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Reviews
The Stepford Wives (1975)
A rare film that it is at once entertaining and thought-provoking
The Stepford Wives begins with Joanaa (Katherine Ross) and Walter Eberhart (Peter Masterson) taking their two daughters away from the Sodom and Gamorrah of New York City and moving to the quaint little town of Stepford. The Stepfordian wives are bizarrely perfect – they always look put-together, they radiate pleasantness, and it would take the jaws of life to pull them away from their housework. Joanna, however, would rather be an acclaimed photographer than a tip-top housewife, and she is sharp enough to see that there is something amiss in Stepford. The writing is solid if occasionally contrived, the direction is simple yet gripping, but my favorite part of The Stepford Wives is Katherine Ross's and Paula Prentiss's performances. Ross is an appealing actress, with her big brown eyes and winning sincerity. Prentiss, who plays Joanna's pal Bobbie Markowe, is the dream best friend – funny, friendly, positive but refreshingly honest. They both have a likable naturalness that distinguishes them from the other Stepford women, and their chemistry makes for one of the most believable girlfrienships I've seen on screen. What's more, there's a womanliness to both of them that makes the film interesting. They are at once too feminine to become militant feminists, but too bright and lively to wear lace aprons and discuss laundry detergents. It adds another layer of ambivalence to a film rife with female dilemmas – Can I be myself and still please my husband? Can I follow my own dreams and still fulfill my responsibilities to my family? The idea of suburbia as a prison has become a film cliché, seen also in Revolution Road and the television series Desperate Housewives. I don't think it's naïve to say that American women have made significant progress since 1975. In 2010, we have women serving major positions in each of the three branches of government. A woman recently won an Oscar for directing an action film. As women rise in power and become more active in the workforce, The Stepford Wives becomes more archaic. The questions it raises, however, are still poignant. It's a science fiction treatment of the classic Pygmalion tale.
(500) Days of Summer (2009)
Oscillates between original poignancy and trite sentimentality
Intentionally or not, the makers (500) Days of Summer – why do we need those parentheses? – were trying to make an updated Annie Hall. Interestingly, though, the male lead in Annie Hall suffers from the neuroticism of children who grew up during World War II, whereas Tom Hansen (Joseph Gordon-Levitt) suffers from romantic delusions and expectations of children raised on Disney movies and romantic comedies (specifically, Tom misinterpreted The Graduate as a child). Annie Hall isn't the only film 500 Days of Summer brings to mind. Zooey Deschanel plays the Summer Finn, who seems like a watered-down version of Kate Winslet's character in Eternal Sunshine of a Spotless Mind – her hair color isn't turning any heads, but she still gets her kicks from sweetly screaming dirty words in public parks. The two films also go back in forth between post-break up misery and pre-break up joy. There's even a little bit of Little Miss Sunshine, with Chloe Moretz as Tom's sassy but wise little sister.
(500) Days of Summer, in trying to be as original as the three films mentioned, ends up oscillating between insightful observations and self-conscious sentimentality. The film tells the rarely told story of a relationship in which the girl cannot bring herself to love the likable boy as much as he loves her. It happens often enough in real life, as romantic desperation leads members of both genders to see love in themselves and in others where it just doesn't exist. It's too bad that the poignant core of the film is clouded indie-film tropes. Take for instance that Gordon-Levitt works in a greeting card company, even though he dreams of becoming an architect. Of course, any character that isn't pursuing his dream job is in dire need of a wake-up call. Telling an indie film crowd this is like telling doctors that medicine is the noblest profession. Deschanel's character would be wholly unoriginal if Deschenal wasn't herself an interesting actress. She's strikingly pretty. She's independent but feminine. She'd be the dream girl if she didn't give off the vibe of someone who's careless with other people's emotions. It's hard not to like and even envy her, whereas I didn't care for Gordon-Levitt's character. He's supposed to be the relatable romantic, but I thought he was too self-absorbed and whiny to cheer for. Moments meant to show his charm reeked of "Ain't I cute?" The screenwriters based the film on true events, which adds a sense of realism to some of the scenes, but also a sense of self-glorification to the film and to Gordon-Levitt's character in particular. (500) Days of Summer is entertaining and relatable, but it annoyed me more than it blew me away.
