The Documentaries of Louis Malle: Vive Le Tour / Humain, Trop Humain / Place de la Republique

"Vive Le Tour" is brilliant, but the other two documentary features included on the disc are overly long and boring. "Place de la Republique" in particular suffers from a lack of narrative. I thoroughly enjoyed Malle's revealing glimpse into the annual Tour de France. You may want to steer clear of the other two.


Written 8/13/10

Bonnie and Clyde

This didn't resonate with me. I know most everyone hails it as a "timeless masterpiece", or "modern American classic", but it mostly just seems dated. Beatty and Dunaway have undeniable presence. They are always cool and complementary. But the casting of Gene Hackman as Clyde's brother is horrendous. Equally horrendous is the performance of Estelle Parsons, who plays Clyde's sister in law. All she does onscreen is scream, whine, and act annoying. For this she somehow she received the Oscar for Best Supporting Actress! Shocking. There are enough excellent moments here to make this worthy viewing, but for the most part criticism of this film seems drenched in hyperbole.


Written 4/19/10

The Documentaries of Louis Malle: Phantom India

Haunting scenes of India in the late 1960's. Director Malle's camera does meander at times, but his searching lens(es) can have a hypnotic effect. Educational and insightful throughout.


Written 12/25/09

Downhill Racer

This is a curious one. I wanted to like it more, but Redford's choice to play the lead character as a cold, unfeeling ogre left me feeling dazed. "Downhill Racer" has the make-up of a classic sports drama, but it's missing several essential elements. Namely: warmth, humility, and grace. View with caution.


Written 12/25/09

Z

Proving rampant corruption does exist in seemingly every corner of the world, "Z" profiles horrid political corruption in Greece. It's a bit strange that the screenplay is in French given the Greece setting, but I suppose we Americans do it all the time, populating films based in foreign locales with our North American actors. Well, here the French have a go at it. Without giving too much away: the assassination of a key figure in the film is not believably depicted. That pivotal scene did not convince me. This is an unfortunate flaw in what is otherwise a gripping, well-acted work.


Written 12/11/09

My Night at Maud's

"My Night at Maud's" is an excellent character study. The story is ever-engaging. It veers in many directions and provides an unexpected twist at the end. The film is not as dry as its synopsis (i.e. "A devout Catholic meets up with a Marxist friend he hasn't seen in 14 years, and both men wind up spending the evening in deep philosophical conversations about love and religion...") might lead you to believe - give it a shot!


Written 8/24/09

Woman in the Dunes

Sand has never looked so lovely. But also violent, and oppressive. In fact, sand is so prominent in "Woman in the Dunes", it may as well receive an acting credit. This film is gorgeous, filled with vivid imagery and details. Some of the camera work is so daring it verges on experimental filmmaking. I have seen few films from this era that are so riveting and adventurous. The musical score is outstanding, enhancing the characters' shackled claustrophobia. There are so many fascinating themes within the storytelling. An analysis of "Woman in the Dunes" could produce an outstanding graduate thesis. But I'm done with school -- someone else do it!


Written 7/28/09

The Apartment

Outstanding in all respects. The subject matter features some surprisingly dark themes that are still risqué today. But the warmth in the performances of the two leads - Lemmon & MacLaine - preserves the film from falling into mire. The script is sharp, and brilliant character actors abound. See this movie!


Written 7/25/09

L'Avventura

Was this really considered to be the best film submitted at the Cannes Film Festival in 1960? If so, then that certainly was a dour year for cinema. "L'Avventura" is decent enough, but hardly worthy of such substantial praise. The characters depicted are largely hollow shells, meandering about. The director Antonioni romances the female lead - Monica Vitti - with his camera lens. He is visibly enamored with her, and rightly so - she is a vibrant screen presence. Unfortunately, her character submits to a scoundrel of a man and we are forced to observe the fallout. The film contains lovely Italian countryside scenery, and some interesting social commentary, but it all ends up seeming a bit antiquated and ponderous.


Written 7/14/09

The Hustler

Paul Newman oozes stylish cool as the impassioned title character. The outstanding jazz soundtrack is a perfect complement to this moody tale. Of course, the film features pool, but even more so than that it starkly presents the dangers of obsessive behavior. Each character experiences a loss related to their insatiable "hunger" -- as Newman's love interest scolds him at one point early in the film: "You're too hungry!" Addiction will always be dangerous, and "The Hustler" delivers this message as a clarion call.


