinion.
*Below I’ve linked to the previous editions of the Rapid Fire Reviews that have my reviews of both “The Hustler” and “Casablanca” respectively. Enjoy!
The Hunt for Red October(1990)
Summary: Written by Larry Ferguson, Donald E. Stewart, and David Shaber, based on the novel by Tom Clancy, and directed by John McTiernan, “The Hunt for Red October” is a thrilling story of the geopolitical anxieties at the height of the Cold War in 1984. When the Soviet Union’s most decorated submarine captain, Marko Ramius (Sean Connery), commandeers their new undetectable vessel and beelines towards the US coastline while the CIA and heads of the Military must determine whether this rogue captain is trying to start a war, or attempting to defect. This was a tightly constructed and efficient film that fully embraced the sweaty anxiety that nuclear Armageddon promised in the espionage era. From the thrilling cat-and-mouse scenes of several subs (both American and Russian) tracking down the behemoth sub to the scenes of each vessel’s crew trying to figure out what Ramius’ intent is and the motivations behind them, the film keeps tensions high at every corner. The cast of characters are nearly all recognizable big name actors, with some familiar faces from modern TV as well. With Sam Neill, Stellan Skarsgård, and Tim Curry all playing Russians on Ramius’ sub, The Americans have Scott Glenn (He portrayed Stick from the “Daredevil” series and Alan Pangborn in the short lived “Castle Rock” series- at least, that’s where I know him from), Alec Baldwin as the popular Tom Clancy character Jack Ryan, and James Earl Jones as Admiral Greer. There’s plenty to enjoy here!
The whole movie was a real treat, but the one scene that I thought was brilliant was the initial slow zoom in on the Russian sub while everyone is speaking in Russian, then on the zoom out everyone has been switched to English. In a time when subtitled movies didn’t exactly get a lot of American eyeballs, not to mention that the cast probably wouldn’t have learned a whole new language just to improve their performances, it was a very clever trick, and I applaud the creativity behind that choice.
I highly recommend this one. While I wouldn’t say it’s Sean Connery’s best or most memorable performance, it’s certainly a good one. The fact that the whole movie around Connery is operating at such a high level of quality makes this one a worthwhile watch.
Pirates of The Caribbean Dead Men Tell No Tales(2017)
Summary: Written by Jeff Nathanson, from a story by Nathanson and Terry Rossio, and directed by Espen Sandberg and Joachim Rønning, “Pirates of The Caribbean Dead Men Tell No Tales” is the fifth film in the Pirates franchise and one that does little to reinvent the wheel. While not as painfully uninteresting as the fourth film, “On Stranger Tides”, this film felt similarly to “Star Wars: Rise of Skywalker” for me. Sure, there are some visually arresting set-pieces, but what’s the point? If you’ve seen the previous “Pirates of The Caribbean” films (I very much enjoyed the first three films), you know what you’re getting into. Jack Sparrow (Johnny Depp) is usually pirating about trying to steal either money, a nautically themed MacGuffin, or the Black Pearl itself (again). The antagonist is usually a larger than life figure from legends of the seven seas like Davy Jones, The infamous Pirate Black Beard, or a mythic sea creature like The Kraken. This time around that villain is Captain Salazar (Javier Bardem) a Spanish pirate-hunter from Jack Sparrow’s earliest pirating days. After entrapping the Spaniards in some treacherous rock formations, also known as the Devil’s Triangle, they became cursed and trapped within the cave for decades until Jack Sparrow willfully trades away his magic compass for a drink after a hard day’s heist gone wrong. This, somehow, destroys the Devil’s Triangle and frees Captain Salazar to seek his revenge on Jack Sparrow. There are several other storylines running congruently to Jack Sparrow’s, and they all eventually get entangled. The other two new faces in the franchise (forgive me if they appeared in “Stranger Tides”, it’s been forever since I saw that film) in Carina Smyth (Kaya Scodelario) and Henry Turner (Brenton Thwaites). Henry is the son of Will (Orlando Bloom) and Elizabeth (Keira Knightley) from the first three films, and he’s dead set on reversing the Curse of Davy Jones and freeing his father. Carina gets caught up in Jack Sparrow’s aforementioned failed heist and escapes Saint Martin with Sparrow and crew. As a young woman interested in Astronomy in this era, naturally, she’d been sentenced to death for witchcraft and ends up trying to help Henry find Poseidon’s Trident (MacGuffin Ahoy!) by using her unknown father’s star charts to help them track it down. Cue the third act naval battle sequence!
Honestly, while most of this one wasn’t exactly the finest the franchise has to offer, I did admittedly enjoy the theme park ride aesthetic in full gear when Jack Sparrow and friends attempted to rob a bank in the first act. Everything else was… fine, but its mostly a case of “been there, done that“.
I can’t truly recommend this one if I’m being honest. I don’t like accusing any filmmaking crew of laziness, making a movie is like waging a war, but when you end up wasting the talents of Javier Bardem and then having the gall to render his Spanish ship in the way that they did makes it seem like they were either cutting corners or experiencing an extreme lack of imagination. Salazar’s ship can reel back and lurch forward to devour other ships, which in theory sounds cool, but it’s not animated with seemingly any depth or detail. It was like they deliberately chose not to animate large portions of the ship, it was a strange choice any way you slice it. The story was garbled, the characters were either carbon copies of previous characters (but with a twist!) or veterans of the series that were merely going through the motions. If you’ll watch Jack Sparrow onscreen in any capacity, then hey, this might be for you, it just wasn’t for me.
Summary: Written by Charles Spaak and Jean Renoir, and directed by Renoir, “Grand Illusion” is a film set during the first World War wherein several French Pilots were shot down and taken as prisoners of war in Germany which resulted in cinema’s first real prison escape film under the all consuming backdrop of war. Maybe my disconnect with “Grand Illusion” is because the heart of the film included so many cultural aspects of the period piece, not to mention the sensibilities of audiences during the time of release in 1937 as well. Of course, I was also sick and loaded to the gills with all kinds of medicine during this binge of films, so that probably didn’t help. After some light internet research to remind myself of the film’s details, other than some recognizable genre heist elements that influenced the future of cinema in general, I realized I missed a lot of the intent of the film. Below I’ve linked a review by Roger Ebert regarding a re-release of this film in 1999 where he more skillfully details the film’s broader ideas. I actually did not know the connection between the title and the story elements after my initial watch, but it was about the notion of Europe’s upper class having an existential crisis in realizing that civility and order all go right out the door when the new age of war takes its place. Reflecting a bit on my time with the film, I have to agree with Ebert, the film is a meditation on the collapse of the old order of civilization. “And the ‘grand illusion’ of Renoir’s title is the notion that the upper classes somehow stand above war. The German cannot believe that his prisoners, whom he treats almost as guests, would try to escape. After all, they have given their word not to” (Ebert, Grand Illusion). Due to this, I must admit to requiring a re-watch of the film sometime in the future.
Honestly, my favorite part was seeing how the French prisoners escaped through digging a tunnel and hiding their excavated dirt in their pant legs, spreading the dirt out on the prison grounds while they were let outside. It got a chuckle out me, and maybe it’ll get you too.
While I do recommend this film, it may help to read up about the context of the film a bit first. I think that would have smoothed things out for me and improved my initial experience with the film. I do highly recommend at least giving Roger Ebert’s review a read through, it’s what got me to consider a re-watch.
Summary: Written by Tim Whelan, Hal Roach, and Sam Taylor, and directed by Fred C. Newmeyer and Sam Taylor, “Safety Last!” is a silent romantic comedy that’s quickly coming up on it’s one-hundredth anniversary! The story is a simple one, but as I can attest, it’s still quite thrilling to this day. Harold Lloyd, the actor and character share the name, opens the film by leaving his mother and girlfriend Mildred (Mildred Davis) behind at the train station as he heads to the city to make it big. Once there he gets a job at a department store and gets into a mishap between his roommate Bill (Bill Strother) and the local police. Harold recognizes a friend from back home as a police officer, then brags to Bill that he has pull with the local PD and tells Bill to give his hometown friend a good rousing- for old time’s sake. Unfortunately for them, Bill ends up trouncing the wrong Cop and escapes by turning a corner and quickly climbing up the side of the building. Later Harold overhears his oppressive boss saying he’d give anyone $1000 to get customers attracted to the store. He quickly gets an idea and tells his roommate Bill that if he can climb the skyscraper that the department store is a part of, he’ll split the $1000 50/50 with him. Bill accepts and they start putting up posters and flyers for the event. On the day of the climb however, the same police officer wronged by Bill is brought to the attention of the illegal stunt and suspects that Bill may be the culprit. He waits at the corner advertised and when the two decide they can no longer wait out the Cop, Bill tells Harold to take his hat and jacket so people will think it’s him and to climb the first story where they will switch places. Harold begins the climb as the policeman spots Bill running into the building but at every level Bill is plagued by the Cop who’s hot on his tail. He keeps telling Harold, just one more story, until Harold manages, through much strife and many life or death moments, to clamber to the top of the building.
Once Harold Lloyd starts climbing the building I was at rapt attention. The entire sequence isn’t a century old classic for nothing! As someone whose uneasy with heights and balancing on small footholds, my palms and feet were sweating at every turn and swivel as Harold’s lanky body stuck to the side of that building like glue. Obviously, the image of Harold Lloyd hanging from the clock hand is an iconic moment from silent cinema, and it maintains that staying power.
It’s a very simple but highly entertaining silent film, and I highly recommend this one. It’s for everyone!
Paper Flowers (1959)
Summary: Written by Abrar Alvi and directed by Guru Dutt, “Paper Flowers” was the most surprising and compelling film that I watched during the Covid binge. I was casually scrolling through the Criterion Channel streaming service when I happened upon a new featured filmmaker, Guru Dutt. The description called him ‘The Orson Welles of Indian cinema‘, and that was enough for me to skim through the various films curated by Criterion (That and after having just seen “RRR”, the best movie of the year twice in theaters- I was ready for more Indian Cinema). I hovered over “Paper Flowers” for a few moments, it seemed remotely familiar somehow, so I went ahead and clicked through and I’m so happy I did. Guru Dutt not only directs the film and had a hand in the screenplay, but also stars as famous film director, Suresh Sinha. The story follows Suresh over some years beginning as a celebrity filmmaker with high demands when it comes to the integrity of his art, his popularity is so strong that he can use the threat of walking away from any film if he doesn’t get his way. In a turn of fate, Suresh happens upon Shanti (Waheeda Rehman), a young woman waiting out a rainstorm under a tree. Suresh ponders the girl, and then gives her his coat before heading back to the film studio. Shanti tracks him down after a while and accidentally walks into an active production set for one of Suresh’s films, she was just trying to return his coat to him. Once captured on film, Suresh realizes that Shanti has star potential and demands his crew find her and cast her in the film. The rest of the film is a turn of fate for both Suresh and Shanti as their fortunes reverse. Eventually Suresh’s career goes so far off track that his demands are no longer met, and he’s eventually so far run down that he’s not even optioned for directing films while Shanti’s stardom rises ever higher. It was an excellent commentary on the film industry of that time and place (and of all filmmaking in some capacity), where the industry can chew you up and spit you out before you know it. It doesn’t matter how much money you’ve made them, if you can’t make crowd pleasing money makers, you’re nothing to them.
