Month: November 2020

Election

Election is a 1999 movie directed by Alexander Payne.

Election tells the story of an overachieving student and the teacher who tries to sabotage her. Payne’s dark comedy is hilarious and features a masterful performance from Reese Witherspoon as the obsessive, ambitious Tracy Flick. Matthew Broderick’s Mr. McAlister ranges from affable to conniving and desperate. Chris Klein and Jessica Campbell are scene stealers as the Metzlers, who become pawns in an election stained by pettiness.

THE BEST – The Navajo Joe Musical Interludes

This comes out of nowhere but strangely fits. Morricone’s classic plays as Tracy goes into a rage and rips down her opponent’s posters before staring at her bloody hands. Just wonderful.

THE WORST – Teacher-Student Affairs

Tracy has an affair with McAlister’s friend – an event that ultimately sets the movie’s motivation. The scenes are creepy – and funny.

FOX FORCE FIVE RATING – 4/5

Witherspoon is a phenomenal actor and her Tracy Flick is an iconic, yet relatable character. A must watch.

The Killing of a Chinese Bookie

The Killing of a Chinese Bookie is a 1976 movie directed by John Cassavetes.

Ben Gazzara plays Cosmo Vitelli, a strip club owner whose gambling addiction runs him afoul of the mob. He’s forced to murder a Chinese bookie to repay his debts. Gazzara’s Vitelli is unflappable throughout the movie, yet the scene stealer is the unpredictable, lurching Timothy Carey, who portrays mob enforcer Flo. The movie’s tone is quintessential 70’s – it’s dark and gritty, yet themes of family and honor emerge.

THE BEST – Timothy Carey

Carey may be one of the most uniquely strange actors of the last 50 years. He constantly appears to be crawling out of his own skin.

THE WORST – Timothy Carey Eating

It’s hard to describe. Just watch it.

FOX FORCE FIVE RATING – 4/5

If you love 70’s movie grime, this is for you. It’s desperately grim but Gazzara gives a tremendous performance. It’s worth a watch.

The Enigma of Kasper Hauser

The Enigma of Kasper Hauser is a 1974 movie directed by Werner Herzog.

WHAT HAPPENS?

A man suddenly appears in a small town unable to walk or express himself. He eventually is taken in by a benefactor and educated, which yields interesting results.

ONE LINE REVIEW

The Enigma of Kaspar Hauser chronicles a mysterious man learning to think.

THE ACTORS

It wouldn’t be a Werner Herzog movie if a mercurial lead actor wasn’t featured. While his interactions with the director aren’t as legendary as those of Klaus Kinski, Bruno S. was known as an unorthodox method actor with his own mysterious past.

His performance here is brilliant. He inhabits a character who is essentially a wild-eyed barn animal. His Kaspar has to learn to walk, talk, write and ultimately think. Bruno S. expertly conveys the character’s struggles, as he can’t control his legs – he wobbles and can’t bear weight. His gravity lunges him forward at the dinner table – he spits out his food.

Kaspar is inspected by the locals before eventually becoming part of a freak show. He later escapes and is taken in by a cultured family. Kaspar progresses to learning music, philosophy, religion and logic. His transformation is impressive, as he learns to question his world. His thoughts are both simple and profound – he asks: “Why can’t I play piano like I breathe?”

Continue reading “The Enigma of Kasper Hauser”

Babylon

Babylon is a 1980 movie directed by Franco Rossi.

WHAT HAPPENS?

Babylon tells the story of West London black youth in the early 80’s. Their identities are forged through reggae sound system competitions and enduring racial tension.

ONE LINE REVIEW

The culture of Reggae sound system is the soundtrack for a clash of race, culture and lost youth.

THE ACTORS

The cast of Babylon is comprised of mainly unknown actors, which gives the movie an authentic feel. Given that the characters are young and often aimless, the actor’s inexperience is an asset. The standout performances are delivered by Brinsley Forde’s Blue, whose life unravels over the course of the movie. He is subject to cruel racism, loses his job, leaves his house and is pursued by police.

Forde captures the angst and confusion of lost youth – the repressed anger and raw sorrow explodes in a few scenes as he’s confronted by his mother’s live-in boyfriend. He clings to his righteousness but knows financially he’s inferior. Similarly, he feels betrayed by his girlfriend. He wants to channel the kind of domestic domination he’s seen elsewhere but cannot.

