Tag Archives: 9/10

Movie Project #14: Sweet Smell of Success [1957]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Sweet Smell of Success [1957]

Sweet Smell of Success [1957]
Director: Alexander Mackendrick
Screenplay: Clifford Odets and Ernest Lehman
Country: USA
Genre: Drama/Film Noir
Starring: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner
Running Time: 96 minutes

Reason for inclusion: This is one of the most highly regarded Film Noirs that I still had not seen.

Accolades: Inducted into the National Film Registry in 1993, part of Roger Ebert’s Great Movies series, Empire 500, 501 Must See Movies, the Criterion Collection, and many more “best of” lists

Is there a bigger louse in film than Sidney Falco (Tony Curtis) in Sweet Smell of Success?

Here is a man (and I use that term loosely), a press agent, who will do anything and everything to get his clients mentioned in a nationally syndicated newspaper column. He is willing to bribe, blackmail, extort and even pimp out his acquaintances if it helps him make a quick buck. Falco is a sleazy shell of a man.

“You’re dead, son. Get yourself buried.”

The author of this newspaper column, J.J. Hunsecker (Burt Lancaster), isn’t much better. Rather than ooze slime, Hunsecker uses his power and authority to bully his way through life. He has an ego the size of Texas, and he is especially intimidating to his younger, 19-year-old sister, Susan (Susan Harrison).

Sweet Smell of Success [1957]

“Everybody knows Manny Davis – except Mrs. Manny Davis.”

Susan is in a happy relationship with noted jazz guitarist, Steve Dallas (Martin Milner), and they have begun discussing the prospects of marriage. One problem: Susan desperately wants her brother’s approval, and Hunsecker is not ready to do so.

“I’d hate to take a bite outta you. You’re a cookie full of arsenic.”

Instead, J.J. schemes with Falco to find a way to break up their romance. Falco, failing at this task much like everything else in his life, grows more and more desperate while aiming to please the very influential columnist. He tries selling “tips” to other gossip rags in an attempt to label Dallas as a “marijuana smoking commie.” What entails is an increasingly foul and dirty game of smearing, with both Falco and Hunsecker seemingly digging themselves deeper and deeper in their power plays.

Sweet Smell of Success [1957]

“Mr. Hunsecker, you’ve got more twists than a barrel of pretzels!”

Lancaster and Curtis are terrific in the lead roles, especially the latter. Curtis excels at portraying what is essentially the cesspool of humanity. Even when he is in the distant background during a few scenes, I found myself keeping an eye on him just to see if I could figure out what he had up his sleeve. The character of Falco never stops conniving and scheming his way to the top.

“My right hand hasn’t seen my left hand in thirty years.”

Sweet Smell of Success has some of the best dialogue I have seen in film. It is immensely quotable (as seen throughout this review), and it is a scathing attack on newspaper and print media. This is a film with horrible people doing horrible things, but damn if it isn’t entertaining.

9/10

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Movie Review: Before Midnight [2013]

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Before Midnight [2013]

Before Midnight [2013]
Director: Richard Linklater
Screenplay: Richard Linklater, Ethan Hawke, Julie Delpy
Genre: Drama
Starring: Ethan Hawke, Julie Delpy
Running Time: 108 minutes

This review is meant for those who have already seen Before Sunrise and Before Sunset. If you haven’t watched them yet, go do so before reading this review!

Before Sunrise and Before Sunset perfectly encapsulated that idealistic feeling of finding true love. Before Midnight takes that notion and grounds it firmly in reality, showing what life is like ten years down the road.

It’s not always pretty.

Surely a couple like Jesse (Ethan Hawke) and Celine (Julie Delpy) could be immune to the ups-and-downs of a long-term relationship, right? After all, so many of us fell in love with them as we watched them fall in love with each other. They seemed like such a perfect fit, and their back-and-forth dialogue felt so smooth and natural.