Written 6/11/09

Cool Hand Luke

Paul Newman oozes cool and contempt for authority as Luke -- an archetype for Hollywood anti-heroes to come. The punishment his character receives for a petty crime doesn't seem appropriate... seems hijacked from an archaic draconian age, really. Do such labor camps still exist? Only in the south, perhaps? Whatever -- watch and enjoy this band of sweaty, southern-accented men develop their schemes and hatch their plots. The soundtrack is outstanding, too. Lalo Schifrin (he's most famous for his "Mission: Impossible" theme, among dozens of other notable credits) enhances the narrative with his propulsive score. Music is at the core of this film, with the prisoners' continually singing work songs. Newman himself picks up a banjo and sings a tune. This is a compelling movie with universal themes and well-drawn characters.

Written 11/29/08

The Trial

This film adaptation of Kafka's novel, directed by Orson Welles, is uncompromising and as challenging to endure as the novel. Dialogue after the opening 5 minutes is practically inconsequential. After that you simply imagine the strangest, most random thing that could happen next, and it does. The story is certainly not linear. It is a fine production with solid acting, but be prepared for a bewildering time.


Written 3/12/08

Army of Shadows

"'Army of Shadows" is a revealing depiction of the French Resistance movement during World War II. I'm always amazed at director Jean-Pierre Melville's ability to wring life out of dulled blue and gray color schemes. He somehow manages to evince vibrancy from his shadowy sets. Be forewarned that "Army of Shadows" is not fast-paced storytelling, but if you are patient while watching you shall be rewarded.


Written 12/31/07

The Complete Monterey Pop Festival

There are 3 brilliant documentary films that document the trajectory of 1960's American rock festivals: "Monterey Pop", "Woodstock", and "Gimme Shelter". All three are worth viewing. I especially enjoyed "Monterey Pop" because it documents the ascent of this music movement. You'll witness the breakout U.S. performances of Jimi Hendrix, Janis Joplin, The Who, and Otis Redding. I fail to understand why Jefferson Airplane merit the inclusion of two of their songs. Among such a tremendous cast of musicians they are hardly a highlight, but that's my only gripe at the editing. The sound and picture are lovingly restored for this release, making this a must-see for any rock 'n roll fan.


Written 12/17/07

Sword of the Beast

I wouldn't rank Sword of the Beast among the top 20 samurai films of all time. Nonetheless, it has its charms. Worthy of a viewing if you are a devotee of 1950's-60's Japanese cinema.


Written 9/23/07

Butch Cassidy & the Sundance Kid

This is a film that doesn't quite know what it wants to be. Instead of deciding, it floats by on the sheer charisma of the co-leads, Paul Newman and Robert Redford. Indeed, they are magnetic. At film's end you know little more about Cassidy & the Kid's motivations. Backstory is minimal. The default setting is "style over substance". Katharine Ross, who plays their special lady-friend, is given little to do. She should be regarded as a mere diversion, scene-dressing. So what it all hangs on, then, is Newman, Redford, and their banter. It doesn't help that the film's score is composed by Burt Bacharach. I adore Bacharach, but his lounge jazz tendencies do not jive with this project. The shoe-horning in of his hit song "Raindrops Keep Fallin' On My Head" is a blatant cash grab and serves no purpose besides commerce. Perhaps the same ought to be said of the entire production - it was aimed at the audience's collective pocketbook. Well, they succeeded: this was the top box office movie of 1969. A fun romp, but no classic for all times.

Midnight Cowboy

Disturbing and depressing, yet there is some true artistry on display here. Voight and Hoffman are both excellent, each imbuing their oddball characters with genuineness and heart. If ever you wanted an argument against pursuing your dreams in the big city, "Midnight Cowboy" is the movie for you. It makes New York City look like hell on earth. The filmmaking veers toward experimentalism at many different interludes; I doubt there are many (or any) more oddball choices for Academy Award for Best Picture. Viewing "Midnight Cowboy" leaves one feeling hollow by the end. You are spending time with characters who want to be served and are not willing to commit to the real work required of anyone who wants to live "respectably". The homosexual element of the story is minimal, though I'm sure it played a part in the movie receiving an initial "X" rating. There's a lot to digest in "Midnight Cowboy", but I'm not altogether convinced the effort is worth my time.