The whole thing. Every scene clicked for me and essentially every creative choice was one that I understood and connected with. Though the ending scene where an elder, gray haired, and slower Suresh sneaks back into his old studio and barely makes it into the director’s chair where he dies shortly afterwards. When the film crew comes in, someone recognizes Suresh, and they give him maybe a moment of silence and awe that such a once revered figure could slump so low before someone in charge barks orders to move the body and get back to work. Brutal.
Films about the making of films, or that focus on famous cinematic personalities, are a sub-genre of movies that I’ve always loved. This one isn’t just for film geeks like me though! It’s a powerful critique of the film industry, sure, but there’s a whole lot of humanity squeezed into this one. The connections we have, the grudges we harbor, and how the trajectory of life can dive and weave in unexpected ways. I highly recommend seeking this one out, but especially if you have any interest in fictionalized tales of the film industry. I’ve linked below my review of one of my other favorite movies about filmmakers, “Ed Wood” Enjoy!
The Parallax View(1974)
Summary: Written by David Giler, Lorenzo Semple Jr, and Robert Towne, based on the novel by Loren Singer and directed by Alan J. Pakula, “The Parallax View” is very much in line with the political paranoia thrillers that the 1970’s were known for. Joseph Frady (Warren Beatty) is your typical midwestern journalist working at a relatively smaller newspaper. After a Senator is shot dead Frady takes on the investigation with all the cynical aplomb afforded to a 1970’s Movie version of a journalist. No deadlines, Frady is funded for further investigating by his editor’s petty cash funds, etc. When others interested in the mystery involving the Parallax corporation start showing up dead everywhere Frady looks, the threat to those seeking the truth becomes ever imperiled. There are some really fascinating turns here and there by way of the script, but my issues with the film lie more in the execution of the ideas at play. I suppose the faceless, ambiguous, and slippery notion of the Parallax corp’s villainy is sort of the point of the film, but personally I would have taken a more direct approach, or at least done more with Beatty’s character. I mean, I can’t tell you anything about who Joe Frady is as a person if I’m being honest. Though I must say, the way the ending circles back around to the original killing of the senator to show you how mechanical and efficient the Parallax corp is at killing dissent was pretty neat.
So, I may have given it away already, but the ending was my favorite part of the film. It’s unsettling, and doubles down on the dark cynicism of the film’s nature. It won’t make you feel good, but it should elicit a a cinematic shiver or two from you… probably.
Personally, I don’t recommend this one. It’s not bad per se, but it just wasn’t for me. The middle portion of the film gets muddled down by a lack of clear direction with a protagonist fighting against a threat that’s mostly unknown, and hopelessly oppressive. If you’re looking for a political paranoia thriller from the 1970s, Alan J. Pakula would go on to direct “All The President’s Men” just two years later. It’s a far better film that more clearly and crisply operates in the same creative headspace- but with much more success. Below I’ve linked one of the earlier editions of the Rapid Fire Reviews in which “All The President’s Men” is featured:
Summary: Written and Directed by Joel Potrykus, “Ape” follows Trevor (Joshua Burge) a fairly awful stand up comedian whose life slowly begins to unravel around him. Amongst the chaos of financial problems, some poor life choices, and an egotistical world view that only reinforces Trevor’s own victim mentality- our protagonist turns to pyromania. Instead of tackling his problems head on, or even working towards the potential goal that the film sets out (a talent scout is going to visit the comedy club that Trevor frequents in a week), the listless protagonist lets his addiction to arson carry him through the script’s wandering pages. There are some half-baked attempts at larger ideas, Trevor trades a bad joke to “The Devil” for a golden apple. He eventually eats the apple onstage, gets some pity laughs for another bad joke, and then a small branch erupts from his bleeding side and he freaks out on stage. That’s about it.
Honestly, this film wasn’t for me. The closest thing that comes to a favorite part of this one is when Trevor gets slightly unpredictable and swings a mic stand at a heckler he brings onstage. That moment woke me back up from the uninterested malaise that the film itself initiated. Unfortunately, not much else of note happens.
If you couldn’t tell, I did not enjoy my time with this film. I don’t want to go too hard against this one though as I chose to give it a shot as the filmmaker shoots his films in Grand Rapids, Michigan. Which I live near and wanted to support a fellow native West Michigan filmmaker. Its his first feature, and movies are hard to make, I totally get that. This style of indie film has never really been my forte though if I’m being honest. I’m pretty easy to please with movies overall, just tell me a good story, or even a bad story just hook me with an interesting premise, or a moody atmosphere, or I don’t know, have a score? This film does not have a score, just a few generic sounding Metal songs that the character also hears alongside us. This film reminds me most of “The Killing of a Chinese Bookie” by John Cassavetes, or any number of Jim Jarmusch films (I’ve grown to enjoy a few of his films, but the listless and directionless energy in this film did remind me of Jarmusch‘s “Dead Man”- but “Dead Man” has more going on). I would however give Joel Potrykus another shot, I’m just not particularly excited about it.
The following link will bring you to the edition of the Rapid Fire Reviews where I write about “The Killing of a Chinese Bookie” among other (better) films. Check it out:
Summary: Written and directed by Na Hong-jin, “The Wailing” is a superbly dark horror film from South Korea. On the surface this film follows a lackadaisical and befuddled rural policeman, Jong-goo (Kwak Do-won), who gets caught up in the supernatural plague that sweeps over his village. Jong-goo begins the story by arriving at the crime scene of a mysterious double murder. In this small and slow-paced community, such violent crimes are a rarity, but even the truly eerie part of it all is that the killer was at the scene of the crime. Husband and father of the two victims, apparently the man went mad before slashing apart his family. They find him barely breathing on the stoop, covered in a horrific rash and reddened boils. More murders with the same details keep popping up all over the town as Jong-goo swings between genres of buddy cop shenanigans and gory murder mysteries. Though even with those drastic shifts, the film is stylishly executed with ease all while maintaining an ever increasing sense of dread throughout the runtime. There’s also an older Japanese man living in the mountains nearby and a lot of the villagers naturally distrust him (Japan and Korea have quite the violent history with each other). At first Jong-goo dismisses these notions as pure ignorance, but the film ends up barreling towards those suspicions. As the story progresses, it’s becomes difficult to pin down the fabric of reality. Jong-goo even starts getting nightmares involving the Japanese man that are straight up terror inducing in the right environment. So, what’s real? Who do you trust? How do you solve a murder if the devil did it?
Reality gets a bit… loose in the second half of the film, but the true unraveling really begins when a Korean Shaman performs a blisteringly trippy exorcism. It’s right at the crux of Jong-goo’s story arc when he’s most lost. When reason fails to make everything right and save his young daughter from the same affliction ravaging his town, Jong-goo gives in to trying the Shaman. Unfortunately, he falters during the exorcism and stops the ritual before the Shaman can complete the process. It’s a wild and weird high point of the film!
This film is just another excellent addition to South Korea’s film library, and one worth watching if you can stomach the gruesome things that happen onscreen. I’ll definitely be looking up more of Na Hong-jin’s films because of this, it’s a damn good supernatural horror flick. Highly recommended.
*Below I’ve linked to a few other articles I’ve written here on the blog. The 13th edition of the Rapid Fire Reviews includes short reviews of Bong Joon-ho’s “Mother” and Kim Jee-woon’s “I saw The Devil”. Both are excellent thrillers, but my favorite film that I’ve seen from South Korea so far is Bong Joon-ho’s “Memories of Murder”, an excellent police procedural about a string of real life murders in South Korea during the 1980’s.
The Paper Tigers (2020)
Summary: Written and directed by Quoc Bao Tran, “The Paper Tigers” is a martial arts comedy that focuses on three middle-aged men who were obsessed with Kung-fu in the late 80’s and early 90’s. When their former teacher is found murdered they re-form the The Three Tigers, the only known disciples of Sifu Cheung (Roger Yuan). Danny (Alain Uy), Hing (Ron Yuan), and Jim (Mykel Shannon Jenkins) are all at different places in their lives when Sifu’s death reconnects them. Danny’s a divorced dad who’s all but given up the idea of Kung Fu and Jim runs a Mixed Martial Arts gym. Hing still loves Kung Fu and actively tries to retain his youth, but he’s also got the most physical limitations of the three at this point. With a bad leg, but decent toupee, Hing was also the last of the three tigers to stay with Master Sifu after Danny and Jim went on a trip to Japan in the early 1990’s to compete in a Kung Fu tournament where some drama broke out between the two. The Three Tigers must confront their past and each other’s vulnerabilities that come with age. Together they have to learn to trust each other despite the past they share, and to trust themselves once again. Between the fights with some new kids on the block and an old opponent they knew back in the day, this film was a nostalgia fest for The Karate Kid in all of us.
Honestly, the whole movie was the throwback charm that I needed in my life. In my youth my friends and I were obsessed with Kung-Fu movies, namely anything with Jackie Chan starring in it, but we’d go out of our way for the old school Shaw brothers films too. I can’t tell you how many times I’ve seen “Drunken Master 2” (also known as “The Legend of Drunken Master” for the American release in 2000) but that film is burned so far into my brain that it’s basically a core memory at this point. So, naturally, the fight scenes between the new kids (punks) on the block and eventually Sifu Cheung’s murderer were the high points of the film. Each new challenge the trio find themselves in moves the story forward and reveals character development and clears up the context of their shared past as friends and fellow kung-fu disciples of Master Sifu.
If you’re into films like “The Karate Kid” or the “Cobra Kai” series that’s been out for a few years now, this film should be just what you’re looking for. I certainly enjoyed my time with this one!
