The Last Little Tramp

Modern TimesM Modern 1936

Theaters:  February 1936

Streaming:  August 2010

Rated:  G

Runtime:  87 minutes

Genre:  Comedy – Drama – Family  – Romance

els:  8.5/10

IMDB:  8.5/10

Amazon:  4.8/5 stars

Rotten Tomatoes Critics:  9.0/10

Rotten Tomatoes Audience:  4.3/5

Metacritic Metascore:  96/100

Metacritic User Score:  8.9/10

Awards:

Directed by:  Charlie Chaplin

Written by:  Charlie Chaplin

Music by:  Charlie Chaplin

Cast:  Charlie Chaplin, Paulette Goddard, Henry Bergman

Film Locations:  Santa Clarita and Los Angeles, California, US

Budget:  $1,500,000

Worldwide Box Office:  $1,400,000

Charlie Chaplin as the Little Tramp, humorously battles modern life in the depression years of the 1930s, and he repeatedly loses. In his never-ending quest for survival he splits his time between failing his employers, getting fired, getting arrested, and spending time in the local jail. Coming off one escapade he discovers and falls in love with the beautiful gamin, Goddard; the dual together accelerate the tempo of absurd slap-stick into overdrive.

Silent films, after the technical hurdles of film, camera, and projector were overcome, became a full-fledged art form beginning in the mid-1890s and lasting until the late 1920s.  The early 20th century saw the art form generate almost all the genres that we know today, along with the experimentation and perfection of close-ups, long shots, and panning.  Contrary  to popular belief the technical quality of these early films was generally very good and the use of color in the 1920s was common. What wasn’t good was their preservation; by some estimates almost 70% of all silent films are forever lost. True silent movies incorporated live music at the theater, giving employment to thousands of musicians and the coming ‘talkies’ laid them all off.  Progress always has a price. The beginning of the end for silent movies occurred when Warner Brothers released The Jazz Singer in 1927, squeezing out silent films in a few short years afterward.

This is Chaplin’s last ‘silent’ movie, although audible music, song, and voice are interspersed with pantomime and title cards throughout the movie. By 1936 silent movies were well in the past but Chaplin felt that for his send off of his beloved mime, the Little Tramp, he needed to keep him inaudible.  But with all things Chaplin he broke that promise also when he staged the Tramp’s hilariously memorable nonsense song and dance number towards the end of the movie.  This scene alone, is worth the price of admission.

Charlie Chaplin, born in England in 1889, began his performing  career early in life, somewhere around the age of 10, working the London music halls and stages until he was 19. He came to America in the first decade of the 20th century and through his Little Tramp persona became one of the most recognizable men in the world. His movies on the surface were comedies but almost always contained a statement on the sufferings of the proletariat and fascism. His farce: the 1940 film, The Great Dictator, lampooned the German fascist while playing off the similarities between himself and Hitler; their small stature, silly mustache, and low birth. Loathing fascism, Chaplin, inexplicably was able to sympathize with communism, never realizing that the two were the opposite sides to the same coin.

Charlie Chaplin was married to 4 women and had 11 children.  His 3rd wife was the lovely and captivating, Paulette Goodard, whom he married in 1936. She co-starred with Chaplin in this movie and others including the above mentioned: The Great Dictator.  She is remembered mostly for these two films along with Cecil B. DeMille’s Reap the Wild Wind and So Proudly We Hail!, which she won an Academy Award for Best Supporting Actress.  To see Goodard, in this movie and others, is to fall in love with her.

Place this movie on your “Must See in My Lifetime” list.  A true Chaplin masterpiece.

