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Reviews
The Cat and the Canary (1939)
A fine comedy with loads of thrills
An almost perfect film, "The Cat and the Canary" will have you laughing aloud while peeking through your fingers. Although the 1927 version has recently gained in reputation, this 1939 version is the better of the two. Paulette Goddard and Bob Hope (who would team again a year later in the equally scary and hilarious "Ghost Breakers") make a wonderful team as a newly revealed heiress and a less than brave romantic interest. Paulette, who's inherited a fortune, can lose it all if she's proved to be insane. While someone tries to drive her over the edge, Bob's determined to protect her. Together they may just solve a big mystery that also involves a priceless necklace...if they live long enough. Fine support, particularly from Elizabeth Patterson, George Zucco and Gale Sondergaard. The Hope-Goddard Paramount productions were noted for their brilliant Art Direction-Set Decoration, and Hans Dreier's reputation was enhanced by the remarkably evocative and moody atmosphere depicted in this first class production. Ernst Toch's original score skillfully blends the whimsical with the menacing; and, Charles Lang's cinematography is sublime, a perfect mixture of light and shadow. Elliot Nugent directs with winning style. The French critics made much of mise-en-scene, and this is a perfect example of how the totality of an image equals a heady remarkability.
Hannibal Rising (2007)
"Hannibal Rising": a strong bloodline continues
The terms beautiful and romantic are not adjectives that immediately come to mind when thinking of the homicidal, yet charismatic, Hannibal Lecter. But you may decide they apply after the latest entry into Metro-Goldwyn-Mayer's most recently successful franchise. Shades of Claude Chabrol's "Le Boucher" haunt the framework of this exquisitely filmed entry into the life of the infamous cannibal. When "Silence of the Lambs" exploded in theaters, on the coat tail of the then little known "Manhunter", Anthony Hopkins horrified us while riveting us to the screen. When "Hannibal" came along, we were still horrified but gained insight into the humanity of a serial killer. With "Hannibal Rising" the eponymous antagonist has become protagonist as victim. Gaspard Ulliel brilliantly embodies the novice slayer. Universal did something similar with their monsters during the second world war, with Dracula and the Invisible Man fighting Nazi's. Everything old is new and a swastika carved on a bodiless head never seemed so cool.
Framed (1975)
Exciting, action packed film with something extra
"Framed" (1975) was legendary film noir director Phil Karlson's first film after the gargantuan success of his 1973 biopic of Tennessee Sheriff Buford Pusser, "Walking Tall." In "Framed", Karlson continues the theme of revenge which has dominated his body of work since the early 1950's. His masterpieces include "Scandal Sheet" (1952), "Kansas City Confidential" (1953) and, of course, "The Phenix City Story" (1955). "Phenix City" is a fact based biopic, along the lines of "Walking Tall", about the murder of the Attorney General Elect of the State of Alabama. Long considered Karlson's greatest achievement, it was made prior to the sentencing of those involved in the AG's murder, and greatly affected the outcome of their trial. "Framed", compares well to Karlson's best works. Karlson always worked on a limited budget. Like Samuel Fuller and Don Siegel, Karlson was a talented and resourceful filmmaker whose films are often more than they seem. On the surface, Karlson's films appear to be violent exploitation pieces; but, they are much more. Each of Karlson's efforts, particularly the ones mentioned here, are morality plays. Their protagonist is usually a morally just man who wanders too close to immorality, and pays a price. Gambling is often featured as the tempting vice in Karlson's films and "Framed" is no exception. Joe Don Baker, a remarkable and underrated actor, stars here as a small time gambler who owns a bar with his girlfriend, Connie Smith. Following a successful out of town game, Baker is robbed by an unknown assailant and then nearly killed (in one of the most graphic scenes in any Karlson film) by a crooked Deputy Sheriff responding to the scene. In self-defense, Baker kills the officer. Proving once again that there is corruption at every level of the legal system, Baker is sent to prison by a corrupt District Attorney, a corrupt Judge and a corrupt attorney. There's even corruption at a higher level that will ultimately be revealed. While in prison, Baker meets a powerful mob figure (a fine supporting performance by John Marley), and thereby sets in motion his revenge. Vigilante justice is often also a theme of director Karlson. With or without a badge, Karlson's protagonists carry out true justice in spite of the law, while gaining revenge for themselves. They are ultimately heroes because they can be seen as protectors of "the little people" who are downtrodden by the corrupt hierarchy. "Framed" also contains another Karlson trademark: promotion of racial equality. Karlson's films contain some of the most powerfully accurate portraits of racial prejudice along with black characters who are thoughtful and intelligent. Brock Peters, a fine actor, is very good as a deputy who comes to Baker's aid. What other filmmaker, appealing to a largely white southern audience--well, yes, a predominately "redneck" audience--would have had the courage to feature such characters in his films. An intelligent study of Karlson's body of work is long overdue, and "Framed" should be part of that study. It is entertaining and has something to say about our society. It is expertly directed and the performances are above par. If you are looking for an exciting, action packed film with something extra, look no further than "Framed."