The Rebirth of Mothra (1996)
Summary: Written by Masumi Suetani, with a story by Kazuki Ohmori while the original concept was from Tomoyuki Tanaka, and directed by Okihiro Yoneda, “Rebirth of Mothra” is the beginning of a trilogy featuring a new Mothra design that feels straight out of the pages of a Japanese Manga. Leave it to the Japanese to make three films in as many years for a series like this. There’s a few things to note going into these last three films. First off, yes, this was a Kaiju trilogy clearly made for Japanese children in the mid to late 1990’s. Secondly, holy hell those kids got some decent monster movies, but I’m willing to bet more than a few got some good old fashioned nightmares from these films. If you’re familiar with the Showa era Kaiju films out of Japan in the 1960’s then you’ll know that Mothra, the giant Moth Kaiju featured in many of Godzilla’s most famous films, protects the inhabitants of Infant Island, and also usually has two miniscule twin priestesses that can call for Mothra’s aid through song. In this trilogy, they are called The Elias, but the twins have been given various other names and designations over the years. This series introduces the idea that these typical twins actually have a sister whose gone rogue and frequently aims to ruin the twins’ plans and thwart Mothra’s protection over the Earth. The main two sisters are Moll (Megumi Kobayashi) and Lora (Sayaka Yamaguchi), while Belvera (Aki Hano) is the comically evil sister. I was getting major Rita Repulsa (from Power Rangers) vibes from Belvera in all three films. As the story threads from this film carry over into the other two, with major character development between all three sisters mostly happening in the third film, I’d recognize the trilogy as one throughline for these characters as I believe they are the only ones that carry over- besides Mothra, obviously. In this film, the original Showa Mothra is called upon to fight off Desghidorah, a three-headed space dragon, with four legs, that devours the lifeforce of nature. However, Showa era Mothra had just laid an egg recently and isn’t in fighting condition. While the old Mothra battles Desghidorah, the unborn larva senses it’s mother’s pain and hatches early to support her in the fight. Due to this advanced speed during Mothra Leo’s (That’s it’s name until later transformations take place) gestation, alongside it’s intense need to save it’s mother, Mothra Leo’s tranformation process was powered to new heights. Despite being unable to save the original Mothra, Mothra Leo cocoons in the ocean while Desghidorah wreaks havoc on the plant life in the area. It’s not long until Mothra Leo emerges with all kinds of energy beams and lasers in a great end battle sequence that was top tier Kaiju stuff. Which I did not expect based on how much of the first half of the film is devoted to kids’ shenanigans. Mothra Leo takes out Desghidorah through a prolonged fight sequence that earned it’s place, for me at least, among the Heisei Kaiju films. It’s not the best the era had to offer, but certainly not the worst either.
Desghidorah was my favorite part of this one because of how ominous it’s presence made the film feel. It’s roar is also clearly an elephant’s trumpeting that’s been altered so sound quite alarming. Initially the foul beast only stomps around on it’s four legs while emitting red beams akin to King Ghidorah’s golden gravity beams, but all that changed once Mothra Leo entered the fight. As if sensing that it would be outmatched on the ground versus a flying enemy, Deghidorah powers up by growing huge wings instantaneously in a humorous fashion if I’m being honest. It felt just like the scene in “Pacific Rim” when one of the Kaijus in the third act adorns wings just to amp up the battle.
If you can get past the silly kids stuff in the first act, this was surprisingly entertaining. I also didn’t expect any of the Mothra films to feature the twins as heavily as this series does. They ARE the main characters and drive much of the film’s plot (and exposition). If you enjoy giant monster movies, this one’s unique and potentially a good way to introduce kids to the genre.
*Here’s the link for an article I wrote over at Films Fatale where I ranked the Showa era Godzilla films:
Summary: Written by Masumi Suetani, from an original concept by Tomoyuki Tanaka, and directed by Kunio Miyoshi, “Rebirth of Mothra 2” is the next adventure with the newest Mothra tackling a familiar foe in the Godzilla adjacent Kaiju world: Pollution. Moll (Megumi Kobayashi), Lora (Sayaka Yamaguchi), and Belvera (Aki Hano) all return alongside Mothra Leo to battle another enemy of nature. This time around the threat is from Dagahra, a long dormant Kaiju awakened by rising pollution levels. Dagahra produces thousands of small poisonous starfish-like creatures called Barem that threaten the sea and all creatures that live in it. When Mothra Leo attempts to fight off Dagahra the first time, he’s almost successful- but is overwhelmed when it drags him down into the ocean where he’s nearly suffocated by the swarm of Barem at Dagahra’s control. It’s a similar structure to the first film in that Mothra Leo goes charging into a big fight only to get knocked down and then has to rejuvenate before rejoining the fight with newfound abilities. Once the kids, alongside Moll and Lora, activate the secret treasure after the temple has risen from the ocean depths (this one does a lot of things), Mothra Leo transforms into Rainbow Mothra which allows him to expel the barem and turn the tide of the fight in his favor. This forces Dagahra to the depths of the ocean, which prompts another transformation of Mothra into Aqua Mothra. This version is a streamlined, faster, and more agile version to glide through the water to his enemy’s position even faster. Aqua Mothra can also split himself into many tiny versions of himself that enter Dagahra’s bloodstream and murder the Barem from the inside out. Obviously, this causes Dagahra to self destruct. Day saved, wrap it up for the next one!
I enjoyed all of the little oddities of this one. An underwater temple rises from the ocean? That’s pretty neat. Two Mothra transformations for the price of one? Paired alongside a tried and true Anti-pollution narrative? Yup, this one does a lot of things right. There is still some cringey kid stuff to pad out the runtime- but it was negligible compared to everything it did right.
Again, I do recommend this one, and the trilogy as a whole. It’s pure genre goodness with excellent practical effects! Not to mention the actresses for Moll, Lora, and Belvera give it their all despite how silly it all is.
The Rebirth of Mothra 3(1998)
Summary: Written by Masumi Suetani and directed by Okihiro Yoneda, “Rebirth of Mothra 3” is the culmination of the trilogy and easily the best film of the three. This one ditches almost all of the kids’ activities, but more directly involves hundreds of kids under the threat of King Ghidorah- yes, Godzilla’s arch-nemesis. As a longtime Godzilla fan, I expected maybe a cameo from Gigan or Anguirus, but certainly not King Ghidorah. His presence alone raises the stakes by an order of magnitude. This one changes things up a bit, Lora is portrayed by a different actress this time around with Misato Tate, but Moll and Belvera are still portrayed by Megumi Kobayashi and Aki Hano respectively. This one also has the craziest plot out of the three. In order to save hundreds of children from King Ghidorah’s wrath the three sisters finally unite, each obtaining a colorful sword with their very own macguffins, and they send back Rainbow Mothra to the ancient past when dinosaurs ruled the land. Confused? That’s because in this timeline King Ghidorah was what made the dinosaurs extinct as he ravaged the lands and ate Tyrannosaurus Rexes left and right. So, we’ve got a time traveling Mothra that defeats a weaker version of King Ghidorah (which is somehow more terrifying than the OG version because it runs on the ground at a anxiety inducing speed for how big he is) by knocking him into a volcano. This one is bonkers and all over the map, but it’s good fun!
I quite enjoyed the battle Mothra had in the past with the younger version of King Ghidorah. Because he was seemingly more agile and stuck to the ground more, his speed and ferocity was easy to scale and understand visually. Ghidorah devastating regular dinosaurs was a neat idea, but Mothra dragging him into an active volcano made the sequence complete! Very strange, great job!
You know it by now, but yes, I do highly recommend this very silly trilogy of Kaiju movies. Especially as a whole because a lot of the third film does pay off what the other two set up. Check them out!
*I’ve also got a few more film reviews up over at Films Fatale, check them out at the links below:
Well hello there! It’s been a bit, but hey, I’ve been watching a lot of movies since the last post. In fact, this bunch is a very strange mix of new and old films. Over the last year I’ve mostly been diving into cinema’s past for my movie watching, and I’ve learned a thing or two about film, film criticism, and the history of movies here in America and internationally in that time. It’s been a crazy year to say the least! In fact, the ‘Rapid Fire Reviews’ was born out of the massive amount of films I was devouring early on in the pandemic. There were simply too many films to sit down and give a lengthy detailed review for each one, so I set out to give summarized reviews and add whether or not I recommend the film, usually with a caveat or two depending on the context. Since returning to work this last fall I have done several singular film reviews when I wasn’t watching quite as many films all at once, but here we are! These eight films are the result of trying to catch up with new films being released again, some being Oscar nominations, and others are simply older films that I’ve been meaning to absorb once I got the chance. Hopefully you’ll find something worthwhile to watch, take a chance, there’s something for everyone here!
Zack Snyder’s Justice League (2021)
Written by Chris Terrio and directed by Zack Snyder, “Justice League” (The Snyder Cut), is effectively, a “re-do” of one of the largest Superhero team-up films to date. If you don’t know the background of how this version of the film came to pass, I’ll try to make it short. Initially, during the production of the first version of this film, Zack Snyder and his family experienced tremendous loss when their daughter, Autumn (who this version of the film is dedicated to), took her own life. There was already a fractured relationship between Snyder and the Warner Brothers studio executives over audience and critical reception of “Batman vs Superman: Dawn of Justice” before Snyder respectively walked away from the production, so after the studio hired Joss Whedon to finish the film and make their release date- there were a LOT of changes implemented. Now four years later, and seventy million dollars of investment by Warner Brothers to finish Snyder’s cut of the film and launch it on HBO Max, their streaming service, the film is out and finally available to watch and compare to the 2017 version of the film. So, firstly, the question of the day is; was it worth it? From a storytelling perspective alone- the answer is a resounding yes. Granted, the film is four hours and two minutes long, so it’s a heck of a time investment. That being said, for much of the runtime, the pacing is surprisingly good. I could do without the last part titled “Epilogue” though, I found it to be unnecessarily cumbersome and a bit clunky if I’m being honest. It felt tacked on and while it did give an ounce of credibility to the deservedly maligned Jared Leto version of the Joker, I don’t think we needed it here. So, what was different? What made it better? Mainly, the tone and the respect given to each of the main characters. Plot-wise, everyone had something to do, and each character (Cyborg especially!) was given a far richer background. The mechanics of the story were smoothed out and easier to understand. There was also none of the awkward humor jokes- there was some humor and levity to the film here and there, but none of it was as painful as the jokes given to Batman and the Flash in the 2017 version. I also kind of love some of the character stuff in this version? Which was incredibly surprising because I’m one of those people that actively hated “Batman versus Superman”, I haven’t seen the “ultimate cut” given to that film, but this cut does make me reconsider giving that version a watch. There was a lot done throughout the film to give these characters a real sensation of being mythic figures, and I really dug that. Though I must say that if you really do not enjoy Zack Snyder’s style generally speaking, you might not enjoy this film as it is incredibly indulgent to his sensibilities. It’s not a perfect film by any means, but it is a gigantic improvement on the previous version. All in all, if you’re willing to give this enormous epic, and I do mean it as an Epic, a chance- it may surprise you and surpass your expectations, as that was my experience with the film. Linked below is a conversation from Red Letter Media detailing this version of the film and comparing it to the 2017 version, enjoy!
