Month: December 2020

Sympathy for the Devil/One Plus One

Sympathy for the Devil is a 1968 movie directed by Jean-Luc Godard.

Sympathy for the Devil/One Plus One is a pseudo-documentary masquerading as a leftist anti-war, anti-capitalist, anti-fascist revolt. Godard mixes studio footage of The Rolling Stones creating Sympathy for the Devil with segments featuring Black Panther poets, an intellectual interrogation in the forest and a fascist, pornographic book store before closing on the beach as a film crew shoots scenes. The transitions between scenes include graffiti scribbled among various sites and the reading of a lewd novel.

THE BEST – Godard Wants You to Fuck Off

Sympathy for the Devil is Godard at his subversive height. He’s essentially making a Rolling Stones documentary where the band is mere background against messages of political revolution. We never hear from any of the band members – they are not identified and their purpose is never revealed. It’s a fascinating display of ego – Godard is granted access to a famous band and uses them as mere props. Anyone coming to this movie expecting to see the Stones will be sadly disappointed – which is kind of the point.

THE BEST Part 2 – Building the Song

However, it’s fascinating to have a view of the Stones crafting Sympathy for the Devil. The band adds different layers to the song throughout Godard’s segments – building simple harmonies into a dense piece of art.

THE WORST – No Edits

Godard is also at his most self-indulgent throughout the movie. His scenes with the Black Panthers and the forest interrogation linger uninterrupted. Perhaps he’s trying to offer the same unimpeded view he gave the Stones – or at least compare their process to the revolutionaries – but the segments become repetitive.

FOX FORCE FIVE RATING – 3.75/5

Godard’s vision and petulance are worth 5 stars; however the filmed result is intentionally indulgent and tedious at times. Still, Sympathy for the Devil is a wonderful experiment and a unique movie.

The Conformist

The Conformist is a 1970 movie directed by Bernardo Bertolucci.

WHAT HAPPENS?

An Italian man, Marcelo, is coerced by the Fascist government to kill his old teacher, now an anti-fascist dissident living in Paris. Marcelo comes to terms with a complicated past, which affects his relationship with two women – one his fiance, the other the dissident’s wife.

ONE LINE REVIEW

The Conformist is an intriguing political thriller encased in gorgeous cinematography.

THE ACTORS

Jean-Louis Trintignant is quietly fascinating as Marcelo, a man who we never fully know. He’s a slightly timid Fascist party operative reluctantly about to marry Stefania Sandrelli’s Guilia, who he dismisses as “all bed and kitchen.” As the movie progresses, he becomes enamored with Dominique Sanda’s Anna – the dissident’s wife. Later, we’re given glimpses into Marcelo’s past, which includes some homosexual activity. Trintignant blends all these facets to create a complex character – he’s both bold and bewildered in moments and stoic and frozen in others.

The supporting cast is excellent, including Sandrelli and Sanda. The two perfectly contrast each other – Sandrelli’s Guilia is daft and bubbly, while Sanda is initially all smoke and swagger – and fully aware of Marcelo’s motives. Their chasm of difference is striking, yet Bertolucci draws them together during a memorable, vibrant dance scene. Others involved include Gastone Moschin, who plays Fascist spy Manganiello with a deft comedic touch.

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Thief

Thief is a 1981 movie directed by Michael Mann.

WHAT HAPPENS?

A safe-cracking expert attempts to make a lucrative, final score before starting a new life. His job is successful but he becomes entangled with a ruthless mob boss.

ONE LINE REVIEW

Thief is a gritty, realistic crime movie that features a phenomenal performance by James Caan.

THE ACTORS

James Caan completely owns the role of Frank, a hard-nosed, self-reliant master thief who wants to go straight after one last score. There isn’t a lot of nuance in the performance but rarely does an actor hold such command over a character. Caan’s Frank wants complete control over his destiny – to achieve such an end, he is compelled to destroy his life. Caan exhibits a measured intensity throughout. In practically every scene, seething rage is waiting to erupt.

Robert Prosky is a scene-stealer as mob boss Leo. He emerges as a mild-mannered, fatherly fixer but reveals himself as a ruthless, dangerous force. After Frank refuses a future job, Prosky’s Leo has Jim Belushi’s Barry killed. Prosky leans over a beaten Caan and delivers a chilling reality – everything Frank has belongs to Leo. It’s an extraordinary scene that effectively establishes an otherwise genteel characters as a threat.

