Month: September 2020

Paths of Glory

Paths of Glory is a 1957 movie directed by Stanley Kubrick.

Paths of Glory tells the story of Colonel Dax, a unit commander in World War I, who leads his men on a dangerous mission. After an unsuccessful outcome, he is then forced to defend three of his soldiers from a vindictive court martial.

Like a lot of movie fans, I hesitate to watch anything predating 1960. There is a rhythm and tone to classic movies that always feels unnatural – or at least aged. From a purely aesthetic view, dreamy, soft focus black and white removes the kind of Neo-reality I seek in movies.

Paths of Glory is an exception to my overly rigid qualifications. Stanley Kubrick delivers a simply outstanding movie that doesn’t feel dramatically dated.

Similar to The Killing, Paths of Glory boasts a sharp, clean black and white environment. This look accentuates the brutality and systematic destruction of trench warfare. Kubrick’s closeup shots of battered and traumatized soldiers further this theme. They appear dazed and almost corpse-like as death swirls around them.

The movie’s sounds contribute to this mayhem. Continuous bomb blasts create a jarring effect – jolting soldiers and rattling debris from the trench walls. Boldly advancing through this chaos is Kirk Douglass’ Colonel Dax, whose natural poise and calm establish him as a genuine leader – rather than a stock figure of empty heroism.

Douglass’ walk through the trenches is the stuff of movie legends. Kubrick employs a single, winding tracking shot – before Douglass disappears into a cloud of smoke. There is no compromise in Dax’s character – only the resolve of a man trying to accomplish an impossible mission that will likely kill the men he’s responsible for leading.

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His Name Was King

His Name Was King is a 1971 movie directed by Giancarlo Romitelli.

His Name Was King tells the story of King, a bounty hunter who seeks revenge on the brutal gang who murdered his brother.

Here’s a quick description of this movie: it may contain the greatest Spaghetti Western theme song ever, the action scenes are well done and the Benson Brothers are classic villains.

What more do you need?

The Luis Bacalov-penned theme song is spectacular and represents everything special about the genre. It’s a song that creates a soulful, legendary aura for its main character – basically before we even meet him. However, in the true spirit of the genre, the character can’t match the soaring expectations of the song.

Veteran actor Richard Harrison plays King – aka John Marley – who is an expert tracker and bounty hunter. He looks the part and appears skilled with weapons and riding horses – prerequisites for any Western lead. He boasts a Marlboro Man, early Tom Selleck vibe but ultimately proves a bit wooden.

Harrison comes to life during the movie’s climatic final shootout. His character battered, he finally displays some much lacking emotion. Yet, he’s easily overshadowed by the dynamic Klaus Kinski who sleepwalks through his limited scenes.

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Woyzeck

Woyzeck is a 1979 movie directed by Werner Herzog.

Woyzeck tells the story of a disoriented soldier who is victimized by those in his life: his young wife cheats on him, his Captain mocks him and he’s the subject of demeaning experiments. He’s often bullied until the voices only he can hear lead him to madness.

This may be the leanest Herzog-Kinski offering – it almost resembles a Fassbinder movie in its efficiency and sparse setting. Yet, the hallmark Herzog traits – the crippling futility in the face of a hostile world, gorgeous, terrifying music and the scene chewing prowess of Klaus Kinski are present.

Woyzeck is Kinski’s movie. He inhabits a character who is eternally consumed with the extra-sensory phenomena occurring around him. He hears voices emerging in the ground, through the wind and rustling in leaves. Kinski’s face is plastered with a permanent thousand-yard stare – he’s searching into an unknown that begins to torment him.

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The Cruel Ones

The Cruel Ones is a 1967 Italian Western directed by Sergio Corbucci.

The Cruel Ones, aka I crudeli, aka The Hellbenders tells the story of Jonas, a Confederate officer who is attempting to raise an army and continue the Civil War. Along with his sons, he steals Union money and hides it in a coffin – with the rouse that he is escorting his “daughter’s” husband’s remains.

Within the filmography of Sergio Corbucci, The Cruel Ones holds a unique position. It’s sandwiched between Django, Navajo Joe and The Great Silence – three of Corbucci’s most recognized works. It also predates his later “revolutionary period” titles The Mercenary and Companeros.