The Empty Man (2020)
Written and directed by David Prior, and based on the graphic novel of the same name by Cullen Bunn, “The Empty Man” is a surprisingly rich and atmospheric horror film that can get under your skin and make your brain itch- if you let it. First time writer-director David Prior really gave it his all with this film, and I can’t wait to see what he does next! If you’ve enjoyed films like “Annihilation” and “Hereditary”, then this will likely satisfy your horror movie needs and wants. This film would have flown past my radar entirely if YouTuber Chris Stuckmann hadn’t devoted a fifteen minute video extolling the film’s virtues (it’s linked below), but let’s get into it already! After a taught opening sequence in the mountainous country of Bhutan sets the pace for the film’s aesthetics and rules of the story’s world, we’re thrown into modern day Missouri where James Lasombra (James Badge Dale) eats a sad birthday treat and reflects on those he’s lost. Before long the former police officer is on the trail of a missing persons case, the teenage daughter of a close neighbor, Amanda Quail (Sasha Frolova). It’s here when questioning Amanda’s friends, that James first hears of the Empty Man. I don’t want to indulge you with too many story details though, as I think they’re best left discovered on their own, but I will take note on how I believe the film succeeds overall. First and foremost, this film delivers excellent tension, and pairs it with an appropriately bone chilling atmosphere. I also truly appreciated the slow burn approach to the mythology of the Empty Man that was consistent and evolving throughout the film. The film throws some truly eerie and otherworldly imagery at the screen that’s increasingly unnerving as James edges closer to unraveling the truth of the Empty Man, it really kept me guessing! There’s also some praise needed for the respect given to the audience. At every opportunity the film gives you glimpses and peaks with quick cuts or clever sound mixing to put you on edge without pandering or overloading the runtime with jumpscares. In fact I think there was only one of them, and it was very effective! There’s a theme of repetition of actions in the story and the film follows through with this idea by repeating sets of imagery in subtle and fascinating ways. Keep an eye out for houses and interlocking fingers, they’re everywhere if you’re looking for them. This films also wins the David Lynch award in my book, for it has the best depiction of nightmare logic since “Mulholland Dr.”. If you’ve been looking for a smart horror film that respects its audience, I highly recommend giving this one a watch!
Written and directed by Chloé Zhao, “Nomadland” is a fascinating idea that straddles both narrative and documentary filmmaking styles to the film’s benefit, and detriment. Let me explain myself first though, before getting into that aspect of the film. Frances McDormand plays Fern, a widow who embarks on a journey as a wandering Nomad after her company town in Empire, Nevada shut down said company and discontinued the zip code after so many left the area. On her journey she takes any job she can while traveling and meets many people who also travel the itinerant circles along the way. Her first job is at an Amazon warehouse during the Christmas surge- a feat I will never fully understand. I’m not sure how they got access to film inside an Amazon warehouse and to showcase it with such an aggressively life draining color grading! Fern’s journey mostly consists of her meeting a variety of people and this allows her to sit and listen to their life story, to empathize with those who have lived lives both large and small. In fact, Frances McDormand and David Strathairn are the only traditional actors in the film. The rest of the characters we meet are versions of their true selves that Fern interacts with, befriends, and listens to. This is the real magic of the film, and the reason to watch it. The cinematography is in love with expansive and wide landscapes, focusing on the enormity of the West that Fern moves through. Though, after awhile, the film’s cinematic movements seem to develop a trend and it becomes rhythmic, but predictable. Huge evocative landscapes with Fern’s white van shown as but a speck against the earth encompassing her. Then there’s the “over Fern’s shoulder” walk through real camps and parks with softly playing piano in the background. Then montages of Fern doing whatever job she could find and manage in any one location for a period of time ’til she moves on to the next job, the next camp, and the next expansive wide shot. It’s beautiful- but predictable after some time. I believe the real issue with this film is that it is attempting a lot, and it can’t quite reconcile how it wants to approach the subject at hand. While we meet courageous, humanizing, and terrific people with harrowing tales of life, love, and loss- these people have far more interesting stories to tell than our Fern unfortunately. While we get some characterization near the end, it rings hollow when compared to the tales we’ve already heard around desert campfires and within earshot of those monumental corporate walls. I feel that it is this lack of commitment in either direction that’s what ultimately makes the film leave something to be desired. Either more story should have been written into Fern’s motivations, struggles, her inspirations and sorrows- or we should have given up the fictional structure of the film to give our actual heroes more of a podium to tell their deepening stories, as each one feels like looking into a bottomless well. You know it reaches farther than you can see, there is story there left to plumb, if you seek it out. None of this is to say that I think the film is bad or even pretentious– it never struck me as that. It just felt like something was missing. The last piece to a satisfying puzzle. Perhaps the best thing I can say about “Nomadland” is that it puts a lens on one part of society that has been neglected and cast aside. The fact that so many people have fled to the nomadic lifestyle not out of choice, but from an economic need points the finger at national, systemic, and endemic failures from the top on down to the penniless. If this film is eye opening for you, then it has succeeded in my opinion. I do highly recommend this one, if anything, it will perhaps open more hearts to the system that has so thoroughly failed so many of us.
Written and directed by Lee Isaac Chung, “Minari” is the story of a Korean family who moved to Arkansas in the 1980’s. The father, Jacob (Steven Yeun), has ambitions to start a small farm and grow Korean vegetables for fellow immigrants longing for a taste of home. The Mother, Monica (Yeri Han), has reservations about this change in scenery almost immediately upon seeing their newfound home, which is a double-wide trailer in the rural countryside. Though really its their children, David (Alan S. Kim) and Anne (Noel Cho), who are the true stars of the story, as this films adapts writer-director Chung’s childhood growing up in rural America. My favorite character is Monica’s mother, Grandma Soonja (Yuh-Jung Youn), who comes to stay with the family late in the first act. Grandma Soonja isn’t what the kids expect of a grandmother, She “smells like Korea“, gambles, cracks jokes, and quickly became a fan of Mountain Dew “Get me that water from the mountains” and American Wrestling. David has a weak heart, and he is the center of much concern. He’s constantly being told not to run, and it is his relationship with his grandmother, whom he strongly dislikes initially, that grows into one of love and companionship and forms the emotional anchor of the story. When David is scared one night, his grandmother holds him close and dares to crush anyone who would make her grandson afraid. It’s quite touching really. This is a slower and quieter movie than most released these days, and “Minari” relishes these quiet moments with meaningful beats of tender hopefulness. That doesn’t mean that the film shies away from the hard work of this family’s new life. Jacob is a man of quiet determination whose resilience in the face of constant setbacks reveals a familiar struggle for those that know economic hardships. There are tensions between Jacob and Monica throughout the film. From the farm that gestates during most of the runtime, to religion, to money woes, and shame from social and community standings. There is a wide gulf between what both characters are attempting to do and how they go about seeking those goals. Grandma Soonja injects a passion and zest for life once she enters the story, and it is her nose for fertile grounds that provides our title. Minari is a South Korean plant that ends up thriving in the Arkansas dirt and waterways, a nice subtle nod to the family taking root in a new home. This is a small, meditative, and contemplative story of optimism, fear, and family. It’s a good family drama that reminded me of the work of Yasujirō Ozu. I think he’d enjoy this family, this story. Definitely recommended.
The Natural (1984)
Written by Phil Dusenberry and Roger Towne, and directed by Barry Levinson, “The Natural” is one of those movies you put on at the beginning of summer. Something about it is alluring, illuminating, and intoxicating. Like emerging from winter’s grasp in late spring on a warm morning in late May, this film was a similarly exhilarating phenomenon. That may be overselling it a bit much. Especially coming from someone who has almost no emotional investment in sports whatsoever, but I’ll be damned if I didn’t get massive enjoyment from this film. I believe it has something to do with the underdog element, and the simple story of somebody that wanted to be the best at what they loved doing. A yearning for success when nobody thought you had it in you, is that not what America is all about? Robert Redford stars as Roy Hobbs, a near mythic figure when it comes to Baseball as portrayed in this film. He was shot by a rogue femme fatale type when rising the ranks of early stardom, and while I can’t even remember why he was shot- this gives us a reason to have him re-emerge years later (we assume after a tumultuous period of physical therapy) as a middle-aged nobody with a killer arm. Since nobody’s heard of him, Roy gets dumped at the feet of one of the lowest ranking Major League teams in the game, The New York Knights. It’s the perfect set-up for a redemption arc (look the movie isn’t trying to be anything other than a damn good baseball movie- even if that’s a bit predictable) as the New York Knights haven’t exactly be knocking it out of the park as of late. The coach of the team is the eternally grumpy yet hopeful Pop Fisher (Wilford Brimley), and in fact, the cast is pretty great overall. Glenn Close plays Roy’s love interest Iris Gaines, though Roy does get distracted by a corporate spy girlfriend for a little while, Memo Paris, played by Kim Basinger. There’s also Robert Duvall who plays journalist, and jester of sorts, called Max Mercy who’s intent on getting the scoop on Hobbs’ true past. Truly though, the film belongs to Robert Redford. His Clark Kent like nature and affability is only surpassed by his intense love of the game. He’s just there for his love of the sport, pure and simple. I have to acknowledge though, that if it weren’t for Youtuber Patrick H. Willems and his analysis of why “Baseball is the best movie sport”- I never would have picked up the film. Therefore, the video that got me to give “The Natural” a chance is listed below. I wandered out of my comfort zone and ironically found a comfort movie, I encourage everyone to do that with your movie watching, and obviously- I definitely recommend this one.
