Air Force (1943)

Air Force

Don’t talk – shoot! On December 6, 1941 nine B-17 bomber sets off on a flight from San Francisco to Hawaii en route to the Philippines. The Mary Ann is commanded by pilot ‘Irish’ Quincannon (John Ridgely). Bombardier Tommy McMartin (Arthur Kennedy) has a sister living in Hawaii and his co-pilot Bill Williams (Gig Young) is sweet on her. Cynical rear-gunner Joe Winocki (John Garfield) is intent upon leaving the air corps. They arrive at Hickam Field on the morning of December 7, just as the Japanese are attacking Pearl Harbor and other military facilities. As Roosevelt announces the US’ entry into the war, all of the men prepare to face the enemy, including Winocki whose bitter attitude changes quickly in the course of combat in the Pacific … What kind of lunatics do I have in this air corps anyhow? Don’t any of you know what’s impossible? With a screenplay by Dudley Nichols (and a deathbed scene written by an uncredited William Faulkner), this Howard Hawks film is an indelible picture of a cross-section of American society at the helm of a bomber, made at the height of WW2 and based around an actual incident when a flight of B-17s journeying to reinforce the defence of the Philippines flew into the attack on Pearl Harbour. The characters are based, more or less, on people Hawks met while consulting with Lt. Gen. Henry H. Arnold, Commander of the Army Air Force, in Washington DC and the production was made in conjunction with approval of the War Dept. Originally scheduled by producer Hal Wallis to be released on Pearl Harbour’s first anniversary, the shoot was repeatedly delayed and WW1 aviator Hawks’ insistence on altering dialogue led to him being temporarily replaced by Vincent Sherman who then remained as assistant when Hawks returned. Garfield’s outsider character is the barometer for everything that occurs as he becomes integrated into the group and he is paid tribute by Tarantino in Pulp Fiction. There are historical inaccuracies but it packs an emotional punch in its vivid, electrifying violence and humour and Jeanine Basinger says it is “perhaps the purest combat film ever about the air service … It is like some hideous wagon train west, with problems of supplies and hostile forces constantly attacking the wagonload of heroes. It fits perfectly with the tradition of American films, and yet it is a unique and original film, not quite like any other.” Shot by James Wong Howe, Elmer Dyer and Charles A. Marshall, this is a bona fide classic. We’re gonna start a war, not a fight!

The Eiger Sanction (1975)

The Eiger Sanction

Why am I the only one that can perform the sanction? Art professor and collector Dr. Jonathan Hemlock (Clint Eastwood) a retired assassin for C2 a secret Government organisation run by albino Dragon (Thayer David), is blackmailed into returning to his deadly profession and do one more ‘sanction,’ a euphemism for killing. Duped by C2 operative Jemima Brown (Vonetta McGee), he agrees to join an international climbing team in Switzerland planning an ascent north face of the Eiger Mountain in order to complete a second sanction to avenge the murder of old friend, Wormwood aka Henri Baq who fought with him in the Green Berets back in Indochina.  He trains with another friend from his climbing days, Ben Bowman (George Kennedy) who runs a school in the desert where another Indochina ally, flamboyant gay hit man Miles Mellough (Jack Cassidy) turns up and tries to kill Hemlock. Ben is leading the Eiger team and when Hemlock is tracking the killer, he finds himself on a treacherous mountain passage, unable to identify his target … You’re getting religion a little late. A barmy enterprise for Clint Eastwood to star in and direct but not without its consolations – a deal of wit; awesome photography (by Frank Stanley) of the locations in Monument Valley, the southwest and Switzerland; and terrific characterisation – but that all depends on caricature, homophobia and race stereotyping typical of the era.  So it goes in a text that was fatally misunderstood:  the novel on which it was based by the pseudonymous ‘Trevanian’ was a spoof – and in a later book he called it ‘vapid’ in a footnote! Eastwood did his own stunts, training for months and it is actually astonishing to see a star of his magnitude defying death at such extreme heights. One of the experienced mountaineers employed on the team wasn’t so fortunate:  British climber David Knowles died on the second day of filming in what was a very dangerous shoot. It’s good to see Kennedy and Eastwood working together again after Thunderbolt and Lightfoot and the romance with blaxploitation star McGee is certainly progressive but it’s Cassidy as the unbelievably dangerous cissy who steals the show in an unforgettable performance. Adapted by Trevanian (actually film scholar Rodney Whitaker) and mystery novelist Warren Murphy. Wish-fulfilment writ large, this is a lot of stylish fun. Here’s to the selfish killer and patriotic whore