Before Midnight [2013]

Before Midnight shows us this couple, now living together for several years and proud parents of a set of beautiful twin girls. They are wrapping up a summer vacation in the beautiful countryside of Greece. Jesse has just dropped his son from a previous marriage off at the airport, reluctantly sending him back to Chicago to be with his mother. As it happens, Jesse is devastated at spending so much time away from his son, especially as he enters his formative high school years. The idea of moving to Chicago gets brought up in the middle of a normal conversation — Celine is immediately against the idea.

She has the opportunity to take on a new job — her “dream job” as she later realizes — and she wants to stay in France. This discussion is kind of glossed over during a long car ride, but it comes up later, as is wont to do. This one little (but big) suggestion gets under her skin, festering beneath before sneaking out in the form of little jabs and potshots.

Anyone who has been in a long-term relationship can immediately relate to the quibbles between the two of them, and quite frankly it can be difficult to watch Jesse and Celine spat back and forth. This is a couple that we have watched grow over the years in the most romantic way possible, and here they are middle-aged and bickering. It’s a stark reminder that no matter how a relationship starts, it takes some major work to see it through and keep that spark going.

Before Midnight [2013]

It’s not all melancholy in the film, however. There are several moments where we see glimpses of the couple as they were once before. A long scene at a Greek dinner party brings out some great stories, not just from them but also from their friends, both young and old. While the previous films rarely shined a light on anyone besides Jesse and Celine, here we are introduced to a handful of other characters, all of whom are interesting in their own right. It’s actually kind of refreshing to watch them banter with other people, especially given that their one-on-one conversations this time are a lot less pleasant.

But that’s the beauty of this film. Before Midnight feels entirely believable, even moreso than before. Hawke and Delpy still have flawless chemistry together, and as it goes with most Linklater films, the writing is excellent. While part of me is upset that I had to see Jesse and Celine this way, I am infinitely grateful to have experienced another 90+ minutes with them all the same.

9/10

Movie Project #11: Y Tu Mamá También [2001]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Y Tu Mamá También [2001]

Y Tu Mamá También [2001]
Director: Alfonso Cuarón
Screenplay: Alfonso Cuarón, Carlos Cuarón
Country: Mexico
Genre: Drama
Starring: Maribel Verdú, Gael García Bernal, Diego Luna
Running Time: 106 minutes

Reason for inclusion: I can’t remember where I first heard about this film, but it caught my attention years ago. Since then, I have seen it pop up in many “best of” lists, which has made me want to see it even more.

Accolades: New York Film Critics Circle Award for Best Foreign Language Film, Broadcast Film Critics Association Award for Best Foreign Language Film, Independent Spirit Award for Best Foreign Film, One Oscar nomination (Best Original Screenplay), two BAFTA nominations, one Golden Globe nomination

It seems only fitting that I follow up Luis Buñuel’s fantastic erotica, Belle de Jour, a film that showed little in the way of nudity, with Alfonso Cuarón’s Y Tu Mamá También, a film that revels in its sexual freedom.

Here is a film that takes pieces from many cinematic themes — a coming of age story, a road movie, a tale of best friends, and the seduction of an older woman to a much younger male — and ties them altogether into something very unique. I can’t say I have ever seen a film like it, even though it still feels familiar.

Y Tu Mamá También [2001]

Julio (Gael García Bernal, a recognizable face from Amores Perros) and Tenoch (Diego Luna) are two teenage boys that are also best friends. They seem inseparable, especially when their girlfriends go away for the summer. Now free to do whatever they like, they party, drink, do drugs and try to get laid whenever possible. At a wedding, they meet Luisa (Maribel Verdú), the Spanish wife of one of Tenoch’s cousins. Both teens are instantly smitten with her and, in jest, they invite her on a road trip to a secluded beach that no one knows about. She finds their gesture flattering — and amusing — but politely declines. Later, when it appears her marriage has hit a rough patch, she decides to take them up on their offer, much to their surprise.