Ma mère (2004)
Rotten at the Core
It is ironic that the protagonist in "Ma Mere" evolves from a "believer" into an "agnostic" after the tutelage in depravity offered him by his mother. Ironic, because certainly if ever there were a film that inspired--demanded--moral judgement upon its characters, it is this one (all the more so, when one views the alternate ending on the DVD). And yet, the message of the film (if there is really any) is that there is no place for judgement--or any hope of redemption. This turns a rather pornographic character study into a third rate tragedy. I remember the grave controversy that erupted over Bertolucci's "Luna" in 1979. How open minded (or, how low we have sunk, depending on your take on the matter) we have become as filmgoers that "Ma Mere" hardly caused a ripple. Indeed it is "Luna" to the tenth power. Although the plot does little more than provide a reason for the cast to engage in fornication, incest, homosexuality, domination, abuse, flaying (sort of), etc., Isabelle Huppert as the mother, and Louis Garrell as her son, are excellent (and beautiful)--as usual. That they have lent their talents to camouflaged exploitation can best be described as "unwise", though some critics have called it "courageous." "The pleasure only begins when the worm is in the fruit", the mother tells her son at one point in the picture. You can be sure this fruit is rotten at the core.
McQ (1974)
On horseback or behind the wheel, Duke kicks ass!
John Sturges (Bad Day at Black Rock, The Great Escape) directs Big John Wayne for the first time and the result is "McQ", an action packed detective thriller that ranks among the best of the 1970's genre. Much of the negative criticism regarding this film has to do with whether or not a man the age of The Duke could do the things his character does in this film. Wayne was 66 when he began shooting "McQ" in Seattle, Washington. I can tell you I have known men who worked hard and lived hard, and could easily kick my ass when they were 66. On horseback or behind the wheel, John Wayne can kick ass. Having that issue resolved, focus on Wayne's fine performance, a suspenseful and well written screenplay, taut editing that rivals "Bullitt", a powerful supporting performance from Colleen Dewhurst as Myra, Elmer Bernstein's innovative and driving score, and Sturges fine, autumnal direction. ***1/2 (out of 4).
Fiend Without a Face (1958)
Disappointing Excursion Into Sci-Fi Horror Hybrid
The fact that "Fiend Without a Face" has been released by Criterion on DVD should not mislead one into believing it to be the kind of masterpiece usually released by the Rolls Royce of home entertainment. It isn't that "Fiend" doesn't have it's moments, the shoot-out at the end is both gross and funny. And, there is no doubt director's such as Romero and Burton were influenced by it (also see the Hammer classic "Island of Terror"). However, I just don't understand why Criterion would release THIS particular film when there are so many more in this genre deserving this type release; "Night of the Demon" and "Invasion of the Body Snatchers" immediately come to mind. Nevertheless, "Fiend" is somewhat entertaining, and has a Cormanesque feel. The leads are adequate, and the special brain effects are taken strictly from Harryhausen.
Full of Life (1956)
Quietly moving, tender film for thoughtful viewers
I discovered "Full of Life" when I was in High School in the early 1980's. I had never even heard of the film (a comment shared by several contributors to this site) when it came on late night television. It's funny to think a teenager could have been so moved by a film about experiences he has not yet had; but, I was. And as I have returned to this film throughout the years I find it becomes all the more perceptive and, yes, beautiful. "Full of Life" is about life, about the human comedy and it contains three extraordinary performances: one from the ever-amazing Judy Holliday, one from the underrated Richard Conte and one from opera star Salvatore Baccaloni, magnificent as the father-in-law. The screenplay earned a nomination from the Screen Writers Guild, but that is the only contemporary recognition it received. However, it remains--to those willing to discover it's sublime charm--a quietly moving, tender film for thoughtful viewers.
Time to Run (1973)
Powerful and moving, Oscar winning cinematographer in top form
When I saw the credit for Charles Rosher as Director of Photography, I knew "Time to Run" had been treated as a quality production. Many well-intentioned Christian-oriented productions suffer, quite frankly, from poor acting and a lack of quality in technical fields. But this film is different. It transcends the 70's feel and speaks to any audience in any era and contains above-average performances by it's three leads. And, Rosher of course was the multi-Academy Award winning cinematographer of such masterpieces as "Sunrise" and "The Yearling." His use of light in "Time to Run" is exceptional, but there is another "light" altogether that is the central focus of this powerful and moving film.
Un homme et une femme (1966)
Perfect in every way
A lot of cineastes have become cynical about this film. Most have lost their objectivity toward romance. Claude Lelouch's masterpiece, this 1966 French film stars Jean-Louis Trintignant and Anouk Aimee as two people who meet while visiting their children at boarding school and fall in love. Francis Lai composed one of the most beautiful scores in film history for 'A Man and a Woman,' and it perfectly complements the visuals filmed in both black and white and color. Contemporary critics made much of the fact the film was shot in both, though director Lelouch contends it was merely a budgetary matter. Whatever the reason, the cinematography is exquisite. Lelouch and Pierre Utterhoeven wrote the Oscar nominated screenplay that had women (and men) weeping in the aisles. And, both Aimee and Trintignant give compelling, star-making performances. THE perfect film to introduce anyone to 60's film Francais, it remains both accessible and exemplary. **** (out of 4)