The World’s Greatest Sinner is a 1962 movie directed by Timothy Carey.
WHAT HAPPENS?
An insurance salesman quits his job to preach about the power of man. He forms the “The Eternal Man” party and then enters politics. As his popularity soars, he begins to question his own beliefs.
ONE LINE REVIEW
The World’s Greatest Sinner is a quirky, clunky experiment helmed by one of cinema’s most unique talents.
THE ACTORS
It’s difficult to describe the wonderfully bizarre allure of Timothy Carey. He is an oddity – his lurching frame suggests a body that is at war with itself. His towering voice has no modulation and little cadence. He maintains little distance from other actors but feels incapable of intimacy. Yet, these awkward touches are the impeccable traits of raw originality.
There is no one quite like Timothy Carey.
The World’s Greatest Sinner sees Carey transform from Clarence Hilliard, the bored salesman and family man into God Hilliard, the spiritual zealot fulfilling his craven desires. In doing so, Carey gets to play a rock star consumed with carnal affairs and self-idealization. His performance can be balky and overly scripted – yet his presence commands constant attention. Carey is at his best both basking in the idolatry he’s created and reckoning with its truths.
Solaris is a 1972 movie directed by Andrei Tarkovsky.
WHAT HAPPENS?
A psychologist is sent to investigate strange occurrences on the Solaris space base. He discovers the remaining scientists have communicated with a mysterious alien intelligence that somehow extracts their thoughts and memories.
ONE LINE REVIEW
Solaris is a moody, patient, spectacular exploration of memory and reality.
THE ACTORS
Danatas Banionis plays psychologist Kris Kelvin – he imprints the character with a heaviness and loss that ultimately drives the movie. It’s a demanding role as Tarkovsky patiently allows his dialogue-heavy scenes to unfold. Much of the movie sees Banionis defending both science and humanity. The emotional aspects of his character evolve once his memory of his former wife materializes into an alien form.
Natalya Bondarchuk plays Khari, Kris’ wife who has been dead for ten years. Her role is fascinating as the character is essentially forming memories into a life form. As Khari, she doesn’t know herself beyond Kris’ conception of her. It’s fascinating to see the different versions of the character appear and interact with Kris. Bondarchuk skillfully navigates Khari’s tenuous emotional hold on her husband.
Pickpocket is a 1959 movie directed by Robert Bresson.
WHAT HAPPENS?
Michel, a writer, learns the art of pickpocketing. He masters his skill as a means of survival and form of expression.
ONE LINE REVIEW
Pickpocket is both a slick movie about stealing and a psychological study of loneliness.
THE ACTORS
Martin LaSalle plays the title character, giving Michel a detached, sometimes aloof nature. Both the actor and character are not overly emotive – perhaps this is by design, but likely more the effect of LaSalle’s inexperience. Either way, the performance is interesting. There are layers of intrigue hidden in the character but we’re never fully allowed to examine them. Michel has few friends and a strained relationship with his mother. He is completely engrossed in his philosophical morality that society needs thieves, which he uses to justify his criminal behaviors.
Marika Green’s Jeanne is a subtly fascinating character. In some respects, she’s a one-note character. She’s a neighbor of and eventual caretaker for Michel’s mother. She doesn’t understand Michel, but also feels drawn to him. As time passes, she is unmarried with a baby. Michel now reenters her orbit. As the movie closes, he faces jail time – Green’s Jeanne expresses a frustration with her potential suitor, but also reveals a hint of freedom and possible relief.
The chaos of comic Lenny Bruce is chronicled, including his rise to fame and subsequent battles with censorship.
ONE LINE REVIEW
Lenny is a gorgeous, richly shot movie that features two standout acting performances.
THE ACTORS
Dustin Hoffman and Valerie Perrine give extraordinary performances as Lenny and Honey Bruce.
Hoffman adds a visceral urgency to Lenny’s natural kinetic energy. He’s vibrant and wiry in celebrating Bruce’s non-comformist ethos. As Bruce stumbles deeper into drug abuse and a legal abyss, Hoffman infuses his character with a heaviness and biting doubt. The performance is packed with stellar touches – in one scene he shows his child tenderness – in another, he speaks with the lumbering, confused pauses of a junkie.
