Tag Archives: movie project

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

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Movie Project #10: The Warriors [1979]

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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 Warriors [1979]

The Warriors [1979]
Director: Walter Hill
Screenplay: Sol Yurick (novel), David Shaber, Walter Hill
Country: USA
Genre: Action/Thriller
Starring: Michael Beck, James Remar, Dorsey Wright
Running Time: 92 minutes

Reason for inclusion: This is one of the essential cult films I have heard so much about but never seen.

Accolades: Part of the 500 Essential Cult Movies list and the New York Times Guide to the Best 1,000 Movies Ever Made

Warriors, come out to play-i-ay.

One of the great joys in watching film is to finally see a cult classic for the first time. I had heard so much about The Warriors already — I’m sure *everyone* has heard the quote above, right? — but watching it still managed to be fresh and invigorating.

The Warriors takes place in a dystopian version of New York City in which gangs run the streets. It’s a dark, gritty city, and it seems that everything is tagged with graffiti, including the inside and outside of subway trains. The most powerful gang in the city is the Gramercy Riffs, and their leader, Cyrus (Roger Hill), has called a midnight summit of *all* New York area gangs. He requests that every gang sends nine unarmed delegates to meet in the Bronx to hear his proposal. Cyrus calls for a truce so everyone can work together to obtain total control of the city.

The Warriors [1979]

Shit hits the fan when the leader of the Rogues shoots and kills Cyrus, then pins the blame on a member of the Warriors group. Now every single gang member in NYC is out for blood against the Warriors, and the film follows them as they attempt to make it back to their Coney Island stomping grounds in one piece.

“I’ll shove that bat up your ass and turn you into a popsicle.”

The Warriors [1979]

It’s a pretty basic story, but what makes The Warriors so great is its style. This goes for the dangerous NYC wasteland all the way to its colorful cast of characters. The gangs we are introduced to are all memorable and utterly ridiculous at the same time. The Warriors are a shirtless bunch that wear brown pleather vests with a “Warriors” patch on the back. The Orphans — a group of misfits so low on the totem pole that they didn’t even get invited to the summit — wear greasy green shirts and blue jeans, and they are anything but intimidating. My favorite gang? Easily the Baseball Furies, a silent, facepaint-wearing bunch that wears old baseball jersies. Also, who could forget the Boppers — a snazzy-looking group with bright purple hats and vests?

Very few of the characters are even attempted to be fleshed out, but that’s not a problem here. This is a film in which you need to just sit down and enjoy the ride, campy dialogue and all. Taken on these values, The Warriors is a lot of fun. I can dig it.

8/10

 
This film inspired a 2005 video game of the same name. Anyone play it?

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 #7: Leaving Las Vegas [1995]

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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.

Leaving Las Vegas [1995]

Leaving Las Vegas [1995]
Director: Mike Figgis
Screenplay: Mike Figgis
Country: USA
Genre: Drama/Romance
Starring: Nicolas Cage, Elisabeth Shue, Julian Sands
Running Time: 111 minutes

Reason for inclusion: I heard this is one of the greatest films about alcoholism, a subject I have always found fascinating. I have also heard many great things about Nicolas Cage’s performance.

Accolades: Four Oscar nominations (one win for Best Actor), four Golden Globe nominations (one win for Best Actor), total of 29 wins and 19 nominations from multiple awards outlets

“I don’t know if my wife left me because of my drinking or I started drinking ’cause my wife left me.”

That one line perfectly encapsulates the life of Ben Sanderson (Nicolas Cage), an alcoholic screenwriter who lost control of himself long ago. After getting fired from his job, Ben decides to travel to Las Vegas to “drink himself to death.” A rather generous severance check allows him to do as he pleases in Vegas, and he continues to consume seemingly endless amounts of booze. Beer, vodka, tequila, whiskey… you name it, Ben will drink it.

Leaving Las Vegas [1995]

It is in Vegas where Ben meets another sad soul, a prostitute named Sera (Elizabeth Shue). The two of them immediately bond over their shortcomings, and both seem willing to overlook the other’s major faults. It isn’t entirely clear what draws the two of them together, other than both are incredibly lonely and desperate to find someone to care for them. Truth be told, there really isn’t a whole lot that they can do for each other. At one point, after Ben tells Sera that he cares about her, he makes a point to say, “You can never, ever, ask me to stop drinking.”

Sarah’s reply? “I know.”

And so goes this tragic tale. There is a strange affection between these two characters, even though their relationship seems doomed from the start. After all, can a hooker really help a drunk, or vice versa? Yet even though this is a bizarre couple, their relationship is completely believable.

Leaving Las Vegas [1995]

This credit completely and undeniably goes to Nicolas Cage and Elizabeth Shue, both of whom have delivered arguably the best performances of their careers. Their chemistry is perfected to the point of absurdity, with each expertly portraying someone who has essentially hit rock bottom. There are others in the cast — such as Julian Sands as Sera’s brute of a pimp, or Ben’s old colleagues played by Richard Lewis and Steven Weber — but this is very much a two-person show. Cage won an Oscar for his performance, and I’m willing to forgive his last decade of shoddy work based simply on this alone. It’s that good.