Westerns Redefined

Stagecoach  M Stagecoach 1939

Theaters:  February 1939

Streaming:  May 2010 (digitally restored)

Rated:  NR

Runtime:  96 minutes

Genre:  Action – Adventure – Classic – Drama – Romance – Western

els:  7.5/10

IMDB:  7.9/10

Amazon:  4.7/5 stars

Rotten Tomatoes Critics: 9.3/10

Rotten Tomatoes Audience:  3.9/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards:  2 Academy Awards

Directed by:  John Ford

Written by:  Dudley Nichols (screen play), Ernest Haycox (short story)

Music by:  Gerard Carbonara

Cast:  Claire Trevor, John Carradine, Thomas Mitchell, John Wayne, Andy Devine, George Bancroft, Donald Meek, Berton Churchill, Louise Platt

Film Locations:  Arizona, California, Colorado, Utah, US

Budget:  $531,374

Worldwide Box Office:  $1,103,757

A stagecoach, in 1880, carries 9 disparate members of the old west from Tonto in the Arizona Territory, through hostile Apache territory, to Lordsburg, New Mexico; all passengers with a story that needs telling.  Ringo Kid (Wayne) breaks out of jail to avenge his father’s and brother’s murder, a banker (Churchill) escaping his harping wife with ill-gotten gains, a mysterious southerner (Carradine) attracted to a pretty young lady passenger (Platt), a submissive whiskey salesman (Meek), a marshal (Bancroft) along to ride shotgun and return Ringo to prison, a prostitute (Trevor), and an alcoholic doctor (Mitchell), all compelled to Lordsburg by ghosts that don’t give a wit about the Apaches. They start off their trip in relative safety with a cavalry escort but lose it at the next town when the relief soldiers fail to show.  As they continue on their way to Lordsburg, tensions and troubles mount as the Apaches close in for the attack.

The movie is based on the 1937 Ernest Haycox short story, Stagecoach to Lordsburg, originally published as The Last Stage to Lordsburg in the 10 April 1937 issue of Colliers. Dudley Nichols, a frequent writer for John Ford movies, adapted the book for this movie.

John Ford hadn’t made a western since the 1920s. No one was making big budget westerns in the 1930s and no one wanted Wayne anywhere near a big production, especially in a starring role. Well Ford had an idea and a story that proved he was right and the experts could go teach their grandmothers to suck eggs. Ford resurrected the western, took it out of the kids’ Saturday matinée round-up, and gave the movie going public a good 30 years of great follow-up action movies involving horses and gunslingers. Oh, by the way, this movie made John Wayne the biggest name in Hollywood for decades to come. Artists are always a tough bunch to judge.

It is a rare movie when all the characters are cast just right.  Wayne the righteous bad guy-good guy, Meek the meek whiskey peddler, Trevor the conflicted prostitute; all fitting their roles like a cow hand’s wet leather glove.  Devine, along with Ken Curtis and Walter Brennan, defined the role of humorous sidekick, adding in the well oiled schtick to move the drama along. Carradine plays a good guy this time, although it is not apparent until much later in the movie whether he is a shady character or an honorable southern gentleman. Playing a drunk doesn’t get more realistic than Mitchell’s whimsical but competent doctor portrayal, for which he deservedly won the Best Supporting Actor Academy Award for.

This movie redefined westerns going into the 40s and 50s for the movie going public.  Not the best western every made but certainly in the top 10. Orson Wells is said to have watched this movie dozens of times to provide background and ideas for his Citizen Kane.  Watching this movie dozens of times in a short period is likely not good for your mental health but once a decade will remind you what a truly ground breaking film this was.

Dying Young

The Curious Case of Benjamin Button (Theaters – December 2008; Streaming – May 2009) M Button 2008Rated: PG  —  Runtime: 166 minutes

Genre: Drama – Fantasy – Mystery – Romance – Suspense

els – 7.5/10

IMDB – 7.8/10

Amazon – 4.6/5 stars

Rotten Tomatoes Critics – 7.1/10

Rotten Tomatoes Audience – 3.7/5

Metacritic Metascore – 70/100

Metacritic User Score – 7.3/10

Awards:  3 Academy Awards – Nominated for 13

Director:  David Fincher

Written by:  Eric Roth (story and screenplay), Robin Swicord (story), F. Scott Fitzgerald (story)