The Grass is Greener (1961)

The Grass is Greener green

Our love for each other is founded on mutual distrust. In order to maintain their crumbling and damp stately home, Earl Vincent Rhyall aka Victor (Cary Grant) and his wife Lady Hilary (Deborah Kerr) reluctantly open it to coach parties of tourists, one of whom, American oil millionaire Charles Delacro (Robert Mitchum), falls for the lady of the manor. Feeling rather neglected, she begins to return his advances and spends four days with him at the Savoy in London. In order to win her back, the Earl has to call on the services of his old flame, Hattie Durant (Jean Simmons) and his very laconic, very English butler Trevor Sellers (Moray Watson) who’s really looking for material for a novel. When Hilary and Charles return to the manor, Victor decides there’s only one way to settle things and it’s straight out of the eighteenth century... That’s the way the world wags. It’s the third time Grant was paired with Kerr following Dream Wife and An Affair to Remember; ditto for Mitchum and Simmons after Angel Face and She Couldn’t Say No; and Mitchum had been memorably cast opposite Kerr in Heaven Knows Mr Allison and more recently in The Sundowners, also released in December 1960. Director Stanley Donen knew what he was doing with this immaculately polished stage adaptation by Hugh Williams and Margaret Vyner of their West End success. Yes, it’s theatrical but it’s beautifully mounted, the setting is fabulous and the Dior costumes wonderful (particularly Simmons’) and the cast really get their teeth into the smart dialogue. There are good in- jokes – including about Rock Hudson (originally intended for Mitchum’s role), a mutual friend of both men called ‘Josh Peters’ (a nod to Donen’s two young sons) and Paramount Studios. A class act, in every sense of the term, this was shot by Christopher Challis at Osterley Park, just outside London and the interiors were by Felix Harbord. There’s no honour where there’s sex

 

Natalie Wood: What Remains Behind (2020) (TVM)