Y tu mamá también [2002]

Julio, Tenoch and Luisa all hit the road together and drive through the Mexican countryside in search of this mysterious beach. This gives everyone involved — us included — to learn something new. For us, this trip provides a glimpse through rural Mexico, showing economic disparity while also beautifully evoking its many different cultures. For the characters, they are all discovering new things about themselves and each other, for better or for worse. It goes without saying that things will not be the same by the time they come back.

Y Tu Mamá También is frank with its subject matter, and full-frontal nudity is a common occurrence. However, there is nothing sleazy about this film, and in fact, it should be commended for not concealing anything. This is a wonderfully told story that feels raw and authentic. Best yet, it is honest, and by the end of the film I felt like I really knew these characters. All three grow up, just not perhaps in the way you might expect.

9/10

Movie Project #9: Belle de Jour [1967]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Belle de Jour [1967]

Belle de Jour [1967]
Director: Luis Buñuel
Screenplay: Joseph Kessel (novel), Luis Buñuel, Jean-Claude Carrière
Country: France
Genre: Drama
Starring: Catherine Deneuve, Jean Sorel, Michel Piccoli
Running Time: 101 minutes

Reason for inclusion: I had never seen a full-length film from Luis Buñuel. My only experience with him was his insane 1929 short film collaboration with Salvador Dalí, Un Chien Andalou.

Accolades: Venice Film Festival Golden Lion Award, Venice Film Festival Pasinetti Award for Best Film, Bodil Award for Best European Film, BAFTA Award Nomination for Best Actress, included in Roger Ebert’s Great Movies series

 
In French, the term “belle-de-jour” refers to the name of the daylily flower meaning “beauty of the day.” In Luis Buñuel’s seminal 1967 film, Belle de Jour, it also serves as the name of a high-class prostitute living a secret life.

Catherine Deneuve stars as Séverine Serizy, a stunningly beautiful housewife who seems to have it all. Her husband, a successful surgeon named Pierre (Jean Sorel), provides her with everything she could ask for, yet they are unable to share a physical connection. They appear to be madly in love with each other, but Séverine is unable to be intimate with him — they even sleep in separate beds.

Belle de Jour [1967]

Little does Pierre know that Séverine has wild, elaborate sexual fantasies involving other men, many of which involve domination and bondage. After hearing from a friend that brothels are still thriving underground, she becomes curious enough to visit one. It is there that she meets Madame Anaïs (Geneviève Page), who encourages her to offer her services. Following a strict schedule of 2-5pm (when her husband is working), Séverine begins working as Belle de Jour, bringing her fantasies to life. Naturally, this double life cannot go on forever, and it leads to tragic consequences.

This film is considered one of the greatest in erotica, and it’s easy to see why. Deneuve is absolutely gorgeous, and I can totally understand why so many men fell in love with her back then (and likely now, even). While quiet for much of the film, she gives her character an incredible amount of depth. There is more to Séverine than meets the eye, as she holds an incredible amount of emotional and mental scars. Every now and then we catch glimpses of her past via random flashbacks, most of which are clues to her current sexual frustration.

Belle de Jour [1967]

What made me fall in love with the film was its intricate use of these flashbacks and daydreams. By the end of the film, I was questioning just what was real and what was not. Reading online theories afterward just made me appreciate the film even more, as there are so many layers present that leave its story open to interpretation. It’s quite possible that everyone can take a different meaning from it.

This is exactly the type of film I love, and it has made me eager to see more from Luis Buñuel. I cannot recommend Belle de Jour enough.

9/10

Movie Project #8: Do the Right Thing [1989]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Do the Right Thing [1989]

Do the Right Thing [1989]
Director: Spike Lee
Screenplay: Spike Lee
Country: USA
Genre: Drama
Starring: Spike Lee, Danny Aiello, Ossie Davis, Giancarlo Esposito, Bill Nunn, John Turturro
Running Time: 120 minutes

Reason for inclusion: I had only seen one Spike Lee film (25th Hour), and had heard nothing but praise for Do the Right Thing.

Accolades: Two Oscar nominations, four Golden Globe nominations, #96 on AFI’s 100 Greatest Films, National Film Registry

“Always do the right thing.”