Written and directed by Jean-Luc Godard, “Alphaville” is a French New Wave Sci-fi film with an abundance of poetry amongst it’s grand ideas. This was the second film of Godard’s I’ve seen thus far (“Breathless” being the other), and I have to admit, he’s been my least favorite of the French New Wave directors thus far. I won’t give up on Godard, because despite not loving this film, there were some fascinating ideas and choices made here. In this futuristic tale, which relies heavily on your ability to suspend your belief, Lemmy Caution (Eddie Constantine) travels to the distant space city of Alphaville, the capital of the Galaxy. Which, ironically, looks a lot like 1960’s Paris. There are virtually no special effects, barely any costume-work with the exception of our lead seemingly transplanted from any classic Noir with his trench coat, fedora, pistol and tough-guy aesthetic. The story is that Lemmy has been sent to Alphaville to destroy Alpha 60, the supercomputer that runs everything in the strange city, as it has gone rogue and developed fascist ideas about potential human societies. It’s a strange place, this Alphaville, there is no concept of Love, no poetry, none of the tangled artistic notions that make people… well, Human. Lemmy defies the invisible mental and emotional stress that Alphaville seems to subtly apply to everyone in the city, most either commit suicide as they cannot handle it, or they’re targeted by the police and taken, then shot on a diving board in a pool, where five young women swim up and stab the perpetrators just to make sure they’re dead. Clearly, practicing illogical thought is a dangerous activity here. There’s a lot of random cuts in the editing, loud beeping applied throughout the film at seemingly random intervals, and then there’s the big bad itself, Alpha 60. Alpha 60 speaks in voiceover throughout the film and it sounds disgusting. It sounds as if you put a mic next to a naturally occurring tar pit as it boiled and gurgled relentlessly. The volume of the fascist supercomputer’s voice is much louder than the rest of the sound in the film and there are occasional bouts where it muses on poetry and life for far too long in my opinion. It can get hypnotic and distressing at the same time creating a strange viewing experience. I’ve heard that Alpha 60 was voiced by an older Parisian actor who had lost his larynx and spoke through an artificial voice-box, and that contributes heavily to the atmosphere of the film. Fair warning, this is a S L O W paced movie with lots of heady ideas to be considered throughout the film. You might consider it pretentious, but I think it’s worth a watch. I won’t give up on Godard, but he’s not making it easy on me!
The Asphalt Jungle (1950)
Written by Ben Maddow and John Huston, and directed by Huston, “The Asphalt Jungle” is a jewel heist film noir that still influences the genre to this day. Between this and Huston’s earlier Noir in “The Maltese Falcon”, you could say he’s become a master of the genre that he helped to forge. Here he’s taken the story from the other side of the societal coin with this film focusing more on the criminal element rather than the Detective’s side of things, as with Maltese. This film’s quality certainly confirms Huston’s legacy behind the camera, at the very least. It’s tight, well crafted, and methodical when concerned with both the crime at hand, and the characters behind it. This may be the finest example of the typical heist film set-up. First, there’s Doc Erwin Riedenschneider (Sam Jaffe), the brains behind the plan. He’s an old school criminal who was just released from prison and he’s got a plan that he’s been holding onto since being put behind bars. As soon as he’s out he heads to a club run by a well known Bookie, Cobby (Marc Lawrence), where his reputation is still known and respected. Cobby has the connections that Doc needs to set up the heist. Which leads us to the financier of the operation, Alonzo D. Emmerich (Louis Calhern), a well to-do gentlemen in town with a respectable relationship with the criminal underworld. This leads us to Dix Handley (Sterling Hayden) a Kentucky-bred farm boy who grew into a mountain of a man who’s not afraid to throw his weight around. Whose inclusion brings about the driver, Gus Minissi (James Whitmore) a punchy bar owner, and the safe cracker Louis Ciavelli (Anthony Caruso), a family man whose back in the game for one last heist. I won’t ruin the proceedings, as I highly recommend this film, but it’s a masterclass in the genre. Between dirty cops, some genuine bad luck, and a couple double-crosses, this film’s got it all. The pacing and plotting is expertly executed too! This is a film that has, and will likely continue to influence many writers and directors since it’s release, most notably the French Filmmaker Jean-Pierre Melville- I can see this movie’s influence all over his later films. This is a standout criminal noir, and I cannot recommend it enough!
The Killing of a Chinese Bookie (1976)
Written and directed by John Cassavetes, “The Killing of a Chinese Bookie” is a neo-noir (of sorts) wherein a less than reputable nightclub owner, Cosmo Vitelli (Ben Gazzara), is put in a precarious position when ordered to kill a mafia-protected Chinese Bookie to absolve his gambling debts. There are some aspects about the film that I found to be redeeming, mostly in some interesting character choices in the performances of the actors, but little else connected with me. Typically, I don’t enjoy lambasting a film when it appears that everyone involved certainly attempted their best efforts in crafting a story with the medium, but this one… wasn’t for me. The film feels as sleazy as it looks most of the time. There’s some questionable things taking place within the club Cosmo operates, and while there are certainly worse creatures of the night, as evident of the predicament that Cosmo finds himself in, he’s no innocent soul either. He’s a gambling drunk that does seem to legitimately be concerned with the “quality” of the nightly show he produces when he’s seen calling the club while away one night to make sure the routine is going smoothly without his guiding hand. However, one character’s good intentions does not necessarily make good plotting, immersion, or storytelling. The actual plot of the film is seemingly picked up and fumbled multiple times. The story meanders without a clear course and puts its focus on the nightclub’s song and dance sequences- which would be fine if they were entertaining…. at all. Even if there was simply a musical score to back up the bad singing and overindulgent sequences, that would help the pace of the movie significantly. In fact, I don’t recall any music at all, the result is a film that feels soulless. It’s eerily quiet for large portions of the runtime, and it saps any energy the film may have acquired when the few moments of action do occur. While we’re on the technical side of things, let’s dive in; though I must acknowledge that there’s a lot to be desired. The sound mixing is flat out bad, it makes the dialogue disappear into the miasma of foundationless filmmaking that this is. There are some truly unique cinematography choices within this film, but I personally hate all of those choices. The subject of any shot is either never focused on or the framing is off kilter and well, if I’m being honest with you, it feels like all of the wrong choices were made when concerning the role of cinematographer. The lighting is also particularly frustrating. You can have scenes set in darkness, but you have to be able to see… something- anything- within the darkness. You can shroud yourself in mystique, but if there isn’t anything to show or creatively exploit with imagery except for the void before you, then I would not recommend this artistic choice. Which brings me to my recommendation, which if you haven’t guessed, isn’t that positive. I don’t recommend this one, if you’re just rounding out a run of Indie 1970’s crime films, then sure, by all means, include it in your viewing experience, but unless academically inclined as a film student, avoid this one. It’s just not worth it.
2021 isn’t even two (full) months old yet and it already feels like it’s hellbent on telling 2020 to “hold it’s beer” based solely on the way it’s gone so far. So while things haven’t exactly been the *immediate* reversal of fortune that we’re all hoping for- there’s always more movies to pour down our eyeballs! So far this year I’ve been indulging in repeat viewings of older films, watching at least one new film, and returning to my mining of the South Korean New Wave that began in the 2000’s and has been consistently enthralling ever since. There were a few weeks where I went on another Noir binge, and it was glorious. Hopefully this directs you towards another new favorite, a thought provoking experience, or at least an entertaining way to absorb an afternoon while ignoring the outside world. Cheers, and welcome to 2021, the sequel we never wanted, but got anyways!
One Night in Miami (2020)
Written by Kemp Powers, based on the play also by Powers, and directed by Regina King, “One Night in Miami” is a theoretical film based on the question, “What if Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke were all friends and came together for a night in Miami? How would that unfold?“. The answer to that question is quite the story. The beginning of the film establishes each major character experiencing failure, or a loss, something that shakes their confidence. The young Cassius Clay (Eli Goree) comes quite close to losing a boxing match at Wembley Stadium in London while Sam Cooke (Leslie Odom Jr.) the soulful singer, experiences one of the worst sets he’s ever had for an old and cold all white audience in New York City’s Copacabana nightclub. Jim Brown (Aldis Hodge), the star NFL player, returns home to Georgia on which lies a vast plantation. Everything seems cordial enough between Brown and family friend Mr. Carlton (Beau Bridges), that is until Mr. Carlton casually reveals some deep-seated racism that rattles Brown. Then there’s Malcolm X (Kingsley Ben-Adir). At this point in his life, he’s become uncharacteristically paranoid about a cornerstone of his cause in life, The Nation of Islam, as he tells his wife of his plans to leave the group. Fast forward several months later to 1964 where all four men have landed in Miami for Clay’s title bout against Sonny Liston. Thus we have set the stage and from there the performances, and subtly exquisite camerwork, take center stage as these four legendary personalities laugh together, yell at each other, debate each other thoroughly and thoughtfully, and fully splay out the emotional range of good and lasting characterwork. I was blown away by this one. Personally, I was really only aware of Malcolm X and Cassius Clay, aka Muhammad Ali, but the choice of all four men was inspired in my opinion. This is an actor’s movie, as noted before there is some good clever camerwork, and excellent scripting, but it’s the performances I will remember most, each actor brought something memorable and unique to their role and did their due diligence in recreating the larger than life personas. This is an excellent film, and I sincerely hope you give it a watch.
Written by Robert Towne and directed by Roman Polanski, “Chinatown” is one of the best neo-noirs of all time, with possibly the best script in the business. This film is immaculate in its execution, and if you’re a student of cinema, it’s required viewing. Jack Nicholson stars as J. J. “Jake” Gittes, a private investigator who stumbles upon a bizarre case that constantly ratchets up the intrigue and mystery at every opportunity. If you somehow haven’t seen this one yet, I’ll refrain from spoiling things, but just know that this film comes with my highest recommendation. It’s a biting, cynical, and staggering neo-noir that stands tall in American cinema’s past. Jake’s given a case early on in the film to investigate a potential affair between a married couple, as the first scene in the movie establishes, this is a common practice for private eyes. After he tails the husband, Hollis Mulwray (Darrell Zwerling), around town and takes notes on his activities, Jake believes he has enough evidence and brings the story to the newspapers, which ruins the man. However, after the story has been released, the real wife, Evelyn Mulwray (Faye Dunaway), arrives at Jake’s office informing the private eye that he can expect a lawsuit. Obviously, things are not as they seem. Gittes retraces Hollis’ steps and activities until he comes across several incongruities, like the fact that despite there being a drought in Los Angeles, Hollis was drowned. Curious. There’s so much more to the film and the layers of storytelling that are hiding in plain sight are grotesque, and gloriously rewarding as an audience member. Highly recommended.