Perrine is given space to explore the nuances of an intriguing character. Honey is a stripper molded from an era of pin-up models. She evolves into a sweet if incapable mother before her life spirals into addiction. Her story is told through a series of reflections, where Perrine mixes blissful nostalgia with a painful reckoning that she tries to suppress. It’s a heartbreaking performance.
THE DIRECTOR
Bob Fosse employs a series of flashbacks to tell his story – alternating between the few people who knew Lenny best. The techniques are effective and avoid a straightforward biographical approach. The approach also allows the actors to further explore their characters. The quick cutting between scenes helps the story’s pacing along with the density of detail involved.
However, the most appealing aspects of the movie are its gorgeous use of color and light. Fosse and cinematographer Bruce Surtees create an environment that richly highlights both the grime and splendor of the 1950’s and 1960’s club scene. It’s an incredible tribute to an era that both groomed and changed Bruce.
THE BEST – The Bits
Lenny’s classic routines are the highlights of the movie, including his extended take on the validity of the N-Word. Once a police presence emerges at the clubs, Lenny subverts his censors by performing the “blah blah” show. Hoffman’s energy is so pure during these scenes.
THE BEST Part 2 – Lenny’s Aunt
Jan Miner’s Sally Marr is a scene stealer as she recounts Lenny’s life. She gives her character a Vaudevillian quality – her face is lively and all the world is ripe to laugh at. She impressively darkens her tone in a few scenes, including one where Lenny and Honey are hopelessly adrift in addiction.
THE WORST– Old Comics
It’s easy to criticize from a contemporary perspective, but older generation comics are essentially repugnant creatures. The Sherman Hart caricature – supposedly based on Milton Berle – is manipulative, creepy and wildly void of talent. The contrast of styles between him and Bruce is revealing.
THE WORST Part 2 – Addiction
In terms of movie-making, Fosse doesn’t glamorize Lenny and Honey’s drug addiction. Rather, he details the destructive warping of reality – adding a closing shot of Lenny’s bloated corpse.
FOX FORCE FIVE RATING– 4.5/5
While the subject is fascinating, equally impressive is Lenny’s gorgeous look and tremendous acting. A must watch.
Bad Day at Black Rock is a 1955 movie directed by John Sturges.
WHAT HAPPENS?
A stranger arrives in a small town, where a group of suspicious locals are hiding a secret. Their motives are slowly revealed, which leads to a battle for survival.
ONE LINE REVIEW
Bad Day at Black Rock masterfully layers suspense in an efficient manner.
THE ACTORS
The entire cast is tremendous, led by Spencer Tracy. Tracy possesses the affable, old-school cool and resolve of a veteran. There’s never a moment where he’s physically outmatched, despite his stature, age and loss of one arm. As the locals threaten him in both subtle and overt means, Tracy’s Macreedy responds with logic and irony. His urgency is direct but never wrought with emotion.
The supporting actors fit seamlessly into their roles. Robert Ryan plays Reno Smith with a quiet menace that evolves into violence as Macreedy uncovers the town’s secret. Ernest Borgnine is impressive as the town heavy who ends up on the wrong end of a physical altercation. Lee Marvin slips into a dusty cowhand, Dean Jagger is a perfect 50’s cowardly drunk, Anne Francis is spunky and Walter Brennan is the voice of reason – a contrast to the town’s aggressive, conspiratorial nature.
The Passion of Joan of Arc is a 1928 movie directed by Carl Theodor Dreyer.
WHAT HAPPENS?
The famed French hero is forced to endure a one-sided ecclesiastical trial in 1431. She continually defends her holy visions and faith, which leads to her execution.
ONE LINE REVIEW
The Passion of Joan of Arc is a movie way ahead of its time, featuring brilliant, emotionally dense acting and emotion.
THE ACTORS
Maria Falconetti gives an extraordinary performance in the title role. She essentially inhabits two characters: the scared and bewildered 19-year old facing the cunning of powerful clergy along with a warrior basking in the glow of heavenly bliss.