Music by:  Alexandre Desplat

Cast:  Brad Pitt, Cate Blanchett, Julia Ormond

Film Locations:  Cambodia; Montreal, Canada; India; Burbank, Los Angeles, California – Donaldsonville, Laplace, Mandeville, Morgan City, New Orleans, Louisiana, US; St. Thomas, US Virgin Island

Budget:  $167,000,000

Worldwide Take:  $379,000,000

Mr. Gateau, the best clockmaker in all of the southern US, is commissioned to build a clock for a new train station set to open in 1918. When the clock is unveiled, it is running backwards. Mr. Gateau, who lost a son to the recent war, affirms that it is running as designed; to  grant those lost to the war a way back to life and the living.  On 11 November 1918, Armistice Day, Benjamin Button (Brad Pitt) is born, wrinkled and worn, losing his mother to his birth and his father, abandoning him on the porch of an orphanage. Benjamin is a consistent contradiction, experiencing life in a counter-clockwise direction.

The Curious Case of Benjamin Button took 20 years, 7 potential directors prior to Fincher, 3 lead actors before Pitt, 3 different possible producers, and 2 production companies to finally deliver a product for the viewing public to consume. David Fincher brings his visual effect expertise to the forefront, as he usually does, with this enchanted story of love and time. He balances the CGI with a spellbinding collage of romance and courage that moves beyond the flesh. The visual effects are absolutely stunning, keeping this fantasy real and believable.  Fincher was likely the only director that could make this movie and keep the audience interested.

Brad Pitt contributes a somewhat predictable performance, detached but lovable, low-key and restrained, letting his body language provide the message, more so than his dialogue. It works and adds to the mystic of the film but it’s Cate Blanchett’s Daisy that draws you into this movie.  Daisy is a very complex character and Blanchett handles it with grace, charm, and a natural style that holds you in a delightful, enamored state of wonder throughout the film. Sad that she wasn’t even nominated for her more than deserving efforts by the Academy or the Golden Globes.

Benjamin Button is beautifully made, telling a story of true love that outstrips the concepts of time.

 

Shrew Taming

McLintock!  M McLIntock 1963

Theaters:  November 1963

Streaming: July 1997

Rated: NR

Runtime: 127 minutes

Genre: Comedy – Romance – Western

els:  6.0/10

IMDB:  7.3/10

Amazon:  4.5/5 stars

Rotten Tomatoes Critics:  5.1/10

Rotten Tomatoes Audience:  3.9/5

Metacritic Metascore:  NA/100

Metacritic User Score:  NA/10

Awards: NA

Directed by: Andrew V. McLaglen

Written by: James Edward Grant

Music by: Frank De Vol

Cast: John Wayne, Maureen O’Hara

Film Locations: Fairbank – Chiricahua National Monument – Duquesne – Harshaw – Klondyke – Las Cienegas National Conservation Area – Lochiel – Nogales – Patagonia – Ruby – San Raphael Valley – San Xavier – Sonoita – Sonoran Desert – Tucson, Arizona, USA

Budget: $4,000,000

Worldwide Box Office: $14,500,000

Katherine Gilhooley McLintock (Maureen O’Hara) after a 2 year absence returns to her husband, G.W. McLintock (John Wayne) and their ranch outside of the western town of the eponymous McLintock to ask for a divorce, custody of their teenage daughter, and alimony. G.W., still confused about why she left in the first place, just says no to all and proceeds to woo Katherine back to his arms and their ranch.  While G.W. deals with his recalcitrant wife he also faces challenges from dirt farmers trying to farm the unfarmable high plateau, Indians resisting resettlement to the reservation, along with the worthy and not so worthy suitors pursuing the affections of Becky (Stefanie Powers), his daughter. All matters proceed in a slapdash but charming facetiousness.

