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Reviews
One, Two, Three (1961)
Obnoxiously Bad
A loud, painful Cold War farce directed with bludgeoning precision by Billy Wilder. The humor is as stale, obvious, and corny as you can get, and it is unfortunately delivered in an unrelenting stream by the actors, who blare their lines at an increasing volume as the film barrels on (this has to be the loudest movie I've ever seen). The film also has an underlying hostile tone and absolutely no likeable characters. It's ironic that "The Producers," another farce from a few years later, was considered more vulgar and in bad taste than this one; Mel Brooks's film also utilized dark historical themes for its humor, yet by comparison it is presented in a cheery, mirthful tone with endearingly off-the-wall characters.
There are only two memorably funny moments: when a Berlin jeweler holding up a briefcase of his wares tries to get the attention of Cagney by saying, "Schmuck? Schmuck?" (which is the German word for jewelry); and when Red Buttons, in a cameo as a military policeman, breaks into a Cagney impersonation in front of Cagney. There are also some charming references to two much better films, "Public Enemy" and "Little Caesar."
If you're looking for a broad farce in a similarly dark vein, see "The Producers" or "Duck Soup" instead; or if you want to see a good Wilder film, try "Double Indemnity" or "Sunset Boulevard," which are the most virtuosic examples of his famous jet-black cynicism that is unfortunately mishandled in "One, Two, Three."
Baron Prásil (1962)
Imaginative yet unengaging
Zeman created a hugely imaginative version of the Munchausen story; he is a visualist along the lines of Georges Melies ("A Trip To the Moon") who, through his elaborate matte and composite shots, points the way to the boundless digital worlds of Lucas's "The Phantom Menace." Despite Zeman's trippy whimsy and resourcefulness with special effects, the film is mostly unengaging, due to slack direction and detached performances. The strongest elements are an exciting horseback chase sequence carried by a rousing score, and the Baron's perpetually pathological optimism, which is central to the story and acts as a hilarious counterpoint to the fantastic events in which he finds himself. Despite the film's faults, it has to be appreciated for Zeman's distinctive overall style, and how it must reflect the artistic sensibility of its day in Eastern Europe. (Interesting observation: the eerie Theremin chords which permeate the scene by the steamboat recall the same device used a few years later on the extraterrestrial sets on "Star Trek.") Zeman's style is said to be an influence on the work of Terry Gilliam (seen most sharply in his "Monty Python" cut-out animation). As far as comparing Gilliam's 1989 version of "Munchausen" to Zeman's, Gilliam's is definitely superior: more hedonistically fantastic, entertaining, and fun. For all of Zeman's craftsmanlike wonders, his version is indeed rickety in comparison, but must be admired for the heights of fantasy it reached with the considerably more limited resources available to him.
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Without equal
Brilliant Brilliant Brilliant. Scorchingly witty, immaculately shot. Sellers' and Scott's performances should serve as textbook inspirations for film actors everywhere, the set design should serve as textbook inspiration for film set designers everywhere. Kubrick's Out-Of-The-Park, New York Yankees World Series Grand Slam. "MEIN FUHRER! I CAN WALK!"
Star Wars: Episode V - The Empire Strikes Back (1980)
The greatest episode so far.
Cinematic nirvana. The best of the three. Splendiferous, awesome, and majestic on every level. This film has unfairly been stigmatized as "the sequel to Star Wars" or "part of the trilogy" instead of being judged on its own merits. Can be considered perfect pulp, as well as the ultimate children's storybook or a space opera of the highest order. Its brilliant elements: Boba Fett, the freezing of Han Solo, the Imperial Walkers, John William's soaring score, the asteroid field, and the miraculous Yoda. This was indeed a blockbuster, and did help usher in the still-current malaise of "weekend box office" mega-movies, yet it is in fact one of the greatest films ever made, and should be thoughtfully considered a true work of art.