The Talk of the Town (1942)
Boring, confusing. disappointing
I was reminded of this movie when I saw Big and Carrie watching it in Sex and the City 2. I don't know if anyone would still be talking about this movie if Cary Grant wasn't in it. He was the reason I watched it when it was on Turner Classic Movies. I was excited to see that he was paired with Ronald Coleman, whose dry British manner I had enjoyed on the Jack Benny show. What's more, it starts out fun. Coleman plays an esteemed judge prospective boarder in Jean Arthur's home while she is trying to hide Grant, a Marxist fugitive, in her attic. Coleman's attempts to maintain civility as Arthur's odd behavior drives him insane are a delight to watch – think Bringing Up Baby. As soon as Coleman meets Grant, the fun romp grinds to a halt as the two engage in dull debates about the nature of justice. The film also becomes confusing as Coleman and Grant seem more in love with each other than either is with Jean Arthur, even as they compete for her affections. She was one other reason I had trouble enjoying this film, as I find her voice grating. Talk of the Town doesn't hold up. It's attempts at humor, romance, and social commentary fall flat. Too bad really – I've always like the two male leads.
Sleeping Beauty (1959)
A nostalgic masterpiece
This film is a lot like its princess – sweet, beautiful to look at and listen to, has nothing particularly profound to say but is a lovely presence nonetheless.
John Grant notes in The Encyclopedia of Walt Disney Characters that when it was released, the film disappointed critics expecting another Snow Whiter or Cinderella, as well as those hoping for something new. On the one hand, the films follow the same basic formula – a demure princess, an ineffectual prince, an elegant villainess, and bumbling troupe of supporting characters who end up saving the day. But things aren't quite the same. Aurora may be as innocent as Snow White but her blonde beauty suggests a Cinderella. Philip and Snow White's prince have the same approach to picking up girls, but Philip does more for his damsel than provide a well-timed kiss, and he acts a good deal more like a smug teenager than his predecessors. Maleficent (voiced by the same actress who voiced Cinderella's stepmother) might be described as the evil queen but with a sense of humor (albeit a sadistic one).
So it didn't generate as much love as its predecessors. And how about now? Is it too sexist? Sure, a raging feminist could have a field day pointing out what's wrong with the film's weak-willed princess who perpetually dreams of romance. To stamp this film as "sexist," however, ignores that the central conflict is between women – older women, in fact! All the other characters are essentially pawns on the chess board where Maleficent and the three good fairies battle. It doesn't help matters, of course, that the three good fairies are so saccharine and grandmotherly. Up until about three-quarters through the film, the three sprites do not seem competent enough to bake a cake, let alone slay a dragon. But then there's Maleficent. Wow. She's so frightening as a gaunt sorceress that her magnificent transformation into a smiling, slithering dragon seems almost redundant. It's hard to be completely at ease at any point in the film, knowing that Maleficent might be hiding in the fireplace or in the cottage, watching and waiting. That she could be all this and still be such a magnetic, sexy character serves as justification enough for adults to watch and enjoy this film.
There's a chance Sleeping Beauty will fade away as a kid's movie. Parents of the future might hide it away, not wanting their daughters to start floating around the house singing about the boys at their preschool. Children of the future might find it too scary, or maybe even too boring. Given the loud, fast-paced nature of modern kid's films, it's hard to imagine the scene where Aurora sings an aria as she strolls through the woods making the cut.
So while fading away may be inevitable, I really hope that doesn't happen. Criticisms aside, this film is a masterpiece. The same impulse that compelled Disney to pair classical music with experimental animation in Fantasia seems to inspire Sleeping Beauty. The animation is unlike anything before or after – much more like a moving tapestry than a Saturday morning cartoon. Aurora and Maleficent may be the two most graceful women in animation, and they are truly pleasure to watch. They move as gracefully as ballet dancers, unsurprisingly since the music comes from Tchaikovsky's ballet. There are parts of Fantasia that just don't work, and it's nearly impossible to get a kid to sit through the whole thing. But here, it works. Perhaps because Sleeping Beauty is a coherent story rather than a series of sequences, although it has more than a few jokey or ostentatiously animated sequences that don't move the plot an inch. Mostly, it works because the animation and the music complement each other beautifully, the one making the other romantic or haunting as the story dictates.