Trevor Laird’s Beefy may be the movie’s most intriguing character. He serves as a comic foil for the Il Lion crew, parading the streets with his neighbor’s mammoth dog. He’s considered a joke – but unleashes terrifying, but justified rage at the crew’s overtly racist neighbors. The movie’s most striking scene sees Beefy attempt to physically confront the racists. Unhinged, he screams and has to be restrained by Blue and Ronnie, the only white man in the crew.

Continue reading “Babylon”

Vivre Sa Vie

Vivre sa Vie is a 1962 movie directed by Jean-Luc Godard.

WHAT HAPPENS?

A young woman in Paris struggles financially and romantically and turns to prostitution. Her story is chronicled in twelve episodes.

ONE LINE REVIEW

Vivre Sa Vie chronicles a woman whose voice is lost in a world where commerce is more valuable than thought.

THE ACTORS

Much of the history of Vivre Sa Vie details how Godard’s camera was in love with Anna Karina. Watching even a few scenes confirms this idea. Karina dominates the movie, yet conveys the emptiness of a subject that is only pursued physically. We are to pity her Nana’s plight – she’s broke, homeless, alone and turns to prostitution both to survive and form an identity.

Yet, the tragedy occurs when she tries to connect with her employers and suitors on an emotional level. There is little to discuss and no one available for such contact. Her most meaningful conversation occurs with an older man and the topic only lands on the existential nature of words.

This could be Karina’s most subtle, yet expressive Godard performance. Her acting often retreats inward – she’s initially revolted by prostitution but then emerges as a caricature of her practice. This role is defined by Karina’s expressive eyes – she alternates sadness, desperation and emptiness in such a pure sense. She’s a brilliant actor and a fascinating study for Godard.

Continue reading “Vivre Sa Vie”

Pixote

Pixote is a 1981 movie directed by Hector Babenco.

WHAT HAPPENS?

A young Brazilian boy escapes from a juvenile detention center and becomes involved with robbery, drugs and prostitution. He is forced to survive on the streets while those around him fall prey to its dangers.

ONE LINE REVIEW

Pixote is a raw, heartbreaking look at lost youth.

THE ACTORS

The authenticity of Pixote is remarkable, as the actors are essentially Brazilian street kids. Fernando Ramos da Silva turns in an extraordinary performance as the lead character, an 11-year old trying to inhabit a dangerous adult world. Perhaps because of his inexperience as an actor, he plays Pixote with a blend of confidence and blissful unawareness.

However, you can feel the character through his expressive eyes. Silva is continually wide-eyed, soaking in his ever-changing environment. He adapts brilliantly in a tragic sense, becoming a hardened criminal. This transformation is interrupted only when we remember Pixote is still a kid.

The wrenching scene that best exemplifies this divide sees Marilia Pera’s prostitute Sueli cradling Pixote as he sucks against her breast. It’s a devastating look at two broken lives – Pixote is the motherless child gangster while Sueli can never escape the emotional damage of her past.

Continue reading “Pixote”

Fernando Di Leo’s Milieu Trilogy

Caliber 9 (1972), The Italian Connection (1972) and Il Boss (1973) are movies directed by Fernando Di Leo.

WHAT HAPPENS?

Caliber 9 tells the story of Ugo, a former gangster who is forced back into the criminal life. The Italian Connection follows Luca, a pimp who is framed for stealing a shipment of heroin. Il Boss is the story of Lanzetta, a hitman who finds himself in the middle of warring Mafia families.

ONE LINE (Actually, TWO Lines) REVIEW

The highlight of Fernando di Leo’s trilogy is Caliber 9 – a terrific, hard-boiled crime movie. The Italian Connection is a clunky mess, while Il Boss is long-winded but features the best action of the three.

THE ACTORS

Gastone Moschin plays Ugo Piazza with a hardened, but zen-like quality. Ugo doesn’t say much but his words matter. The strength of the character lies both in his blunt physical prowess and acceptance of his unfortunate situation. He’s squeezed between the Mafia and police but doesn’t make excuses. Moschin’s choice as a lead actor is intriguing – his jagged, scarred face would suggest otherwise, but he gives a uniquely effective lead actor performance.

Continue reading “Fernando Di Leo’s Milieu Trilogy”

The Ascent

The Ascent is a 1977 movie directed by Larisa Shepitko.