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Chinatown

Chinatown is a 1974 movie directed by Roman Polanski.

WHAT HAPPENS?

A private detective is hired to investigate a case of adultery, but finds himself at the center of a corrupt, murderous scheme.

ONE LINE REVIEW

Chinatown is an inventive take on classic film noir.

THE ACTORS

Jack Nicholson plays detective J.J. Gittes with a measured degree of the dynamic qualities that made him a 1970’s icon. His Gittes is a confident, cynical character hardened by his experience. Yet as the movie progresses, there is a vulnerability and fear that emerges. The final scene of the movie is revealing as Nicholson’s detective is stunned by the bizarre events that have unfolded.

Faye Dunaway is extraordinary as Evelyn Mulwray, the widow of a murdered water department director and daughter of land baron Noah Cross. She plays her character with a cryptic sense of mystery and sadness – she’s both elusive and vulnerable. She’s clearly manipulating J.J. but also taking comfort in his presence. The most revealing scene sees Mulwray and Gittes sleep together – when she realizes J.J. is one step ahead of her, she attempts to cover her body up. It’s a subtle but tremendous realization about her character.

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The Grand Duel

The Grand Duel is a 1972 movie directed by Giancarlo Santi.

WHAT HAPPENS?

A former Marshal defends a young gunfighter against a corrupt family. The Marshal comes to terms with his past before engaging in a final confrontation.

ONE LINE REVIEW

The Grand Duel is a stylistic, inventive European Western.

THE ACTORS

Lee Van Cleef plays Clayton, the Marshall seeking justice. It’s a typical Van Cleef Western role, as the veteran actor delivers witty, grim lines and maintains a grizzled, sage presence. At times, it appears Van Cleef is sleepwalking through his role – his Marshal sums up the role: “I don’t talk unless I feel like it. That’s one of my rules.” Yet, he delivers in the movie’s finale – a superb dramatic shootout.

Alberto Dentice is Phillip Vermeer, the young gunfighter shepherded by Clayton. It’s a stock role and a largely forgettable performance. The movie’s true standout is Klaus Grunberg’s Adam, a fey, dangerous murderer who leaps from the screen. His entry helps revitalize the movie’s lumbering, repetitive story.

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Rosemary’s Baby

Rosemary’s Baby is a 1968 movie directed by Roman Polanski.

WHAT HAPPENS?

A young couple move into a new apartment and befriend their older neighbors, the Castevet’s. Rosemary becomes pregnant and grows suspicious of those around her – eventually realizing she and her unborn baby are the targets of an occult group.

ONE LINE REVIEW

Rosemary’s Baby is a well-crafted, exceptional piece of horror.

THE ACTORS

Mia Farrow plays the demure title character and gives the movie its moral core. Her most memorable moments come as she physically and emotionally loses touch with her body. It’s a delicate, but profound performance – highlighted by the ritual dream sequences in which she becomes an unwitting participant in the Castevet’s occult practices. Farrow immerses herself in the physical traits of the role – her vibrant Rosemary grows ashen and sickly as the movie progresses towards its shocking end.

Ruth Gordon and Sidney Blackmer are phenomenal as Minnie and Roman Castevet. Gordon is a scene stealer as the whirlwind, aloof Minnie. Her character dominates the screen – fluidly manipulating Rosemary throughout her pregnancy. Blackmer plays Roman with a genteel varnish and feigned confusion. It’s a unique performance that presents his character as both mysterious and innocuous.

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Once Upon a Time in the West

Once Upon a Time in the West is a 1968 movie directed by Sergio Leone.

Once Upon a Time in the West is Sergio Leone’s tribute to the elegiac Western he made famous in his earlier works. The movie is essential Leone – it’s a gorgeous, layered visceral experience. Ennio Morricone’s sweeping score and the eyes of Charles Bronson, Claudia Cardinale and Henry Fonda are the stars of what is considered Leone’s masterpiece. Bronson takes on the prototypical Clint Eastwood role and adds his own unique charisma. Cardinale does the heavy lifting throughout the movie, employing a tough, cynical skin with touches of vulnerability.

THE BEST – The Music

It’s been said Leone plans his scenes based on music, which given Morricone’s beautiful arrangements, adds a rich, lyrical dimension to the movie. It’s impossible to picture certain scenes without Morricone’s score, including the final shootout.