What Remains Behind

People knew she was smart and exceptionally well organised, says Mia Farrow of her late friend, Natalie Wood. Wood’s daughter, Natasha Gregson Wagner has produced this personal tribute to her mother, assembling film clips, home movies, photographs and interviews with friends, co-stars and her younger sister Courtney Wagner (who says her famous mother is difficult to access), as well as Robert Wagner, to whom Wood was married for the second time at the time of her death in November 1981. Wagner celebrated her 18th birthday with her after she had admired him aged 10 and their subsequent relationship and marriage played out on the covers of magazine, love’s young dream. They co-starred in All the Fine Young Cannibals and fellow cast member George Hamilton says, She made you feel important, not her. Her career ascended to new heights on Splendor in the Grass where she met Elia Kazan’s production assistant, Mart Crowley, extensively interviewed here, who became fast friends with Wood (and subsequently worked on Wagner’s smash hit 80s TV series Hart to Hart.) Contrary to popular belief he and Wagner both deny Warren Beatty broke up the marriage – it was already in trouble. Wagner puts it down to the pressures on her as she went straight to work on West Side Story without the rest of the cast’s rehearsal time. His career was experiencing a lull. They split, he moved to Rome and remained there for 3 years, and had daughter Katie with his next wife, Marion Marshall, Stanley Donen’s ex, becoming stepfather to her sons, (the late) Peter and Joshua Donen. Natasha reads from a letter she found written by her mother, an essay that was intended for publication in Ladies Home Journal but wasn’t released. She describes the two-year affair with Beatty as a collision from start to finish. She was involved with (among others) Frank Sinatra, Henry Jaglom, David Niven Jr and Michael Caine, as well as getting engaged to Arthur Loew Jr and Ladislav Blatnik the shoe king of Venezuela as someone amusingly recalls. She married British writer/producer Richard Gregson and had Natasha but was so besotted with her newborn that Gregson slept with Wood’s secretary and that was that. She and Wagner met at a party, sparks flew, they both cried afterwards and they remarried in July 1972, creating a large happy home on Canon Drive, Beverly Hills where they had a new baby together, daughter Courtney, hired beloved nanny Willy Mae, and had a very busy guest house with his stepsons, her stepchildren and various friends visiting. Josh Donen even moved in at Wood’s invitation, with movie stars and family attending their fabulous parties. It seemed to me that they should be together, says Josh. Friend Richard Benjamin says, It made you feel good to be there. Wood took her foot off the gas in terms of her career rearing her daughters even if Courtney sadly remembers that Wood was Natasha’s mother, while she relied on Willy Mae. She was totally happy. There’s a rewind to Wood’s own childhood, second daughter to a pushy Russian mother who got her noticed during the location shoot for a film in Santa Rosa which led to the family moving to Los Angeles and Orson Welles says in a TV interview, I was her first leading man, referring to Tomorrow Is Forever, when little Natalie Wood as Natasha Gurdin became, was line perfect while he kept fluffing his. Critic Julia Salamon says of her performance in Miracle on 34th Street, there’s no artificeshe was very sure-seeming in who she was. She injured her wrist on a set and covered it up forever after with a big bangle. Her mother constantly told her that a gypsy foretold that her second daughter would be world famous but beware of dark water, inculcating total fear in Wood. She was the sole breadwinner from 12 when her father Nick got injured and at the same time she entered regular school but had no airs or graces as her schoolfriend recalls. Daughter Natasha says, Being the daughter of a narcissistic controlling mother …. that’s played out in so many of her films, on the subject of the hysterical, dramatic, superstitious mother Maria who ran her life, living vicariously through her beautiful and successful child, pushing her on until Wood herself chose to do Rebel Without a Cause, the film which made her finally realise she could act and on the set she had an affair with director Nick Ray, decades her senior. Robert Redford admits she was responsible for his screen career beginning, insisting after she saw him on Broadway that the theatre actor be cast opposite her in Inside Daisy Clover and she just carried me along to This Property Is Condemned. Before that she had discovered on the set of comedy The Great Race that both Jack Lemmon and Tony Curtis were paid more and she insisted on parity. But she was in trouble, attending a psychiatrist five days a week, a practice she continued for 8 years, and ODd on pills one weekend during the shoot going to Mart Crowley’s room in her house calling for assistance. She went to hospital and returned to work the next Monday morning. Scenes on the psychiatrist’s couch from Splendour and Penelope are played, as if to state that without Method training Wood was sublimating her problems in the roles she chose. She was brave too. She was the emotional engine behind Bob & Carol & Ted & Alice, as Elliott Gould says, Natalie brought what the film needed. She had points in the film, which was very successful and she could afford to pick and choose her projects thereafter. She took a break of almost 5 years to rear her daughters and then made headlines with her return in the big TV movie event, The Cracker Factory. She reinvented herself in terms of cosmetics and styling with Michael Childers, the photographer who made her look as beautiful as she deserved entering her forties, never a good age for an actress. She appeared in From Here to Eternity, a water-cooler mini-series remake of the famous film. She shot The Last Married Couple in America with George Segal and he comments, She was very wise about how she dispensed herself. She was going to be making her first stage appearance in Anastasia. She went to North Carolina to shoot Brainstorm with director Douglas Trumbull. On the subject of their rumored affair, he says with no fuss, There was no physical charisma between her and Christopher Walken. [We can infer what we will given the obvious and forgivable lacunae in the telling of this life]. There is TV coverage of her disappearance off Catalina. Natasha’s face to face chat with Wagner, which dominates the interviews, gets to the point of what happened that fateful night after Thanksgiving 1981 when both stars were home from location shoots, Wood on Brainstorm, Wagner on Hawaii with Hart to Hart. The weather was terrible, stormy and rainy. Walken was a house guest and the arguments between him and Wagner were apparently so awful that people were embarrassed and her friend Delphine Mann wouldn’t go on the boat to Catalina which she now regrets. Josh Donen encouraged Wood to go, which he says he wish he never had. There are tears streaming down Natasha’s face as she listens to the man she calls Daddy Wagner recount what he believes might have happened. It’s a highly uncomfortable sequence as though they’re playing out a therapy session. I was a little high at the time.  It’s devastating. The scene at the house afterwards was surreal, with news crews maintaining a vigil and Elizabeth Taylor and Shirley MacLaine showing up with a crystal ball.  It doesn’t explain anything, certainly not in terms of his being described as a Person of Interest by the LAPD in the reopened case. The family appear to have come to terms with Wood’s loss, although Courtney resorted to drink and drugs as a coping mechanism in the aftermath: she was just seven years old when Wood died. The party was over, she says ruefully. She wound up in rehab. Wagner followed his therapist’s advice following the funeral. They went to Switzerland and celebrated Christmas with his friend David Niven. They went to England and had New Year’s Eve with Natasha’s father Richard Gregson and his wife and children. It was the return to school that was tough.  Nobody handled Wagner dating Jill St John particularly well. St John says she had experience of loss herself – her husband died in a helicopter crash. She says of Wood, Natalie was a life well-lived. For fans of Wood like myself nobody other than Mia Farrow attempts to get to what it was that Wood communicates in her extraordinarily emotive performing style:  Natalie was unique. She doesn’t have a false moment in her movies. The family dismiss the ongoing speculation and are particularly harsh about Wood’s younger sister Lana who clearly believes Wagner knows more than he’s letting on as she restates in interview after interview. Natasha claims that whenever Lana visited she had no interest in her or her sister, just Wood. Perhaps this film is a salve. Natasha is 50 years old this year with a memoir of Wood published and she says she takes comfort in her daughter, Clover, the most healing thing for me. The last image is of Natasha, Clover and Courtney watching clips of Wood onscreen. It doesn’t tell us anything new except to explore Wood’s family’s pain which is searing and affecting and a little raw, 39 years on. Directed by Laurent Bouzereau. Everything went upside down