But what does this story really "mean"? Again, nothing profound. Be kind. Be brave. Stamp out evil where you can. This is a Disney film, after all. But it's a lovely one, and in a culture where a forgettable cartoon film seems to be churned out every month, I applaud the effort to create a film that is at once a work of art and children's entertainment. So maybe one day it will be considered more of a feat of animation than a great film for the kids. I just hope it doesn't slip away entirely.
Brief Encounter (1974)
Unnecessary. See the original.
To adapt and update a film that needs no adaptation is one thing. To entirely miss the point of the original film is another. The main flaw is Sophia Loren. I do not mean to suggest anything wrong with the actress herself – she is simply miscast in this film. Loren is far too gorgeous and exotic-looking for the role. What makes Brief Encounter so heart-breaking is that Celia Johnson, although she grows more attractive as the film continues, is not movie-star pretty. We could therefore easily believe – indeed, we know – that the affair is the most exciting event of her life, that it is the closest her life will ever come to resembling a Hollywood film. With Loren, we could more easily believe that she had once been a model who enjoyed many glamorous affairs before settling down, and she was now indulging in a bit of nostalgia. This leads to another problem: the original Brief Encounter is about love, this is about indulgence. Johnston's character was a housewife with too much time to spare, whereas Loren's character is a social worker. Her dalliances therefore have genuine consequences. Perhaps this could have made the film more interesting, but it instead it makes the film less of a love story and more of a rebuke to the selfish and the self-indulgent. It may have been different if we really believed Loren's character really loved Burton's character, but it seems more likely she was looking for a fun distraction from an admirable job she wasn't especially passionate about. I could find other flaws, but I will leave it at this: See the original. It cuts to the heart where this film leaves a scratch. If you love the original and want to see more of its kind, see A Man and a Woman or Before Sunrise/Sunset. Brief Encounter most likely inspired these lovely films, but they tell the classic story of a chance meeting turning into a love story charmingly and effectively.
High Fidelity (2000)
A film experience only enhanced by reading the book first
This is a great movie, but I recommend reading the book first. The filmmakers adapted it with a sense of creativity and respect for the original text, and the casting could not be more perfect. John Cusack is immensely appealing even at his most hapless, and every moment Jack Black is on screen is hilarious. Part of the fun of both the book is getting inside Rob's head and hearing his thoughts, which gave me a delightful mix of amusement that someone could be so clueless and relief that I'm not the only one who feels the way he does. The book deftly works the first-person narration of the novel by having Rob address the camera, ala Alvy Singer in Annie Hall, but naturally some of Rob's sharp observations had to be cut. Since I watched the movie the same day I finished the book, the words were fresh in my memory, so I felt like I knew what he was thinking even when he it would have disturbed the flow of the movie to have him actually say it Unless you're the type who can't enjoy a film adaptation if it veers even an inch from the book, read the book first. It has even more insights into the pain of relationships, and is darker and more cynical than this charming film. After reading it, however, I could still enjoy the film for its delightful performances and the clever changes that turned it from a British novel to an American film.