So says Da Mayor (Ossie Davis) to Mookie (Spike Lee), offering some simple advice that we could all certainly follow. Yet it’s not easy to always do what’s right. By the end of Do the Right Thing, this is especially apparent, as we are introduced to over a dozen characters who have all struggled with this concept.

Set during a sweltering summer day in the predominantly African American Bedford-Stuyvesant neighborhood in Brooklyn, the film shows little semblance of a plot for the first 90 minutes or so. Numerous individuals are introduced, occasionally running into each other, and there is no central figure. It could be argued that Mookie is the main character of the film, but he is just part of a large ensemble. In the wrong hands, this many characters could present major issues in terms of development, but Spike Lee has managed to introduce and provide depth for every single person on screen.

There’s Mookie, a delivery boy for Sal’s Famous Pizzeria, the corner pizza shop that’s been there for 25 years. Sal (Danny Aiello) is the owner, and he is waiting to pass the reigns to his two sons, Vito (Richard Edson) and Pino (John Turturro). The fact that their neighborhood has become a mostly black community has been bothering the two sons, but not so much Sal, who has taken pride in the kids in the neighborhood growing up on his food.

Do the Right Thing [1989]

Tensions arise when Buggin’ Out (Giancarlo Esposito) inquires about Sal’s “Wall of Fame” in which there are photos of a number of famous Italian Americans (i.e. Al Pacino, Joe DiMaggio, etc.). Buggin’ Out wants to know why there aren’t any black people on the wall, to which Sal replies that he is proud of his Italian American heritage and will only show Italians in his shop. This escalates into a heated argument, and Buggin’ Out threatens to start a boycott of the pizzeria.

Most neighbors just laugh at the boycott threats — after all, Sal’s has been there forever. Who’s business is it to tell him what to put up in his own restaurant? Yet there is one other supporter, Radio Raheem (Bill Nunn), a strong young man who always carries around a large boombox blasting Public Enemy. Raheem had his own altercation with Sal, who refused to serve him food unless he turned off his stereo.

Do the Right Thing [1989]

These types of confrontations and verbal spats are everywhere in the neighborhood. Much of this is due to racial tension, and it simmers for most of the film before finally reaching a boil in the tragically violent conclusion.

Without giving anything away, the film’s ending is one that raises a million questions. Who was right? Who was wrong? Why did it have to come to this? Did anyone “do the right thing”? Every character in the film has their own negative traits, just as we as humans are inherently flawed. Most try not to let their prejudices get the best of them, but in the scorching heat, it may be just a little easier to lose control.

Do the Right Thing [1989]

In order to really emphasize the record-breaking Brooklyn heat (which undoubtedly helped escalate these conflicts), Lee opted to use copious amounts of red and orange colors in his backdrops. This gives the film an especially unique feel. Lee also nailed the neighborhood setting, as it truly seems we are watching a day in the life of this particular area.

Do the Right Thing is an astonishing piece of filmmaking that still manages to feel fresh today. It elects not to choose a side, instead allowing you to make the decision for yourself. I am writing this post a day after viewing the film, and I still can’t stop thinking about it. This is a film that will linger and linger, and I can’t imagine it will ever go away.

9/10

Movie Project #6: My Neighbor Totoro [1988]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

My Neighbor Totoro [1988]

My Neighbor Totoro [1988]
Director: Hayao Miyazaki
Screenplay: Hayao Miyazaki
Country: Japan
Genre: Animation/Family/Fantasy
Starring: Hitoshi Takagi, Noriko Hidaka, Toshiyuki Amagasa
Running Time: 86 minutes

Reason for inclusion: I wanted to continue to watch more Studio Ghibli films, and this seemed to be the most highly-regarded out of those I hadn’t seen.