*This is not meant to glorify Roman Polanski in any way shape or form. If you don’t know what he did, google it. I’m just here to discuss films.*
The Third Man (1949)
Written by Graham Greene and directed by Carol Reed, “The Third Man” is one of the finest noirs to have come from the golden age of cinema. If you’re inclined to see all of Orson Welles performances, or curious about the genre of Noirs across the board, or even just wanting to widen those international film credentials, you can’t go wrong on any of those counts with this film. Speaking of Welles, there’s a dual casting here that is one of the finest choices of cinema’s earlier eras. Joseph Cotten stars as the lead, Holly Martins, an American author of paperback Westerns who gets caught up in the crimes and mysterious nature of his old friend from their shared youth, Harry Lime (Orson Welles). Joseph Cotten and Orson Welles had worked together since the days of the Mercury Theater in New York City, since the “War of the Worlds” radio broadcast and “Citizen Kane” onward! They were longtime friends and coworkers and the fact that this film is essentially about the death of nostalgia, about the morality of doing what’s right despite your personal attachments, well that’s just brilliant emotional manipulation if you know the story of the two. The film takes place in post-war Vienna with the city being split up between the allied nations, the Americans, British, French, and Soviets. Much of the city is still in ruins and seems like it could all crumble into dust at a moments notice. Martins arrives in Vienna as he’s been given notice that his good friend Harry Lime has died, hit by a car in the street. After the funeral Martins gets acquainted in town, he’s also questioned particularly intently by Major Calloway (Trevor Howard) a member of the British Royal Military Police whom Martins mockingly calls ‘Callahan’ throughout the film. After Martins questions a couple locals who have stories that are inconsistent with the “official” details, he decides to stick around and see what comes of it. The film makes some truly unique choices, particularly for the soundtrack. The whole soundtrack is performed by one man and one instrument, the Zither played by Anton Karas. If you don’t know what that is, picture the American cartoon, “Spongebob Squarepants”. Strange right? Well, especially in the first season of that cartoon, background music was usually performed by someone with a Zither. In fact, when I was watching this film, one of my roommates returned home and had walked in from the back where he could hear the Zither music and commented before entering the living room that “Oh hey, you’re watching Spongebob?” and he was quite surprised to see a black and white noir in its place. Anyways, the cinematography and lighting also hold fascinating calibrated choices like shooting Vienna, mostly, in extreme Dutch angles, especially once the footchases of the last half of the film begin. The lighting maintains an expressionist quality that creates an atmosphere that envelopes you into the mystery as the film goes on. The back half of the film is where the best cinematography lives in my opinion. The manhunt for Harry Lime in the streets and sewers of Vienna with seemingly hundreds of pursuers feels like a fever dream. A fuller analysis of the film may be required later on at some point, but for now, trust me, it’s pretty great. Highly recommended.
Le Doulos “The Informant” (1962)
I’ve already reviewed this film on the blog but I recently picked up a physical copy and gave a it a rewatch. The first time around I remember feeling somewhat engaged and entertained, but much like my first viewing of “The Hateful Eight”, I wasn’t extremely into it based on the morality of the characters (Ironically, “Eight” is now one of my favorite Tarantino movies). Granted, now that it’s been almost exactly a year since that initial watch and review (linked below this for reference), I knew the twists that were coming, and instead got lost in how the film works perfectly at making you assume one set of events is taking place, when in reality you’re only seeing bits and pieces of the truth. I was paying much more attention this time around to the camera movements and character work on display. I hadn’t even noticed the eight and a half minute one-take shot of Silien (Jean-Paul Belmondo) being interoggated by cops that expertly displays Melville’s skill at mise en scène. This may be my favorite non-American Noir, it’s one that I will be returning to anytime a lampost glows in the fog, or when shadowy figures fade into obscuring darkness. It’s an excellent movie and I highly recommend giving it a watch!
Le Silence de la Mer “The Silence of the Sea” (1949)
Written by Jean-Pierre Melville, adapted from the short story by Vercors, and directed by Melville, “Le Silence de la Mer” is the story of an uncle (Jean-Marie Robain) and his niece (Nicole Stéphane) who must oblige an S.S. Nazi officer, Werner von Ebrennac (Howard Vernon), while under their occupation in Paris, 1941. Having seen many of Melville’s other later films, I anticipated the origins of his style that’s all over the later Noir films- but this being his first film, it was quite different from those. While Melville would often adapt literature for his films, this one was a unique choice because this story was one that was frequently passed around by French Resistance members during the occupation, and it was penned by an infamous French author known only by the pseudonym “Vercors”. As Melville was also a member of the Free French Forces during the war, he was an informed choice to say the least. Upon Werner von Ebrennac’s arrival, both L’oncle and La nièce agree to live as though he had never arrived. A vow of silence between them. Which is a really fascinating choice because of how it affects the S.S. officer over the course of the film. He considers himself an intellectual after all. He’s well read, a lover of the Parisian arts, and a firm believer in Germany’s cause- that is until he finds evidence of the cruelty being committed against the Jews, and it breaks something inside of him. It’s a unique film regarding the Nazi occupation of Paris, and I highly recommend giving it a watch.
Les Enfants Terribles “The Strange Ones” (1950)
Written by Jean Cocteau, adapted from Cocteau’s own novel, and directed by Jean-pierre Melville, “Les Enfants Terribles” is, as the translation of the title would indicate, a strange one. Nicole Stéphane returns after the incredible “Le Silence de la Mer” to play Elisabeth, one half of the film’s focus. It’s almost as if Melville offered her the role due to “the niece” only having a handful of lines in his first movie, as this role is the exact opposite in tone. Paul (Edouard Dermithe) and Elizabeth are indeed strange, they spend most of their time in their room with each other inventing all sorts of mind games, pranks, and a full on display of Freudian psychology at work. Elisabeth (and her brother for that matter) are constantly talking almost for the entire runtime. The two are always talking over each other, at each other, and against anyone unfortunate enough to dare walk into their den of treachery and incestuous entanglement. Yes, it’s that kind of movie. It’s uncomfortable and weird, but hey, if you’re a Melville purist, it IS worth a watch for the camerawork at the very least. Out of all Melville’s films that I’ve seen so far, this one was the hardest to sit through. Not recommended.
L’aîné des Ferchaux “Magnet of Doom” (1963)
Written and directed by Jean-Pierre Melville, based on the novel by Georges Simenon, “Magnet of Doom” is a road movie of sorts that has it’s merits, but was ultimately one of Melville’s lesser films for me. The film can be painstakingly slow at times, and while that’s a criticism that could be leveled at most of Melville’s work if you’re an impatient film watcher, I always felt as though his other films could get away with it purely out of their inherent mystery, intrigue, and atmosphere. This films stars Jean-Paul Belmondo, who always makes interesting choices as an actor, and Charles Vanel, a prominent French actor and director who appeared in over 200 films during his 76 year career. In the film, Belmondo plays Michel Maudet, a failed Boxer who’s broke and penniless looking for work. Which just so happens to be perfectly timed for the role of personal secretary for Dieudonné Ferchaux (Vanel) a senior executive of a large bank in Paris whose criminal past has come back to haunt him. Thus he’s in a rush to ensconce to South America by way of North America. So Michel’s hired on the spot and they fly out to New York, with Michel leaving his girlfriend behind without telling her goodbye, or even acknowledging her. Both men seem to be of dubious morals. The two just need to make a stop at Ferchaux’s New York City bank to withdraw the rest of his funds and then off to Venezuela! Obviously, it’s not going to be that easy. The bank can’t move that much money immediately so Ferchaux gets antsy and they decide to drive to New Orleans in the meantime where they will have the money wired to them, not wise to stick around for an extradition when you know it’s coming. Thus we get an American road trip with these two prominent French actors of their time. The movie has value in how the audience is given an outsider’s perspective on American culture, scenery, and variety of lifestyles. The film also pays homage to “Citizen Kane”, “The Set Up”, and the road movie genre overall. When it ended with one character nonchalantly disregarding the dying words of the other, I was almost glad it was over. That might seem harsh, but this one did not engage me as much as I would have expected from seeing many of Melville’s other films. Not entirely recommended.
Written by Eun-kyo Park and Bong Joon Ho, from a story by Bong Joon Ho, and directed by Bong Joon Ho, “Mother” is a superbly deceptive thriller that toys with your expectations in brilliant fashion. In a town near the countryside in South Korea, a watchful Mother (Hye-ja Kim) runs a small herb shop while keeping her adult son, Yoon Do-joon (Won Bin), safe and out of trouble as much as possible. Do-joon isn’t exactly ‘all there’ when it comes to mental capacity though, which is exactly how he ends up getting wrapped up in a murder mystery as the main suspect. He’s obviously taken advantage of by the local police who seem pre-occupied with moving on to their next case rather than doing the hard investigative work to find the real killer of Moon Ah-jeong (Hee-ra Mun), an exceptionally unlucky young schoolgirl. With the local police content with their passive scapegoat who signed his own confession early on citing, “Well, if I really did it, shouldn’t I be held responsible?” Thus once our titular Mother feels she has exhausted all legal and formal methods of uncovering the truth, she sets out on her own to solve the murder mystery and absolve her son of his alleged crimes. I’ve seen several of Bong Joon Ho’s films now, and while I’ve generally enjoyed his work, this is the only film besides “Parasite” (https://spacecortezwrites.com/2020/01/30/review-parasite/) that has struck me so profoundly. I still have yet to see “Memories of Murder”, which is considerably harder to track down in physical form than his more recent films (Fret not, a physical edition from the Criterion Collection is on the way!https://www.slashfilm.com/memories-of-murder-re-release/ ), but this is far closer in tone and quality to “Parasite” than his work with American actors in “Snowpiercer” and “Okja”- both of which were enjoyable and solid films, though this rises above them. Highly recommended.