Crimes and Misdemeanors (1989)
An elegantly balanced, probing film
An elegantly balanced, probing film The story focuses on two men who are quite different, aside from the fact that they are both dissatisfied with their marriages. One is a successful ophthalmologist (Martin Landau), whose moral integrity is compromised when his mistress (Angelica Huston) threatens to disclose his marital and financial indiscretions. The other is a frustrated documentarian (Woody Allen), whose artistic integrity is compromised when he must make a documentary about his smug brother-in-law (Alan Alda) in order to finance another documentary about his favorite philosopher. The film grapples with a lot of big questions on the purpose of life, morality, and religion, but without the self-serving defensiveness of Manhattan or the sloppy "Eh, whattaya gonna do" attitude of Whatever Works. What makes it all work is the delicate balance established by the characters. Landau's self-control turns out to be the perfect antidote to Allen's jitteriness, and just when a scene feels too heavy we snap to a funny, lively scene with Allen. The unflinching realism of Landau's brother, played by Jerry Orbach, is countered by the unflinching optimism of a Rabbi and mutual acquaintance of the two leads, played Sam Waterston. Alda as a television producer who is perpetually pleased with himself
well, first of all, he's just great. A recognizable character we can laugh at and love to hate. His amusing shallowness is relieved by the insightfulness of Professor Levy, whom Allen worships. There are other noteworthy characters as well, for the film is essentially a panorama of human lives, all New Yorkers who aren't quite sure what to make of life. What's the point of being good? Is there any value in religion? Is there anything worth pursuing besides money and success? Although conscious of film history – Allen's character is a film buff, and it brought to my mind Strangers on a Train – Crimes and Misdemeanors approaches these questions with a sense of un-Hollywood realism and befuddlement.
Stage Door (1937)
As snappy as they come
I'm always a little hesitant to see a movie made before 1945, particularly one that claims to be a comedy. There's a good chance that it will be corny or silly. Stage Door is very much an old movie, with its snappy humor and callback to a time when live theater was a more popular form of entertainment. And yet, it entertained me in a way that only an old movie can entertain.
The film is striking for a number of reasons. First of all, the leading ladies are two established stars - Katharine Hepburn and Ginger Rogers, while two soon-to-be-stars – Ann Miller and Lucille Ball – make appearances as well. Second of all, the film is exhaustively wry. In the words of James Harvey, it "is like going to wisecrack heaven." With the exception of Andrea Leeds (who gives an overwrought performance that begs for an Oscar without actually deserving one), the boarding-house is somehow packed with quick-witted, sardonic dames. Rogers, though not especially know for her comic roles, is their smirking queen. This leads to another striking aspect of the film – how many other genuine comedies are completely driven by women? How about one whose plot does not revolve around romance? Of course the film did not mark the death of female humor, as one up-and-comer in the cast would demonstrate, but it is one of the few films where you will find a certain kind of comedienne – the relentlessly sarcastic gal retorting out of the corner of her mouth to another gal's barb. The sentimental moments don't always work, but when the armor breaks and Hepburn or Rogers feel, they feel, and the effect is rather touching.
The Squid and the Whale (2005)
An honest, funny, and different indie film
A semi-autobiographical indie film about a quirky, dysfunctional family could go a number of ways. It could be self-indulgent, cutesy, pretentious, or just plain annoying. Its attempts at humor and originality could fall flat.
But this isn't the case with The Squid and the Whale, the story of a family after the parents have agreed to separate and share joint custody of their two troubled sons. The screenplay is superb, filled with uniquely funny lines, true observations, and insults that sting. Screenwriter/director Noah Baumbach had worked with producer Wes Andersen on The Life Aquatic and Fantastic Mr. Fox, and the film unsurprisingly has a Wes Andersen vibe to it. Andersen's films, however, are so unusual that they seem to take place in a rarefied otherworld. Baumbach has dug into his own experience to create something honest, real, and relatable no matter what your family experience is.
Aside from the screenplay and direction, the performances are so good it is often unclear who the main character is. Each member of Bachman family is hilariously flawed yet strangely likable. Jeff Daniels is hysterical as the unabashedly self-centered father who is also a creative-writing teacher. Laura Linney as the well-meaning mom is the heart of the movie, and as usual she so embodies her character that it never seems like she is acting. Jesse Eisenberg is the quintessential pretentious nerd – I can see why he was cast in Network. Owen Kline as the oddball younger son is endearing. The supporting performers – Billy Baldwin as the hippieish tennis instructor, Anna Paquin as the sexy graduate student, and Halley Feiffer as Eisenberg's sweet but ordinary girlfriend – are perfectly cast. Baldwin's character is particularly funny.