Leaving Las Vegas was filmed on a very small budget, which paved the way for Mike Figgis to direct, write the screenplay and compose its music. He filmed most of the scenes on location with Super 16 cameras, and as a result the film has a very personal, authentic feel to it. His overtly jazzy soundtrack may be a bit too much at times, but it does fit in with the overall bleak, downtrodden nature of the movie.

As far as films about alcoholism go, this is one of the better ones I have seen. Leaving Las Vegas is painstakingly depressing, but its authentic nature hits all the right notes.

8/10

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 #5: Amores Perros [2000]

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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.

Amores Perros [2000]

Amores Perros [2000]
Director: Alejandro González Iñárritu
Screenplay: Guillermo Arriaga
Country: Mexico
Genre: Crime/Drama/Thriller
Starring: Emilio Echevarría, Gael García Bernal, Goya Toledo, Vanessa Bauche, Álvaro Guerrero
Running Time: 154 minutes

Reason for inclusion: This is the only film in the “trilogy of death” that I hadn’t seen, and the constant comparisons to Pulp Fiction had me intrigued.

Accolades: BAFTA Award for Best Film Not in the English Language, Oscar nomination for Best Foreign Language Film, Prize of the Critic’s Week at the 2000 Cannes Film Festival, included on Empire’s 2008 list of the 500 greatest movies of all time, ranked #182 on IMDB’s Top 250

This review discusses several plot points and may contain spoilers.

In English, Amores Perros translates to “Love’s a Bitch.” It’s a clever play on words for a film in which love and dogs play an important part in each of its three segments.

As the first entry in Alejandro González Iñárritu’s trilogy of death (later followed by 21 Grams and Babel), Amores Perros is similarly structured as an anthology film. Three completely different stories are intertwined due to a horrific car crash that happens in Mexico City.

The first segment is the hardest to watch, and it is the reason why a “no animals were harmed during the making of this film” warning appears beforehand. It involves dog fighting, and through the illusion of quick cuts, the fights come across as all too real. The viciousness of these moments are enough to make animal lovers squirm (and possibly shut off the film altogether), but numerous precautions were taken to make sure no animals were actually harmed. It’s very effective film-making from Iñárritu in his feature film debut.

Amores Perros [2000]

The main character of this first segment, Octavio (Gael Garcia Bernal), becomes involved in dog fighting by total chance. After his dog kills that of a local thug’s in an impromptu “non-sanctioned” fight, Octavio sees this as an opportunity to begin profiting from his pet. His ultimate goal is to make enough money to escape with his sister-in-law, Susana (Vanessa Bauche), who is stuck in an abusive relationship with his brother, Ramiro (Marco Pérez).

The beginning of the film indicates that things aren’t going to go as planned, as it shows Octavio and Jorge in a car chase, culminating with them smashing directly into another car.

The second segment follows the lives of Daniel (Álvaro Guerrero) and Valeria (Goya Toledo). Daniel has left his wife and two kids in order to live with Valeria, who is a Spanish supermodel. She is the one driving the other car that Octavio and Jorge crash directly into. As a result, she breaks her leg, and is unable to continue working as a model. On top of this, she also loses her dog, Richie, who has somehow managed to get himself stuck underneath the floorboards of her house. With so many things going wrong at once, the strength of the new relationship of Daniel and Valeria is already put to the test.

Amores Perros [2000]

The third and final segment focuses on one person, a hitman (Emilio Echevarría) nicknamed “El Chivo” (aka “The Goat”). His connection to the crash is the loosest of the group, as he is getting ready to perform an assassination at the exact moment the accident happens. El Chivo’s story is the saddest of the group, as he is a homeless man who just wants to reconnect with his long-lost daughter. His loyal group of dogs seem to be the only thing holding him together.

Three segments. Three completely different stories. On their own, they likely wouldn’t be particularly enthralling, but the way they are interwoven together keeps the film fresh. Little hints and reminders are dropped here and there, showing that these characters are all related in more ways than originally meets the eye. As with 21 Grams and Babel, this is a film that would seemingly warrant multiple viewings to pick up on these clues.

Amores Perros [2000]

Filmed on a modest budget of $2.4 million, Amores Perros has a very personal, authentic feel. The performances are raw and impressive, and the fact that much of the movie was filmed in the poorer areas of Mexico City adds even more to the grittiness. In a crazy bit of trivia, Iñárritu and some of his crew were actually robbed by street gangs during filming.

It’s easy to see why Amores Perros is held in such high regard, and it is a thoroughly entertaining film overall. However, its 2 1/2 hour running time is a bit of a burden by the end, and some sections could have been easily reduced or cut entirely. The middle segment especially could use some trimming, as Valeria and her cries for Richie grew more and more ludicrous with every minute.

Regardless, this is still one hell of a filmmaking debut, and Iñárritu set the stage for a formula that he would go on to perfect with 21 Grams.

8/10

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

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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27

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.