THE WORST – My Own Personal Tastes

Once Upon a Time in the West is a nearly flawless Western that showcases the skill of a master filmmaker. The cinematography, music, staging and acting are superb throughout. Leone is patient with his narrative and gives his actors room to breathe. However, because of its technical brilliance – the spontaneity, clumsy weirdness and general chaos so endearing in most European Westerns is lacking.

FOX FORCE FIVE RATING – 4.25/5

I enjoy a Corbucci Western more but Once Upon a Time in the West sees a master at the top of his craft. A quintessential Western.

Shadows

Shadows is a 1958 movie directed by John Cassavetes.

WHAT HAPPENS?

Young Lelia navigates love and interracial relationships, while her brother Hugh struggles with a fledgling singing career. Their brother, Benny, is a hipster that finds himself between cultures.

ONE LINE REVIEW

Shadows is a lyrical interpretation of race set in 1950’s beat New York City.

THE ACTORS

Cassavetes’ cast features largely novice actors, who deliver raw energy that’s fitting with the movie’s DIY style. They can struggle with the weight of the rich dialogue but still convey honest emotion. Lelia Goldoni’s Lelia is the best example. She expresses the confusion and hurt of sexual relations, then later learns how to manipulate men. It’s a delicate, interesting performance.

The rest of the featured actors play one-note characters. Hugh Hurd’s Hugh is a volatile singer who refuses to acknowledge his outdated style. Anthony Ray’s Tony is a pseudo-intellectual who doesn’t grasp the impact his actions have on Lelia. Rupert Crosse is the most impressive actor of the group – he easily handles the nuance of Cassavetes’ dialogue.

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Paris is Burning

Paris is Burning is a 1990 documentary directed by Jennie Livingston.

Paris is Burning documents the 1980’s New York City drag scene and profiles some of its most vibrant performers. Livingston does a great job detailing the motivations behind the culture, including a need for community and expression. Through its performers revelations, the evolution of the culture is chronicled – including the shift from creating style to purchasing it. The documentary’s natural tone reflects an imbalance – the highs of performing clash with the realities of the participants’ normal lives.

THE BEST – The Categories

The entire documentary was enlightening but most interesting was the volume of awards given at the balls. On the surface, these could be compared to “student participation” awards, but the awards better reflect the diversity found within the drag culture. Most intriguing were the awards given to those who “blended” best into straight society. More than just costume play, these awards represent safety to a vulnerable population.

THE WORST – “The Greatest Example of Behavior Modification in History”

However, these same awards reflect the damaged psyches so many within the culture face in their daily lives. There has to be immense emotional wreckage found in people taking pride in an assimilation that can never truly occur.

FOX FORCE FIVE RATING – 4/5

Paris is Burning is a thorough documentation of a truly unique culture. Even more vital is the generational shift occurring, as chronicled by those who helped shape the culture. Livingston does a tremendous job detailing these lives. A must watch.

Z

Z is a 1969 movie directed by Costa-Gavras.

Z tells the story of a right-wing military government’s attempt to cover up the death of a left-wing activist. The truth slowly unravels during an investigation but also leads to dangerous consequences. Jean-Louis Trintignant plays Le juge d’instruction, who attempts to uncover the corruption. His performance is dynamic and efficient, yet the character is ultimately forced to realize the limits of his pursuit. Marcel Bozzuffi and Renato Salvatori are brilliant as Vago and Yago, the colorful henchmen hired to pull off the murder.

THE BEST – Trintignant’s Interrogations

The highlights of the movie involve Trintignant’s character getting closer to the truth. While the character appears as an efficient, devoted government employee, he craves the moments of verbal sparring that occur. Trintignant gives an extraordinary look when he catches Vago in a trap – one that leads to a significant break in the investigation.

THE WORST – The Epilogue

This isn’t a worst in terms of moviemaking, but rather a realization of how brutally oppressive bureaucratic government machines can act. Everyone on the side of justice in the case suffers, while those responsible for injustice are barely bothered. It’s certainly an indictment of corrupt systems – a reality unfortunate in 1969 and today.

FOX FORCE FIVE RATING – 4/5

Z can drag at times but it’s an important and brave movie – both in 1969 terms and today. The acting is sharp and there are some stylistic flashes that make the movie visually appealing. It’s definitely worth a watch.