Accolades: Kinema Junpo Award for Best Film, Animage Anime Grand Prix prize, Mainichi Film Award for Best Film, ranked #163 on IMDB’s Top 250, ranked #41 on Empire magazine’s 100 Best Films of World Cinema

My Neighbor Totoro is as simple as it gets, but it is infinitely rewarding. Originally released on the same bill as Grave of the Fireflies (still the greatest animated film I have ever seen), Totoro remains one of Hayao Miyazaki’s crowning achievements, a children’s film that can be passed down from generation to generation.

Set in 1958 Japan, the film tells the story of a university professor and his two daughters, Satsuki and Mei, who move across the country to be closer to the hospital where their mother, Yasuko, is recovering from a serious illness. Their new residence is an old house that the girls immediately believe is haunted. Rather than allow themselves to be scared — “they’re just dust bunnies” — the sisters embrace the spirits and settle in as best as they can.

My Neighbor Totoro [1988]

While the older sister, Satsuki, is off at school, Mei notices a small, white rabbit-like creature playing outside. She chases after it, eventually reaching a well-hidden area inside the forest. Inside, she finds an even bigger creature, a very large “totoro” who is in such a deep sleep he doesn’t even notice the little girl. She instantly becomes attached to this creature, dubbing him Totoro, and begins seeing him on their property from time to time.

Even though Totoro only speaks in loud roars, he becomes a much-needed friend for Mei, and it isn’t long before Satsuki starts seeing him as well. When the girls tell their father about these mythical creatures, he smiles and doesn’t act for one second that he doesn’t believe them. As such, it’s refreshing to see an adult in an animated film not dismiss a child for these whimsical thoughts.

My Neighbor Totoro [1988]

It’s difficult to put into words what makes My Neighbor Totoro so great. The wild imaginations of children are expertly captured, and I can’t think of a better film that nails the general sensibilities of youth. The bond between the little girls and Totoro is heartwarming, especially as they are essentially using this creature as their way of coping with their sick mother. “Adult” issues are brought up and handled with care, and there is not even the slightest notion of condescension.

The sisters are believable, lifelike characters, and their jubilant behavior while exploring their new house is fun to watch. Totoro and his many smaller relatives are wonderful creatures, and it’s easy to see how they have remained popular worldwide over the years. There is also an incredibly unique “cat bus” that transports Totoro around the forest, one of the coolest looking modes of transportation I have ever seen.

My Neighbor Totoro [1988]

In a nutshell, My Neighbor Totoro is a beautifully-animated film that has a little something for everyone. It made me feel like a kid again, which is rare in itself. An absolute must see, even for those who generally sway away from animated films.

9/10

Movie Project #4: The Last Waltz [1978]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

The Last Waltz [1978]

The Last Waltz [1978]
Director: Martin Scorcese
Genre: Documentary/Music
Starring: The Band + friends
Running Time: 117 minutes

Reason for inclusion: This is widely considered one of the greatest rock films of all time, if not the greatest.

Accolades: KCFCC Award for Best Documentary, 98% rating on Rotten Tomatoes

“THIS FILM SHOULD BE PLAYED LOUD!”

So says the opening screen of The Last Waltz, Martin Scorcese’s documentation of The Band’s final performance on Thanksgiving Day, 1976. Set in the majestic Winterland Ballroom in San Francisco (also the site of the group’s very first concert), the film shows a good chunk of the actual concert, interspersed with brief interludes and interviews with band members.

The Last Waltz [1978]

Going into The Last Waltz, I wasn’t sure what to expect. The Band is one of those groups that were wildly important in the 60s and 70s, but they somehow managed to ride the line of anonymity (not unlike their generic band name). Ask the average person about The Band and they may remember or recognize “The Weight“, but that’s probably the extent of their knowledge. I know that for many years, that was all I knew from them.

No matter. This is a film that can be appreciated by music lovers of all kinds, whether fans of The Band or not. Their music stands the test of the time, and they are joined in their final concert by a number of familiar friends and well-known musicians. Just take a look at their list of special guests: Bob Dylan, Eric Clapton, Neil Young, Muddy Waters, Paul Butterfield, Neil Diamond, Emmylou Harris, Ronnie Hawkins, Dr. John, Van Morrison, Joni Mitchell, Ringo Star, Ronnie Wood, Bobby Charles, The Staple Singers.