In a fitting nod to such an artistically rich sub-genre, The Cruel Ones is unlike any of Corbucci’s other Westerns. There is no mysterious drifter or overt political message to be found. It’s reliance on family and Civil War themes are more representative of American Westerns. Yet, The Cruel Ones features Corbucci’s trademark style, sounds and splashy violence.

In short, this is an impressive offering from a vastly underrated director.

The story’s concept – transporting stolen money in a coffin – is the perfect vehicle for a corrupt family to tear themselves apart. Greed and power emerge as potent forces. The family patriarch, Jonas – savagely played by Joseph Cotten – has a grand vision of restoring the defeated Confederate Army. He commands his sons in a vicious attack against Union troops, stealing millions of dollars.

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Four of the Apocalypse

Four of the Apocalypse is a 1975 Western directed by Lucio Fulci.

Four of the Apocalypse tells the story of four petty criminals who find themselves on the run in the Utah desert. They are pursued by a savage outlaw before ultimately gaining retribution.

Here’s my quick review: this movie is a glorious, bloody mess.

Not much that happens in Four of the Apocalypse makes sense. The lead actor, Fabio Testi, is completely miscast in the desert. There is little reason for a pregnant prostitute, a drunk and a man obsessed with spirits to join together – nor is it clear why the crazed Chaco is following them.

Yet, the brilliance of European Westerns is that they are sloppy, weird, violent and take ridiculous chances. Fulci delivers a post-modern Western bathed in both blood and 70’s soft rock.

There’s a melodramatic quality to Four of the Apocalypse that’s more fitting of a TV mini-series. The washed out closeups and mawkish dialogue between Testi’s Stubby and Lynne Frederick’s Bunny is both sweet and horrendous. Testi is fine as a leading man – although he’s awkward in an action role. However, Frederick is given an atrocious role and plays down to its limitations.

The rest of the cast includes veteran character actor Michael J. Pollard as the drunken Clem and Harry Baird as the kind, unstable Bud. Pollard is solid in what is a one-note role. He’s built to be an accessory in Westerns. Baird is given the most unique character – he’s obsessed with communicating with the dead. However, he plays Bud with the simplicity of a developmentally stunted child.

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The Chant of Jimmie Blacksmith

The Chant of Jimmie Blacksmith is a 1978 movie directed by Fred Schepisi.

The Chant of Jimmie Blacksmith tells the story of a half Aboriginal, half White man who endures a series of racist encounters. Eventually, he takes brutal revenge on those who wronged him and finds himself the target of a manhunt.

Jimmie Blacksmith has to rank among the most heartbreaking characters in movie history – or at least the most complex. He’s uniquely positioned as someone you both feel empathy and contempt for.

He’s the product of an aboriginal mother and white father – which gains him entry to two starkly opposing worlds. He’s taken under the wing of a Christian missionary, who bails him out of jail and provides him references for employment. Jimmie’s goal is to work hard, marry and own a piece of land. However, those series of jobs reveal the ugly realities of the white world – a place that ultimately rejects Jimmie.

Jimmie endures constant racial harrassment and is continually cheated out of money. Yet, he rationalizes this treatment as part of his dues to join the white world. Along the way, he becomes a sheriff’s deputy and brutally assaults aboriginals during a murder investigation. After he realizes the drunk sheriff rapes and kills the prime suspect, Jimmie is forced to burn the body.

Yet, Jimmie endures and eventually marries Gilda, a white woman who works for the farming Newby’s- accomplishing one of his goals. She gives birth to a fully white baby and then admits that Jimmie is not the father. However, Jimmie remains with her – despite the objections of the Newby’s, who try to convince Gilda to leave him. Finally, when the Newby’s cut off Gilda from groceries – Jimmie snaps.

He threatens Mr. Newby before visiting Mrs. Newby, along with his aboriginal Uncle. Mrs. Newby pulls a rifle on him. In either an act of rage or self-defense, Jimmie buries an axe in her chest. He then proceeds to murder all of the Newby adult children, before sparing the family toddler.

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