WHAT HAPPENS?

Two Soviet soldiers are captured by Nazis. The first, Sotkinov, refuses to cooperate and is tortured. The second, Rybak, is more forthcoming. Their respective actions determine their physical and emotional fates.

ONE LINE REVIEW

The Ascent is a bleak but gorgeous study of survival.

THE ACTORS

Boris Plotnikov is tremendous as Sotkinov, the wounded soldier coming to grips with the reality of a desperate situation. Plotnikov effortlessly displays a range of emotions. He’s timid and shell-shocked before accepting his fate. Suddenly, Plotnikov grows stoic as he physically deteriorates. His final scenes reveal a tender embrace that suggests a spiritual stillness. The performance is subtle yet somehow commanding.

Vladimir Gostyhukin offers a contrast as the ascerbic and hardened Rybak. Gostyhukin layers the character with a cynical edge, which often belies the intense fear he carries. It’s an intriguing character – his instinct to survive clashes with Sotkinov’s acceptance of his fate. The movie’s best scene occurs as Gostyhukin launches into an explosive tirade against Plotnikov, accusing him of expressing hope for their situation.

Anatoliy Solonitsyn portrays Portnov, the Nazi investigator. Solonitsyn is brilliant in his exchanges with the soldiers – he is emotionally numb and a bitter realist given his role. He cruelly rips apart Sotkinov’s morality, suggesting that nothing in the world holds such value.

Continue reading “The Ascent”

Devil Times Five

Devil Times Five is a 1974 movie directed by Sean MacGregor and David Sheldon.

Devil Times Five tells the story of five kids who escape from a mental institution and terrorize a ski resort. Three vacationing couples each meet a brutal end.

If Oscars were awarded for Best Horror Movie Child Actor, Devil Times Five would boast some favorites.

Leif Garrett, Gail Smale and Tierre Turner are each brilliant in their respective roles.

Garrett is a scene stealer as David, the mercurial know-it-all pseudo prodigy. He inhabits the frustrations of a kid wanting to be taken seriously by adults, yet his vicious temper arises when he’s not. His exchanges with Sorrell Booke’s Harvey Beckman are cruel and hilarious.

After correcting Beckman’s calling him “a little guy”, he states: “We will be friends, Harvey Beckman.” David loses a game of chess to Beckman, then furiously throws the pieces. He begins to unravel. He dresses in drag – an homage to Beckman’s alcoholic wife – and smears on lipstick. “You’re all mine, Harvey Beckman.”

Smale is terrific as Sister Hannah, the pint-sized pretend nun who serves as the unofficial leader of the group. Her appearance is bleached out, resembling an albino and she features a penetrating, unsettling glare. The clueless adults at the resort take her seriously, despite her odd attempts at conversation. “I was noticing your hair. It’s very healthy.”

Continue reading “Devil Times Five”

The Moment of Truth

The Moment of Truth is a 1965 movie directed by Francesco Rosi.

The Moment of Truth chronicles the rise and fall of Miguelin, a farmer’s son who becomes a famous bullfighter. The movie explores the physical and emotional costs of a dangerous lifestyle.

Rosi creates a narrative feature that feels more like a documentary. Miguel Mateo Miguelin essentially plays himself – a professional bullfighter dealing with the trauma of his profession. It’s clear he isn’t an actor, but that’s the point. His inexperience in front of the camera and credibility as a bullfighter adds to the gritty realism of the movie.

The Moment of Truth is a classic rise and fall tragedy. You can sense an unfortunate end arriving as the 24-year old torero begins an existential reflection. He’s physically and emotionally worn down from a brutal schedule: “Is it really worth it? Is it all just a dream?”

Miguelin is cast as wildly successful but he’s slowly being stripped of his individuality. He’s essentially a product of Don Jose, the Impresario – who arranges Miguelin’s untenable schedule. Jose downplays Miguelin’s exhaustion and fears, urging him to realize “his moment” as a bullfighter.

The theme of exploitation is prevalent throughout the movie as Miguelin owes most of his laborer wages to a job agent. The lure of bullfighting offers an escape, yet even its supposed perks figuratively enslave him. As his fame rises, he’s seduced by Linda, an American with a known reputation. He’s an exotic conquest for her – a plaything of sorts that is easily cast aside.

Continue reading “The Moment of Truth”