Yeah. Holy shit.

The Last Waltz [1978]

With such a wide variety of guests, naturally the music weaves in and out of different genres. Whether it’s blues, folk or just plain rock and roll, there’s something for everyone. Best of all, everyone on stage seems to be having the time of their life. There’s a sense of melancholy, to be sure, but most of the musicians are playing with a smile on their face.

Now, this being a Scorcese picture, this isn’t a typical concert film. Scorcese went all out and turned this into a full-scale studio production with seven 35mm cameras, even employing some pretty great cinematographers to operate them. Michael Chapman (Raging Bull), Vilmos Zsigmond (Close Encounters of the Third Kind) and László Kovács (Easy Rider) are just a few of those attached to the project. The final product turned out to be a visually stunning concert, with frequent transitions between closeups of the different musicians. Some have complained that Scorcese focused too heavily on band member Robbie Robertson, but there are some great shots of all involved.

The Last Waltz [1978]

At its most basic, The Last Waltz is an amazing snapshot of its time. Is there a better congregation of 70s rock figures than in this film? There are many fun moments and performances, but seeing everyone involved come back on stage to play together one more time may be the best of all. The DVD includes a bonus cut of an improvised jam session as well, which is just as fun.

If I were to have one complaint with the film, it would be that two of the song performances — “The Weight” with the Staple Singers and “Evangeline” with Emmylou Harris — were filmed on a sound stage, not at the actual concert. While these renditions are fantastic, it was odd to bounce between the two.

Regardless, this is a great film, and Scorcese is absolutely right that it must be played LOUD. This is a fun, breezy two hours, and by the end of it I felt like I had just witnessed one hell of a show.

9/10

Retro Gaming Project #3: Contra [NES]

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Last year I announced the creation of a Retro Gaming Project in which I would finally go back and play through all of the classic NES and SNES games I missed over the years. This is a long work in progress with no set end date.

Contra [NES]

Contra
System: NES
Genre: Run and gun
Publisher: Konami
Developer: Konami
Release Date: February 1988

Super C, the 1990 sequel to Contra, may very well be my favorite video game of all time. I know a great deal of my love for the game is owed to nostalgia — it was one of the first I ever played — but I still love dusting off the old cartridge and playing it today. Amazingly, even after all these years, I had never played the original game in the series. In an effort to go back and kick-start this Retro Gaming Project, Contra seemed as good of a choice as any to get back into it.

I felt right at home instantly.

The run-and-gun, shoot ‘em up gameplay fits in perfectly with the excess of 80s action movies, and the two dudes on the box art are even dead ringers for Rambo and Dutch from Predator. The plot is standard sci-fi/action fare — aliens have invaded Earth, and only Bill “Mad Dog” Rizer and Lance “Scorpion” Bean are bad enough to destroy them.

Contra [NES]

The gameplay basically consists of shooting everything that moves while dodging enemies and stray bullets. In fact, it’s most beneficial to keep a finger on the shooting button the entire time — you never know when an enemy will pop up out of nowhere.

There are eight levels in total, all but two of which are side-scrolling fare. The other two, the “Base” levels, place the camera behind the player, only showing one room at a time. Once the room is cleared of enemies, it’s onto the next one and then the next after that, ultimately culminating with a boss fight.

The boss fights are glorious as expected, with some really ugly mothers tossed in there. These are always some of my favorite moments in the Contra series, and they do not disappoint here. Destroying the alien heart in the final level is immensely satisfying.

Contra [NES]

Also as expected, Contra is one tough son-of-a-bitch. When I first started playing, I struggled to make it past the first level. I mean, three lives only last so far, especially since it takes just one hit to die. That’s when I remembered the famous Konami code:

Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start

With that, I had 30 lives, and the gameplay experience became instantly more gratifying for a rusty gamer like myself. Although it felt a bit shameful to cheat like that, I was happy to make it past the second level and ultimately beat the game. Major props to Konami for realizing their game was hard as hell by throwing a bone for the rest of us.