A View to a Kill (1985)

A View to a Kill

A typical Reds to riches story. Bond (Roger Moore)returns from his travels in the U.S.S.R. with a computer chip. This chip is capable of withstanding a nuclear electromagnetic pulse that would otherwise destroy a normal chip. The chip was created by Zorin Industries, and Bond heads off to investigate its owner, Max Zorin (Christopher Walken), first encountering him at Ascot where despite the form of competitors his horses win against the odds. Zorin is really planning to set off an earthquake along the Hayward and San Andreas faults, which will wipe out all of Silicon Valley, the heart of the world’s microchip production. As well as Zorin, Bond must also tackle his sidekick, hit woman May Day (Grace Jones) and equally menacing companion of Zorin, while dragging State Geologist Stacy Sutton (Tanya Roberts) along for the ride… Well my dear, I take it you spend quite a lot of time in the saddle. Written by Richard Maibaum and producer Michael G, Wilson, this is the fourteenth Bond and the seventh and final to star Moore and is adapted from Ian Fleming’s story From a View to a Kill. Unusually violent for the series, with Walken machine-gunning large groups of people in a mass slaughter, albeit his origins as the product of a Nazi experiment explains the high body count. It’s more than redeemed by an awesomely staged pre-titles ski chase and another genuinely impressive chase through Paris, commencing on the Eiffel Tower and continuing with Moore following Jones in a parachute but on the ground, in a car gradually broken up (literally) in traffic before he jumps onto a bateau mouche, only to watch Jones escape in a speed boat piloted by Walken: David Bowie and Sting were first offered the role of Zorin who is perhaps a little too light although his sinister laugh paradoxically suggests the requisite insanity. In a Freudian touch the scientist responsible for him is his in-house scientist. It’s nice to see Walter Gotell returning as Soviet General Gogol while Lois Maxwell makes her final appearance as Moneypenny. The weakest acting link is Roberts but you can blame the screenplay for her shortcomings. There’s a great role for Patrick Macnee as 007’s sidekick (for a while!) Sir Godfrey Tibbett and Patrick Bauchau makes an appearance as Zorin’s security chief, Scarpine.  Dolph Lundgren makes a brief appearance, his debut, as Venz, one of Gogol’s KGB agents. There’s a welcome appearance by David Yip as the CIA agent who assists Bond in a return of the action to the US and the climax at the Golden Gate Bridge is well done. All in all it’s a bright and colourful outing for our favourite spy. The stonking title song is performed by Duran Duran who co-wrote it with John Barry. Directed by John Glen, his third time at the series’ helm. What would you be without us? A biological experiment? A physiological freak?