It's delightful, smart, and different. I didn't expect I would like it, but at the end all I could think was "I want more!"
The Apartment (1960)
An emotionally-driven romantic comedy
I saw The Apartment for the first time after seeing Some Like it Hot in the same theatre the previous night. The Apartment is a good deal less fun and much darker than Some Like it Hot, but it is still a sweet film with a few good laughs. Jack Lemmon plays an officious office worker who regularly allows his higher-ups and their mistresses to use his apartment as their love nest. He has two people he is desperate to impress – a friendly elevator girl, played by Shirley MacLaine, and his suave, unscrupulously boss, played by Fred MacMurray. What starts out as a cute film takes a dark turn, with some moments involving suicide that made me genuinely uncomfortable. Shop Around the Corner came to mind as I watched it, only instead of a handful of kind characters, we're left with Jack Lemmon as the one decent person in the film. Any pleasure derived from this film will largely depend on the viewers' opinion of him. I found him appealing, but I could also understand someone finding his jittery style too annoying to tolerate. This is a well-written romantic comedy that is at once sweet and cynical in tone, one that does not skip over the darker human emotions and tendencies. As I watched it I found myself unable to keep from smiling at some points and ready to cry at others. It isn't a romance between two gorgeous people who in the real world could have anyone they wanted. The romantic leads are two cheerful nobodies who are used to struggling while watching others succeed. Their vulnerability makes for a less fun romantic comedy, but a touching one nonetheless.
Alias Jesse James (1959)
A ridiculous but fun Bob Hope film and Old Western satire
This film is utterly ridiculous. Where to begin
Bob Hope plays an inept life insurance salesman who sells a $10,000 policy to a mysterious stranger. He then finds out the stranger is none other than the notorious outlaw Jesse James, whom Hope must go out west to protect or his insurance company will go bankrupt (you'd think there'd be an easier solution
). The absurdity does not stop there. This film offers a unique depiction of Jesse James as a mild-mannered, community-oriented insurance fraud. For some reason, a helpful Indian princess shows up along the way.
Preposterousness aside, I had fun watching this film. The plot is really just an excuse for Bob Hope to entertain by feigning courage before comically sinking back into cowardice. While I mainly enjoyed Alias Jesse James as a Bob Hope fan, the film also benefits from Rhonda Fleming as Hope's genuinely lovely love interest, and western fans should get a kick out of the ending. I would advise those who are not yet Bob Hope fans to see Road to Morocco or another one of his more well-known films first – you've really got to be a fan of Bob Hope and of corny screwball comedies to enjoy Alias Jesse James.
The Darjeeling Limited (2007)
Lies somewhere between Rushmore and The Life Aquatic
Let me say first of all that I am a fan of Wes Andersen's style. I loved Rushmore, Royal Tenenbaums, and Fantastic Mr. Fox. I love his films' deadpan, understated humor; their quirky but appealing characters; and their soundtracks. Even The Life Aquatic, which I would have found unwatchable if Bill Murray wasn't such a delightful comedian, made me laugh out loud at points. Bill Murray makes a brief cameo in The Darjeeling Limited that is no more consequential than a Hitchcock cameo. The story centers around three brothers – the spiritual Francis (Owen Wilson), father-to-be Peter (Adrien Brody), and sensitive writer Jack (Jason Schwartzman) – going on a spiritual quest through India a year after their last encounter at their father's funeral. The characters, while likably portrayed, are not as developed or defined as past Andersen characters. Their interactions, however, capture the awkwardness of relatives who don't particularly like each other. The story resembles a series of loosely-related vignettes featuring the same characters rather than a cohesive narrative. Some of these vignettes are funny, some unique and moving, while some are too self-consciously sentimental or just too weird. Wes Andersen fans will be satisfied. Like his previous films, The Darjeeling Limited transports viewers to another world, entertaining them with uniquely funny and poignant lines delivered by familiar favorites (newcomer Adrien Brody holds his own as well). Those new to Wes Andersen films should see the three films mentioned earlier before giving this more flawed film a try. Non-Wes Andersen fans, stay away. His style hasn't changed, and he veers into some inexplicably strange territories.