Contra [NES]

I would be remiss not to mention the existence of the greatest weapon ever created in gaming history: the spread gun. It remains the best, most rewarding gun I have ever come across, and using it is one of the action genre’s greatest thrills. The other weapons (i.e. the laser gun and cluster shot) are effective as well, but nothing compares to the almighty spreader.

Contra still holds up remarkably well today, especially if played with a friend. The run-and-gun gameplay remains a blast (albeit an often infuriating one) on your own, but co-op is the way to go if you have that option. I’m glad that I was able to go back to this classic, even though Super C is still the better game for my money.

9/10

Movie Project #3: The Battle of Algiers [1966]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

The Battle of Algiers [1966]

The Battle of Algiers [1966]
Director: Gillo Pontecorvo
Screenplay: Gillo Pontecorvo, Franco Solinas
Genre: Crime/Drama/History/War
Starring: Brahim Hadjadj, Jean Martin, Yacef Saadi
Running Time: 121 minutes

Reason for inclusion: This is considered one of the greatest and most important war/political films ever made.

Accolades: Golden Lion winner at the Venice Film Festival, three Oscar nominations in two separate years (Best Foreign Language Film, Best Director, Best Screenplay), ranked #6 in Empire magazine’s “The 100 Best Films Of World Cinema“

It’s rare to find a war film that doesn’t pledge its allegiance to one side of the battle. In the U.S., we are so accustomed to films that either act as tributes to our soldiers, or those that paint us as bloodthirsty warmongers. There is usually no middle ground.

The Battle of Algiers has no commitment to either of the two sides it shows at war, and that’s what makes it so refreshing and still relevant.

The film acts as a capsule of the Algerian War (1954-62) between native Algerians and its French colonists, with the greatest emphasis placed on the Battle of Algiers. This is a war I knew nothing about, but the film does a good job getting viewers up to speed. The first half of the movie follows along with the urban guerrilla tactics of the insurgents in the National Liberation Front (FLN). Their goal is simple: they want their freedom back, and they will do anything to get it.

The Battle of Algiers [1966]

Many of the acts of the FLN could be considered flat-out terrorism. There is one particularly gripping scene in which a trio of Algerian women get haircuts and ditch their traditional garb in order to casually stroll past the French checkpoints in their city. Once through, each woman obtains a bomb, heads to a populated area and leaves their purse — containing the bomb — behind in a hidden location. The destruction is horrifying and we are there to see it all — the effects are made worse due to the fact that we are shown shots of people sitting down, eating, talking, basically not knowing that they are living the last moments of their lives. The shot of a little boy eating ice cream slayed me.

The Battle of Algiers [1966]

With the FLN it’s all or nothing, and while we can empathize with their request for freedom, we sure as hell can’t sympathize with their terrorist actions.

The second half of the film focuses on the French army paratroopers who are sent in to find and kill all of those active in the FLN. This group of elite soldiers, led by Lieutenant-Colonel Mathieu (Jean Martin), are there to do their job, nothing more, nothing less. Their tactics are as ruthless as the rebels — torture, assassinations and lynch mobs are just some of the Draconian methods they use. Their method is to systematically take down the movement, one-by-one, before ultimately reaching the head of the group.

The Battle of Algiers [1966]

The Battle of Algiers is shot documentary-style, making the presentation even more effective. While everything is staged, certain scenes could easily pass as news reel footage. Director Gillo Pontecorvo made sure to include a disclaimer at the beginning of the film stating that this was shot live. The cast is composed of almost entirely unknowns, with Jean Martin being the only professional actor in the bunch. As such, there is little in the way of character development; instead, Pontecorvo relies on the war itself to tell the story. We know some of the participants in the revolution (the actual insurgent, Saadi Yacef, even plays someone loosely based on himself), but they are bit players in the grand scheme of things. This is a battle between two nations.