I Saw The Devil (2010)
Written by Hoon-jung Park and directed by Jee-woon Kim, “I Saw The Devil” is an extremely violent revenge tale that masterfully tackles genre sensibilities with a mind for the consequences of revenge and what it does to body, mind, and soul. This film was recommended to me as a “South Korean revenge movie” and while that may have been accurate at base level, because it certainly IS about revenge, it’s also so much more than that. I did not expect this movie to grip me so viscerally. I have to say right away that if you are not a fan of bloody violence, of eye-covering, wincing-while-watching violence, this one may not be for you. Admittedly, I’ve never been a fan of that sort of thing unless it’s gloriously over the top in it’s depiction of violence, like what Quentin Tarantino does for example, or even in something as ludicrous as “Dead Alive”. Though, even I got through it because it was that engaging. That being said, the story of eye-for-an-eye violence here is eerily captivating. So, without ruining the plot for you, this movie primarily follows two men and their subsequent feud through grief, hatred, and a callous disregard for life, family, and everything that makes us human. Jang Kyung-chul (Choi Min-sik) is our villain, and you’ll know why almost immediately once the movie begins. He’s a murderous serial killer with brutal efficiency who performs disgusting rituals with his victims. His luck begins to change one day when he captures and kills the fiance of Kim Soo-hyeon (Lee Byung-Hun), an extremely capable security agent of sorts. Once he begins to track down Jang Kyung-chul, he, along with his deceased fiance’s father (who just so happens to be the Chief of Police in their area), decide not to outright kill the man but to make him suffer unspeakable pain. From there the film boomerangs between the power struggle of both men, each of whom gets increasingly more vile with their violent crusade against each other. It’s intense, bloody, and despite it’s genre trappings it actually does have something to say about revenge and what it does to us. Definitely recommended!
*If during your read of this edition of the Rapid Fire Reviews you thought to yourself “Wow, there’s a lot of old French movies in this one.” That’s because I was in the midst of reading “Jean-Pierre Melville: an American in Paris” by Ginette Vincendeau and writing a review of the book for another website called http://www.filmsfatale.com which I highly encourage you to seek out! My Melville piece should be up soon, but I’ve also already begun my writing over there with the article “What if: Jim Carrey and Adam Sandler Were in a Movie Together?” (https://www.filmsfatale.com/blog/2021/1/29/what-if-jim-carrey-and-adam-sandler-were-in-a-movie-together?rq=Adam%20Sandler) I’ll still be writing here in my free time, but give Films Fatale a look, they’ve got many, many, excellent articles and interviews on the site, check it out!
Written and directed by Orson Welles, based on a novel by Sherwood King, “The Lady From Shanghai” is the second noir film from Welles that not only showcases his strengths in production, set-pieces, and direction, but also his weaknesses at this point in his career in writing with some questionable performance choices. Out of all the films I’ve seen from Orson Welles, this one is definitely the film I am most mixed on. The first forty minutes are rough. If you’re into overly melodramatic and cheesy line delivery by both Orson Welles and Rita Hayworth, then you’ll love it. I was not so entertained by this portion of the film. What may have contributed to the overly mushy and almost disgusting levels of romanticizing in this portion of the film is the fact that Welles was married to Hayworth during the shoot, even though they were heading towards divorce after the film’s release. The general story that the film is trying to tell is that of Michael O’Hara (Welles), an Irish Sailor with a penchent for talking a bit too much at times, who saves Elsa Bannister (Hayworth) from a group of thugs in Central Park New York while on a carriage ride. She informs him that she and her husband Arthur Bannister (Everett Sloane) had just arrived from Shanghai and intend to sail to San Francisco by way of the Panama Canal, after which she offers him a job on their ship for saving her life earlier. He agrees against his better judgement (We learn through the character’s seemingly ever present narration), and they set off to sea.
As far as noirs go, this one has all of the right ingredients, it just takes its merry time setting up all of the pieces. The mysterious machinations of both Bannisters is toyed with as the journey goes along. However, Arthur eventually gets suspicious of the comfortable nature that Elsa and Michael exude and he hires Sidney Broome (Ted de Corsia), a divorce-themed detective to follow them and investigate. Then there’s Arthur’s business partner George Grisby (Glenn Anders). Grisby may be my favorite performance in the film because nearly ALL of his acting choices feel completely bonkers for the film he’s in, but hey, it was fun. Anyways, Grisby catches O’Hara in the act of courting Elsa and uses that information to force O’Hara to help him fake his own death so he can get the insurance money and live abroad in hiding. O’Hara blindly accepts, not knowing the true extent of Grisby’s plan, but the offer of $5,000 for faking a murder was enough for him to go along for the time being. Unfortunately for Grisby, Broome had been following along and digging into all of the principal characters motivations and backgrounds, which brought him to the truth. He figured out that Grisby had been planning on killing Arthur instead and pinning it on O’Hara. When confronting Grisby- Broome’s mortally wounded, but stays alive long enough to warn O’Hara and Elsa over the phone and in person of the truth. Everything comes undone when Grisby is found actually dead, not Arthur, of whom O’Hara had rushed to save- unfortunately with his confession written by Grisby on his person. There’s a courtroom scene where Arthur defends O’Hara, but also discovers the extent of O’Hara and Elsa’s affair. Eventually O’Hara makes a suicide attempt in a huge commotion in the court and escapes in the confusion. All three major characters end up in a house of mirrors, each armed with pistols, a will to survive, and an urge to kill.
I have yet to see the film that Welles’s made inbetween this film’s release and “The Magnificent Ambersons”, “The Stranger”, which was his first foray into the noir genre. Reportedly that film had several different writing contributers including an uncredited effort by John Huston. I have to say though that while this film is worth a watch, the deficiencies of the scriptwork suggests that the film “Mank”s titular argument of sole writing credit for “Citizen Kane” being mostly due to the talent of Herman J. Mankiewicz rings doubly true. The script and line delivery are curious at best. Orson Welles’ Irish accent goes in and out throughout the whole of the film, and when he seemingly remembers that he’s supposed to be playing an Irishman, the brogue is impeccably laughable. No, the writing is not what works here- it’s Orson’s set-pieces and technical imagery maneuvers in the back half of the film, but particularly in the last fifteen to twenty minutes that make this film worth watching. Once Grisby shows up dead and Orson’s O’Hara is on the run, the film’s spirit rises from floundering to fantastic.
Overall this is a decent noir and one with some truly impeccable imagery from Orson Welles behind the camera. It’s just too bad that the first half of the film takes its time with some truly cringe-inducing romance between real husband and wife Welles and Hayworth. If you really enjoyed the second half of this noir, I would implore you to check out Welles later effort in the genre in “Touch of Evil” (https://spacecortezwrites.com/2020/11/07/old-school-review-touch-of-evil-1958/). That film is a far better example of what the infamous auteur is capable of. Though, to be fair, I can only recommend the “reconstructed” version of that film which was re-edited to Welles’ notes and specifications decades later.
Final Score: 1 Easy to Miss Background Cameo of Errol Flynn
Written for the screen by Millard Kaufman, and adapted by Don McGuire, from the short story “Bad Time at Honda” by Howard Breslin, and directed by John Sturges, “Bad Day at Black Rock” has elements of both noir and western as an inquisitve one-armed man comes to the small desert town of Black Rock in search of answers. Admittedly, when hitting play on this movie, I had fully expected a nineteenth century western to appear before my eyes mostly due to the title alone. What I got was an unexpected delight, as those assumptions had eroded fairly quickly as the opening of the film was following a train that was far too modern to be of the old west. The first hint of something odd afoot is when the train station telegrapher, Mr. Hastings (Russell Collins) seems surprised, and maybe even a bit worried, that the Train is slowing down to stop, the first time it has done so in four years.
After watching the complex and daunting (yet very impressive) “Tenet” earlier in the week, I was left wanting something slower and simpler. Which is exactly what I got with this film. At an hour and twenty minutes, this film offered me both something old and something new. I was very engaged by the mystery that the film wraps you in almost immediately, but it also has just enough of that Noir flavor sprinkled in to really set this one aside as slightly elevated nostalgia genre fare. For me, this film was comfort food. For about a third to the first half of the story, we really don’t know the intentions of either the townsfolk or this stranger, John Macreedy (Spencer Tracy). All we know is that he’s searching for a Japanese American farmer named Komoko, and that everyone in town is suspicious of him once he starts asking around. At first I thought that the townsfolk might actually be protecting Komoko as one of their own from this Macreedy, possibly a government stooge? He had the suit for it, but as it turns out I wasn’t even close on first impressions as it became evidently clear what the truth of the situation was. Everyone in town tries to stall Macreedy at every turn, from not offering him a hotel room, physically getting in his way, to curt and aggressive social tactics. After awhile a young woman in town, Liz Wirth (Anne Francis) allows Macreedy to borrow her jeep to the disdain of Reno Smith (Robert Ryan), the unofficial ruler of this small town. Macreedy makes his way out to Adobe Flats, where he finds the remains of a charred house, a well with water deep in the bottom, and strangely enough, wildflowers growing.
On his way back into town Macreedy’s assailed by one of Smith’s goons, Coley Trimble (Ernest Borgnine), as he rams the small jeep around the uneven dirt road and eventually smashes Macreedy off the road with a laugh and a glare before beating him back to town. Eventually Macreedy puts enough clues together to get a good idea of what happened to Komoko, but he goes out of his way to confirm that before he and several good townsfolk acknowledge the real danger that Macreedy’s gotten himself into. I was particularly entertained by the exasperated, but good natured, Doc Velie (Walter Brennan) as he tries his best to help out Macreedy in his search for truth, and justice for Komoko. This was a quick delight of a film, and it’s wondrously anti-racist at it’s core. In fact the film almost didn’t get made as the subtle rebuke of Mccarthyism gave studio executives a myriad of problems on the matter, but it eventually got made in spite of this pushback. During my watch I was charmed by the old school mentality of an able-bodied actor with two working limbs trying to fake a lame one throughout the film production. They don’t make movies like that anymore, and while it could be a partial limb that the character was hiding, it’s pretty clear that Spencer Tracy’s just got his hand in his pocket the whole movie, but hey, it still gave the character more mystique initially. We eventually discover that he was a platoon leader in Italy during the war, which is fresh in everyone’s minds as this film is set in late 1945 after the war had just ended mere months ago. We eventually discover the humility and morality behind Macreedy’s reasoning in seeking out Komoko, but I’ll leave that one for you to discover on your own. There’s also a surprising and explosive scene in which Macreedy performs defensive judo moves on Coley Trimble under threat of intimidation tactics, and that alone would cover the price of admission for me. I found this one on the Criterion Channel, but it’s one that will be leaving at the end of the month, so check it out there while you can!
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!
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!
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!