Los abrazos rotos (2009)
The style of All About My Mother without the substance
I watched this film because I had seen All About My Mother four years ago and loved it. I was happy to see that Broken Embraces retains the vibrant cinematography with its rich array of primary colors and perspectives only a camera can provide. Broken Embraces, whose settings are less gritty than those of All About My Mother, is even more gorgeous to look at than its predecessor. Moreover, the memorable shots in Broken Embraces never feel gratuitous or self-indulgent, but always seem to enhance the emotion of the plot points. Broken Embraces' melodramatic plot, however, does not dig as deeply into its themes as All About My Mother does. Some themes reappear, such as coming to terms with a dark past, optimism during life's crises, art, and homosexuality (although this is only touched on in Broken Embraces). It also stays away from some of All About My Mother's darker subjects, such as AIDS, transvestitism, and the death of a son. Whereas the latter is a dark, evocative drama, the former is a film-noir thriller with Penelope Cruz as the quintessential femme fatale (there's even a "I knew she was trouble when she walked into my office" scene!). Ms. Cruz gives a lovely performance, but after seeing her play an HIV-positive pregnant nun in All About My Mother and a jilted maniac in Vicki Cristina Barcelona, I figured she could play a charming but troubled actress in her sleep. The other performances are quite good as well, particularly Lluis Homar as a gentle but passionate screenwriter who has lost his sight. Taken on its own, Broken Embraces is an entertaining, romantic, and cinematically stunning film. I intended this review for those who, like me, were looking for another All About My Mother. At the end of that film, I felt inspired by the beauty of the world around me and amazed that such a dark film left me feeling so optimistic. While I enjoyed Broken Embraces and did not feel like I'd wasted my time watching it, it did not provide as powerful an emotional experience as that of All About My Mother.
Glengarry Glen Ross (1992)
A sleek business thriller
I was hesitant to see this film because I had read the play and did not see what all the fuss was about. You really do have to see it to understand why Glengarry Glen Ross is as gripping and tense as an excellent film noir. I could not take my eyes off the whole time, and could feel my high blood pressure after it ended. Do not be turned off by the idea that this is a movie about real-estate salesmen. It's about survival in the business world in general, and how its cutthroat nature drives men to deception. I had loved Oleanna's ability to hold an audience's attention with a dialogue-driven script, and this holds true for Glengarry Glen Ross. The performances are high-energy and suit the parts well, as expected from such a high-caliber group of actors, although some are better than others. Alec Baldwin, for example, steals the show and sets the tone in his brief appearance, whereas I found Kevin Spacey's performance a bit one-note. Still, each actor commands attention and gives a master class in monologue delivery.
This is a captivating, satisfying thriller that, like a skilled salesman, knows how to hold your interest without overstaying its welcome.
Out of Africa (1985)
Blixen of Africa
This film reminded me a lot of Lawrence of Arabia. Both are primarily spectacles with stunning landscape shots, excellent performances, and superfluous running-times. Both center around a daring, at times endearing European expatriate (here we have a Danish woman in Africa rather than an Englishman in Arabia). Both are peppered with the occasional clever quip. Neither serves as a history lesson, Out of Africa even less so than Lawrence of Arabia. It is above all a love story between Karen Blixen (played wonderfully by Meryl Streep) and Denys Finch Hatton (played by Robert Redford, who is dashing if a little bland). Do not watch this film to understand colonial relations in Africa. The African natives are either extras or "haven't-seen-you-in-awhile" supporting characters. It is better described as a broad allegory – Karen and Europe represent civilization, intellectualism, and future-oriented thinking, whereas the streetwise (or safari-wise) Denys and Africa represent freedom, intuition, and a life lived in the present. I know it's not what actually happened, but the story might have been more interesting if Denys himself was an African rather than a white man suited to the African lifestyle. Nonetheless, I would recommend the film to anyone who enjoys high-quality cinema and doesn't mind a little romanticism and sentimentality.