This movie is all John Wayne. He chose the director, Andrew V. McLaglen, herded the script through completion with scriptwriter, James Edward Grant, had his son Michael produce the movie, and another son, Patrick star in the slightly incestuous role of  a cow-hand courting his movie daughter Becky. The film also marks the beginning of Wayne letting the world know his views on everything from politics to education within the confines of this and his subsequent movies.

The movie reunites John Wayne with his frequent co-star Maureen O’Hara. These two worked together in 4 other movies including the 1950 Rio Grande, the 1952 The Quiet Man, the 1957 The Wings of Eagles, and the 1971 Big Jake. The two had a special working relationship, each able to abide the other’s head strong tendencies, and both could act their parts, from the common “man” to the polish and charm of the upper crust. Their onscreen affection for each other always came through as honest and real, not only a credit to their abilities as actors but also their deportment as a true lady and a true gentleman, all in an age gone by.

A legitimate classic movie with hints of Shakespeare’s comedy, The Taming of the Shrew, the moral education of Father Knows Best, and the real-life tragedy known as the Trail of Tears. John Wayne taming Maureen O’Hara, John Wayne educating his family and friends, John Wayne attempting to reconcile the law with the Indians’ pride and heritage.  John Wayne shows a humorous side in this movie but he is still the big man on the set.

Chillin’ Back to the Future

Baby Driver (Theaters-2017; Streaming-2017)  Rated: R  Runtime: 112 minutesM Baby 2017

Genre:  Action-Crime-Music-Suspense-Thriller

els – 8.5/10

IMDb – 7.0/10

Amazon – 3.9/5 stars

Rotten Tomatoes Critics – 8.0/10

Rotten Tomatoes Audience – 4.2/5

Metacritic Metascore – 86/100

Metacritic User Score – 7.7/10

Directed by:  Edgar Wright

Written by:  Edgar Wright

Music by:  Stephen Price

Cast:   Ansel Elgort, Jamie Foxx, Kevin Spacey, Jon Hamm, Lily James

Film Locations:   Atlanta, Dunwoody and Gainesville, Georgia, New Orleans, Louisiana, US

Budget:   $34,000,000

Worldwide Box Office:  $228,311,809

Baby (Elgort) is a getaway driver, choreographing his high RPM street racing to the music pumping through his ear buds, playing catch me if you can with a no sweat demeanor that has you cheering for him non-stop.  Baby works for Doc (Spacey), a criminal mastermind that plans all his heists in chalk-board detail, never using the same group of robbers twice, except for Baby.  Baby is exceptional. Spacey catches Baby, how that happens is somewhat implausible since no one every catches Baby, trying to rob him and forces him to drive his den of thieves away from their crime scenes as retribution.

I’m late to this movie so I will give my due respect to the principles and then move on to what makes this movie so special: script and score–together.  Edgar Wright has put together a story that doesn’t come along too often, a story that has is all, action, comedy, crime, love, suspense–it has everything that you and I watch movies for. He brings it all together with a coherent and convincing screenplay, tight directing, precision choreographed cinematography (Bill Pope), and acting that is just perfect. Of course it doesn’t hurt to have Elgort, Foxx, Hamm, and Spacey providing believable and real characters along with the very pretty James. Throw in some subtle paeans to the past, such as Back to the Future, and you have a simply stunning movie, a true masterpiece; the bits and pieces adding up to a fulfillment of a lost cinematic ideal: pure, unadulterated entertainment.

Then Wright brings forth the melody.  A melody that matches and honors the lyrics: the screenplay. Lyrical poetry, accordant with the harmonic notes performing a dance of rockin’, rollin’, tango action.  Not since the 1983 Big Chill has Hollywood scored music so perfectly with the movie.