She continually slips between these two facets of her character. In one frame, she is stern and defensive against her hypocritical accusers – the next, she basks in her God’s light, her hypnotized eyes weeping. Falconetti makes you believe in her conviction – if not her faith – and forces the viewer to suffer the same consequences. It’s a truly remarkable performance.
Valerie and Her Week of Wonders is a 1970 movie directed by Jaromil Jires.
Valerie and Her Week of Wonders tells the story of Valerie, a 13-year old who is coming of age. Her development leads to strange events, including her grandmother trading her soul for eternal youth, pursuit by vampires and her eventual unsuccessful burning at the stake. Jires creates a brilliantly strange and dreamy atmosphere that features intriguing lighting and camera decisions. Jaroslava Schallerova gives a comical, aloof performance as Valerie.
THE BEST – Burned at the Stake
This is probably the funniest scene of the movie. Since Valerie has protection from the flames, she taunts her captors – when they demand a confession, she sticks her tongue out at them.
THE WORST – For Most of the Movie, I Had No Clue What Was Happening
I’m not ashamed to admit this.
FOX FORCE FIVE RATING – 3.75/5
Valerie and Her Week of Wonders blends genres to create a dreamy, experimental vision. It’s a strange movie but wildly unique.
Blood and Black Lace is a 1964 movie directed by Mario Bava.
Blood and Black Lace tells the story of a series of models who are murdered by a mysterious masked man. A cat and mouse investigation follows, which eventually reveals the killer. While the plot can wander, the defining characteristics of the movie are its incredible 60’s style and use of color and shadows. Visually, Blood and Black Lace is a unique, stylish masterpiece.
THE BEST – The Opening Credits
The swanky, voguish opening establishes the trendy characters of this whodunit in a stylish and efficient manner. While there are many great moments to follow, this opening may be the highlight of the movie.
THE WORST – The Inspector is Always a Step Slow
After a lifeless body drops to the floor, you know it’s time for the inspector to show up. His investigation is not exactly proactive.
FOX FORCE FIVE RATING – 3.5/5
Blood and Black Lace oozes style – it’s the epitome of 70’s chic Italian cool. It’s also a decent movie.
Suburbia is a 1983 movie directed by Penelope Spheeris.
Suburbia tells the story of “The Rejected”, a group of aimless kids who are essentially homeless. They form a loose family while defending themselves against both police and citizen vigilantes. Their lives turn tragic when one of their members overdoses and another is killed during an altercation. The plot stumbles but Spheeris presents an authenticity to her characters and setting that is truly unique. The atmosphere is enhanced by the terrific sound of various punk bands.
THE BEST – Punk Bands Never Get to Finish Their Songs
Each live performance features brilliant emotion and energy from various punk bands – along with a crowd brawl that abruptly kills the performance.
THE WORST – These Lost Youths Don’t Care for Gay People
Or black people. Or virtually anyone not like them. For a group of severely oppressed kids, they are incredibly close-minded.
FOX FORCE FIVE RATING – 3.75/5
Suburbia is a truly unique movie and worth checking out. Bonus points for the acting debut of Flea and the Reservoir Dogs-esque group walking shot.
Waterloo is a 1970 movie directed by Sergei Bondarchuk.
Waterloo tells the story of the famous battle that led to Napoleon Bonaparte’s demise. The movie features a ton of star power, as Rod Steiger plays Napoleon and Christopher Plummer is his English rival, the Duke of Wellington. Steiger inhabits both the swagger and introspection of his character, while Plummer gives a cavalier, old Hollywood feel to his. The visual scope and sound of the battle scenes is impressive, along with the blustery orchestral score.
THE BEST – Steiger Losing His Shit
Steiger’s Napoleon senses he’s losing his empire yet has an impossibly stoic facade to maintain. When these realizations occur, Steiger expertly conveys the rage of a man who simply cannot afford to fail.
THE WORST – Orson Welles Going Through the Motions
Other than to boast his name on the production, I’m not sure what Welles adds as the bloated, lethargic Louis XVIII.
FOX FORCE FIVE RATING – 4/5
In terms of war movies, this is an impressive one. The battle scenes are brilliant and Steiger and Plummer ham up terrific performances.