The influence of The Battle of Algiers is still widely present today. In 2003, during the beginning of the Iraq War, the film was screened for Pentagon employees. In the late 60s, it was mandatory viewing for Black Panthers. The film is perhaps most relevant today, given the recent Arab uprisings in Egypt, Libya and other countries. This is one that has stood the test of time, and will almost certainly continue to do so.

9/10

Movie Project #2: Stagecoach [1939]

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The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Stagecoach [1939]

Stagecoach [1939]
Director: John Ford
Screenplay: Dudley Nichols, Ben Hecht
Genre: Adventure/Western
Starring: John Wayne, Claire Trevor, Andy Devine, John Carradine, Thomas Mitchell
Running Time: 96 minutes

Reason for inclusion: I finally watched my first John Ford/John Wayne film, The Searchers, at the end of last year’s project. Rather than just stop there, I thought it would be a good idea to see another classic from them.
Accolades: Seven Oscar nominations (two wins — Best Music, Scoring and Thomas Mitchell for Best Supporting Actor), rated the ninth greatest Western of all time by the American Film Institute, inclusion on Roger Ebert’s Great Movies list

Well, I guess you can’t break out of prison and into society in the same week.

Stagecoach is a film of many firsts. It is director John Ford’s first sound Western, his first collaboration (of over 20) with John Wayne, and his first Western shot using the gorgeous Monument Valley of the Southwest. The film is also widely considered to have single-handedly elevated the Western into respectability. Nearly 75 years later, Stagecoach still stands as one of the finest of the genre.

Although John Wayne is inarguably the biggest name on the bill, he is merely just one of many who are given equal footing here. The film tells the tale of nine strangers, all of varying backgrounds, who are riding in a stagecoach together through dangerous Apache-infested territory. There’s Dallas (Claire Trevor), a prostitute who is driven out of her hometown by a catty group of ladies that dub themselves the “Law and Order League.” There’s Doc Boone (Thomas Mitchell), an alcoholic doctor who would be excellent at his job if he could just stay sober for a minute. There’s a pregnant woman, Lucy (Louise Platt), who is heading west to be with her injured soldier husband. Other travelers include a whiskey salesman (Donald Meek), an embezzling banker (Berton Churchill), a Confederate gambler (John Carradine), a U.S. Marshal (George Bancroft) and the stage driver (Andy Devine). Then, of course, there is John Wayne.

Stagecoach [1939]

Wayne plays the role of The Ringo Kid, a fugitive who is picked up by the Marshal on charges of murder. Even though he is a criminal and escaped convict, we never get the impression that Ringo is a bad man. He never puts up a fight against the Marshal; instead, he seems more interested in making sure this stagecoach — namely, the women — make it to their destination safely. Wayne plays this character in a way that only he can, and he makes for a great hero in a carriage that badly needs one.

That isn’t to say the other characters are worthless. The prostitute Dallas (of whom Claire Trevor’s performance was actually given top billing) does well in the face of adversity, even as the others treat her as if she were a leper. The Marshal is a handy man with his gun, and even ol’ Doc Boone proves to be an asset, even if he is forced to down copious amounts of black coffee to sober up in a crucial time of need.

Stagecoach [1939]

In many ways, Stagecoach feels like a road movie, and it has a big payoff near the end. The Apaches — portrayed as nothing but savages, unfortunately — make their first appearance and begin chasing down the stagecoach. The ensuing action scene is nothing short of remarkable, even when viewed today. There are visual stunts that simply would not be attempted anymore, including one death-defying moment where an Apache is knocked off a horse directly in the path of the stagecoach and the other running stallions. By all accounts, the stuntman seemed to be okay, but holy hell that looked dangerous.

Stagecoach runs at a brisk 96 minutes, and there is never a dull moment to speak of. The film has excellent pacing; because of this, it could stand as an excellent introduction to the Western genre. John Ford, John Wayne, a memorable cast of characters and an outstanding action setpiece — what else is needed?

9/10

 
Bonus trivia: Orson Welles famously stated that he watched Stagecoach over 40 times while filming Citizen Kane.