The Big Chill brought together children of the 1960s, audience and actors alike, in a comedic drama about trying to find meaning in a modern world after their fling with anarchy and drugs.  They found no meaning.  The point of the 60s was that there was no point.  But the 60’s music was sublime and transcendent. The music in The Big Chill, complimented the story as if they were fraternal twins, different veins but the same beat. Bringing together the rockin’ soul of the era with the burn-it-down pathos of its youth.  Marvin Gaye, Aretha Franklin, Smokey Robinson, black soul groovin’ the white bourgeoisie who thought they were the proletariat.  A movie, and an era, of no meaning, expressing itself with music that meant everything, and the two together brought soothing cover and entertainment.

Baby Driver just brings entertainment, no-guilt-pleasure, meshing the visual with the phonic.  It brings in The Big Chill‘s soul sound with the likes of Carla Thomas, Sam and Dave, and Barry White; and then branches out to include the  old-time rockers of Queen, T. Rex (Marc Bolan’s son sued the movie for using Debora without permission), and Golden Earring; progressing up the time scale with blues-rocker Jon Spencer Blues Explosion, and alternate-stuff Beck; capping it off with the synth-pop of Sky Ferreira. A great collection of musicians that compliments the movies action, creating a greater artistic experience than the two alone could achieve. Jon Spencer’s Bellbottoms in the opening car chase scene sets the throbbing standard for the movie that doesn’t abate until the ending credits roll, accompanied by the Simon and Garfunkel song: Baby Driver.

Sony and Edgar Wright have agreed to a sequel, hopefully in 2019.  May the magic strike twice.

The Price of Secrets

The Secret Scripture  (2017)  Rated: PG-13  Runtime: 108 minutesM Scripture 2017.jpg

Genre: Drama-Mystery-Romance

els – 6.5/10

IMDb – 6.6/10

Amazon – 4.4/5 stars

Rotten Tomatoes Critics – 4.1/10

Rotten Tomatoes Audience – 3.4/5

Metacritic Metascore – 37/100

Metacritic User Score – NR/10

Directed by:  Jim Sheridan

Written by:  Sebastian Berry, Jim Sheridan, Johnny Ferguson

Produced by:  Noel Pearson, Rob Quigley, Jim Sheridan

Music by:  Brian Bryne

Cast:  Rooney Mara, Aidan Turner, Theo James, Eric Bana, Vanessa Redgrave

To understand this movie, a smidgen of background knowledge germane to WWII Irish history is needed, or else the story becomes unhinged from the plot with cryptic scenes sprinkled throughout the movie that will bewilder and flummox the viewer. At the start of WWII in 1939, Ireland declared its intent to remain neutral towards the Allied and Axis powers, and they did officially remain neutral throughout the war, but provided assistance to the Allied powers when and where possible.  The Irish government feared joining the war on either side would reopen the recent wounds inflicted by their civil war fought in the early 1920s; by the fascists and the anti-fascists, the pro-Brits and the IRA, the pro and the anti-treaty proponents, and they all remained active in Ireland up to, and beyond WWII.  The IRA was particularly anxious to curry favor with the Germans, to obtain their aid in the form of money, influence, and weapons; endeavors precipitating various IRA acts of war within and beyond the borders of Ireland.

Roseanne McNulty the elder, played by Vanessa Redgrave, and Roseanne McNulty the younger, played by Rooney Mara, parcel out a story of love and loyalty, unrequited love and betrayal, death, cruelty and denial; which, during war leads to Rose’s incarceration, or to use a less judgmental word, confinement, in an Irish mental institution for nearly 50 years. The institution was less about care and rehabilitation than an exercise in control and dominance; keeping Rose docile and quiet, but in the end, not able to lessen her romantic love or boundless spirit, just her hold on reality. Rose the elder maintains a record of her captivity, mysterious inscriptions in her bible, that becomes the source of her deliverance from past; bringing closure in the kindred form of a believer and a redeemer.

The directing, writing and acting are all exceptional.  Only the improbable conclusion lessens the impact of the story but it still works even though you see it coming a mile away.  Catch up on your Irish WWII history and then watch the movie.

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