Written and directed by Orson Welles, loosely based on the novel “The Badge of Evil” by Whit Masterson, “Touch of Evil” is the last studio backed film that Orson Welles made in Hollywood, and it’s quite the noir! For the record, I watched the ‘Reconstructed’ version of the film that was re-edited according to Orson Welles’ wishes per the fifty-eight page memo he sent to the studio following their edit of the film. This resulted in an additional half hour of footage merged back into the original studio edit. “Touch of Evil” begins with an incredibly well staged and executed shot that follows a bomb being planted in the trunk of a car as we meet two of our principal characters, Miguel ‘Mike’ (Charlton Heston) and Susan (Janet Leigh) Vargas, walking alongside the car as it weaves in and out of a busy small road as they cross the Mexican-U.S. border. It’s a gripping scene of about three and a half minutes until the car with the bomb gets just far enough out of frame and explodes as Mike (a Narcotics Official for the Mexican Government) investigates the scene of the burning car. It’s not long before Police Captain Hank Quinlan (Orson Welles) arrives at the scene of the crime, looming ominously over the wreckage as he boasts about ‘intuitions’ and hunches that a local Mexican gang is to blame for the murders.
Once Vargas is involved in the case, it becomes more about the detective work that Vargas engages in as he uncovers Captain Quinlan’s years of planting evidence and a corrupt system of criminal activities. There’s also some fun world building on the side with “Uncle” Joe Grandi (Akim Tamiroff), the brother of a criminal that Vargas indicted back in Mexico. He’s out to make Vargas’ life a living hell as revenge for his brother’s predicament, though Uncle Joe is very careful to keep his underlings’ crimes just vague and muddled enough not to attract any real retribution from the U.S. cops. Uncle Joe Grandi’s boys are mostly utilized to keep Susan paranoid while Mike’s out there trying to pin Quinlan to the dirt he’s tried to keep buried for years. The film has all the trappings of a good Noir, and Welles fully embraced the genre while imbuing it with stylish cinematography choices, near perfect shading, and just damn good direction and blocking. It’s considerably noteworthy that Orson Welles could take a B-movie thriller on a border town, and transform it into something larger that feels equal parts Machiavellian and Shakespearean at times.
Now, we have to address the elephant in the room, Charlton Heston as Mike Vargas. On one hand, to have a Mexican character not only be the lead in a major motion picture in 1958, but that he was also the hero of the story as well as the most moral character- that’s something to consider given the time the film was made and released. It’s also worth mentioning that Vargas’ character actions seem doubly righteous when juxtaposed against Welles’ Quinlan, the walking emodiment of bigotry and corruption. However, it can be cringe inducing seeing Charlton Heston caked in make-up to be depicted as a Mexican narcotics officer, especially when Heston provided no vocal work for any authenticity when concerned with accents. It’s not particularly well hidden, thus the film asks you to suspend your disbelief as Heston, clearly, is not Mexican. Whether or not that works for you in the grander scheme of the film as a whole, well, that will be a personal choice for each viewer to decide for themselves. I think it’s a bit of a toss up for me personally, it’s a bit uncomfortable- but it seems there were good intentions from Welles. For example, in the book, the character of Vargas was a white cop named Mitch. So, Welles intentionally made the choice to make his lead character of Mexican descent, it’s just disappointing that the character couldn’t have been played by a Latino. Alas, it was what seems like a thousand years ago. Your enjoyment of the film will be up to you given the circumstances.
If you’re a student of film, I highly recommend giving this one a watch. There’s a lot of work here that feels revolutionary for the time. I’ve always thought that about Orson Welles, he was a man ahead of his time when it came to filmmaking. Whether on the set of “Citizen Kane”, “The Third Man”, or in the recently crafted/discovered documentary on Netflix called “The Other Side of The Wind” (Which I highly recommend), Welles was always willing to take huge risks, break new ground, and change cinema. Even with the brownface Heston situation, there is enough good stuff in the film to consider giving it a watch if this piques your interest. Definitely recommended.
Written by Andrew Solt, based on a story by Dorothy B. Hughes, and directed by Nicholas Ray, “In a Lonely Place” is a mystery noir film that cleverly plays with audience expectations and goes against the grain when regarding Hollywood star Humphrey Bogart and his character, Dixon Steele. Having only just recently seen “Casablanca” for the first time this past summer (I know, I know..) paired with “The African Queen” and “The Maltese Falcon”, I had an image conjured up from these films of Bogart’s usual assets in acting. Namely, playing a man beaten down by the world or it’s expectations resulting in sarcasm, a dry wit, and usually with a drink in hand or nearby. He might play a cynic- but at his core the characters usually have good intentions. This film toys with that image and what we the audience may have come to expect from Bogart’s other hit films, granted, the film starts out in a very familiar place for Bogart as Steele, a washed up screenwriter with a chip on his shoulder and a drinking problem. After Steele throws a spiteful fist early on in the film however, we get an inkling that this incarnation of Bogey has more of a temper this time around. Steele is a far punchier lead than his roles in the previously mentioned films, and this only assists in the delightful second act flip, which I found to be particularly innovative for the time.
The film begins with Steele’s agent, Mel Lippman (Art Smith), a longtime friend and confidant, whose just gotten Steele the opportunity to adapt a trashy pulp novel into a screenplay. Steele can’t bring himself to read the book even though he needs the work and instead hires a hat-check girl, Mildred Atkinson (Martha Stewart), who he heard loves the book and had just finished reading it. She comes to his place that evening and ecstatically goes over the plot while he glances at a new neighbor across the way who had also noticed him earlier as well. After Steele gets the general idea of the story, which he seems to detest a bit internally, he sends Ms. Atkinson home for the night by a nearby cab station- which he pays for in addition to helping him with the pulp fiction. Early the next morning Steele’s met by L.A. Detective, Brub Nicolai (Frank Lovejoy), who had served under him during the war. He brings Steele in for questioning, and while Steele believes it’s because he got into a fight with the son of the studio head the previous day, it’s actually because he’s the prime suspect in the murder of Mildren Atkinson found dead earlier in the dark hours of the morning.
Steele doesn’t do hiumself any favors when being questioned by the police. By his nature, he’s a macabre idealist with awful self-esteem, someone who’s intentionally vague and (as a writer does) likes to exaggerate from time to time. Luckily for him his new neighbor, Laurel Gray (Gloria Grahame), did see Ms. Atkinson leave the previous night without Steele, providing him an alibi, as well as a flirtatious invitation. After awhile the two begin to fall in love, they begin to date and Steele gets back to writing after Laurel helps get him off the bottle for some time. Though Laurel and Dixon do seem to be mutually affectionate to each other, things begin to go awry when an evening at the beach turns sour and Dixon’s temper reemerges when he discovers that Laurel was brought in for further questioning by the police chief, which she didn’t tell him about as she didn’t want to interrupt his writing streak. That he’s still being followed amid uncertainty in the air of whether or not he actually did kill Ms. Atkinson sends him into a rage while on the road and he almost kills a man after a traffic altercation. This is when the film switches the perspective to that of Laurel, who’s paranoia about Dixon grows slowly at first before he starts displaying seriously questionable behavior. This is the film’s best trick, they took great effort in the first half to assuage any suspicions of Dixon as a murderer and slowly inserted moments and scenes that could be looked back on with the latter half of the film’s perspective that turn the audience against Dixon whose losing control in his life and begins to break down the closer we get to the finale. It’s a very clever notion, the film’s twisty perspective and illusory truth pair to make this one a memorable outing for both Bogart and Grahame.
While this film may not reach the heights of the other Bogart films mentioned above, it does a fine job with some fun creative twists thrown in for good measure. There are some particularly entertaining pieces of the film that I must mention before departing however. Firstly, I really enjoyed the sauced theatrics of Steele’s has-been actor buddy, Charlie Waterman (Robert Warwick), who pops up throughout the film to espouse lyrical poetry and to support his screenwriter friend. Bogart also has a few really unexpectedly funny lines throughout as well, like when he jokingly suggests another suspect was the actual killer, not him, the man replies as Dixon shakes his hand on the way out: “What an imagination. That’s from writing movies.” And Dixon turns it around on the man in a split-second with: “What a grip. That’s from counting money.” There’s a lot of sly jabs like that throughout the film. As for the downsides, the film definitely feels its age. Those turned off by depictions of toxic masculinity will probably not find much to like about Dixon Steele. That and good lord there’s a lot of smoking cigarettes- which, is expected given the time period, but it’s still jarring at times and kind of fascinating to see the wheel of time rolling ever farther from cinema’s golden age of studio controlled dramas, musicals, and epics. If you’re looking for a decent black and white mystery noir, this should do just fine.
Written by Albert Maltz and Malvin Wald, based on a story by Wald, and directed by Jules Dassin, “The Naked City” is a police procedural that follows the NYPD Homicide department as they investigate the murder of a beautiful young woman who was drowned in her own bathtub. This dogged detective story was a delightful surprise, the film seems to have been ahead of its time in several departments, perhaps most notably with it’s depiction of darker content alongside a sort of docu-fictional representation of New York City and the many characters who populate it’s streets and buildings. Though the film has a huge cast of smaller roles that layer the story quite well, we chiefly follow Lieutenant Dan Muldoon (Barry Fitzgerald) the head of the Homicide department, and the latest recruit in Detective Jimmy Halloran (Don Taylor) who does most of the legwork on the case.
Mark Hellinger, producer of the film and former journalist, had a lot to do with the production. Not only did he conceive the idea of shooting the film on location instead of on a Hollywood set (revolutionary at the time), he’s even our omniscient narrator that pipes in throughout the film to give our heroes and villains prodding suggestions and commentary. While the narrator can be a bit dated and cheesy at times, the film does use narration in inventive ways that keeps the pace trotting along at an amicable pace. I was also surprised to hear the narrator give the villain words of encouragment in the third act after he’s been outed, which was an interesting touch- I wouldn’t have expected the narrator to care about the health of our murderer at all. Indeed, the film doesn’t shy away from the ugly side of criminality and that only makes the investigative work of the NYPD that much more dire as they put their feet and their minds to work in sniffing out the culprit. Inbetween shots of children playing in the open fire hydrant, women chatting while window shopping, and mothers tending to their crying babies, the film also shows us criminal partners offing each other in the east river and cleverly hides our villain in plain view several times. Muldoon’s gallows humor also supports this notion while subtely showcasing his years of experience in handling tragic cases such as this.
This film may have been the originator of many staples of the police procedural genre, so it’s worth a watch in that regard, but really it’s the character work that makes it noteworthy. Muldoon and Halloran make an excellent team but the ensemble work is where the film truly shines. The tiny flourishes of individuality given to all of the major players are something special, like the suspicous Frank Niles (Howard Duff) who’s brought in for questioning early on in the film- but is quickly found out to be a spectacular liar. You can find this film on the Criterion Collection’s streaming service (the criterion channel) or in their shop if you’re looking to purchase a physical copy. At an hour and a half, this was a charming and enjoyable noir-lite Detective tale that I encourage you to check out!