Bad Education (2019)

Bad Education

You were always the guy in the suits. Long Island, New York, 2002. Dr. Frank Tassone (Hugh Jackman) is the superintendent of Roslyn School District which oversees Roslyn High School. Frank, along with his assistant superintendent Pam Gluckin (Allison Janney) have overseen major improvements in the district, with Roslyn becoming the 4th ranked public school in the country under their watch. This in turn stimulates the local economy, reaping rewards for school board head and real estate broker Bob Spicer (Ray Romano). Frank is beloved by students and parents alike, and sought after by women; Frank claims to have lost his wife several years ago, but is in fact gay, living with Tom Tuggiero (Stephen Spinella) in NYC. While attending a conference in Las Vegas, Frank begins an affair with former student Kyle Contreras (Rafeal Casal) who has given up his dream of writing sci fi for waiting tables and dancing. While writing an article for the Roslyn school paper about an $8m sky bridge the school is planning to construct, student reporter Rachel Bhargava (Geraldine Viswanathan) begins to discover discrepancies in the district’s finances. Unbeknownst to anyone at the school, Frank and Pam are co-conspirators in a massive embezzlement scheme that has cost millions of taxpayer dollars and her steady research leads all the way to the top and when Frank gives up Pam there will be hell to pay ... We come in here at the crack of dawn because we’re good people.  We want you to have a good life. Adapted from Bad Superintendent, a story by Robert Kolker in New York magazine by Mike Makowsky, who was a middle school student in that school district when Tassone was arrested for grand larceny.  Viswanathan isn’t a particularly interesting performer but she does what all journalists have done since watching All the President’s Men – she follows the money. It’s dogged old-school reporting stuff, looking at purchase orders, not finding receipts and then questioning everyone concerned.  It’s fun to see those moments with her doubtful student paper editor Nick Fleischman (Alex Wolff) doing a junior Ben Bradlee. The moment one hour in where she finds the so-called offices of the school’s pamphlet producer and realises it’s Tassone’s plush apartment where he’s co-habiting with a man is brilliantly done – capped when Tassone arrives and sees her desperate to leave the building. Jackman is superb as a charismatic man with many secrets, utilising his ability to psychoanalyse everyone around him to get the better of them since he seems to care so much about them. For the longest time we don’t even know the extent of his involvement as information is drip fed slowly through the narrative. His vanity is reflected in the scenes with him attending to his cosmetic routine, culminating in surgery. Jackman finds ways to plumb the breadth of the character and elicit empathy, stealing our hearts as easily as expensing first class flights to London with his boyfriend and deflecting come-ons from women in the parents’ association book club. Janney is superb in a chewy role – able to talk her way out of trouble, trying to buy her children’s affections even when her son is a total loser and ultimately choosing the path of revenge. Erring more on the dramatic rather than the comedic side of genre, this gives a rare insight into white collar crime – the quotidian corruption that afflicts cosy cartels running public bodies leading to those occasional stupefying headlines when you see something has gone bust yet all the admin people are living high on the hog while their workplaces are falling apart with damp. The sidebars about food intake, digestive issues, cosmetics, clothes, jewellery, pushy parenting and spoiling wrong ‘uns are well judged subplots amplifying the drudgery of the teaching environment and the desire to rise above the mere plebs. It’s wordy, it’s smart, it’s filled with people covering their asses and it’s called the ring of truth. Directed by Cory Finley. I am not the sociopath here

Home to Danger (1951)

Home to Danger

I never suspect anything, Sir. Barbara Cummings (Rona Anderson) returns to Britain following the death of her estranged, wealthy father who is believed to have committed suicide. It is expected that the bulk of the estate will pass to his business partner Hughes (Alan Wheatley). However, when the will is read out and she is reunited with her childhood sweetheart novelist Robert (Guy Rolfe) she is given most of the money as a gesture of reconciliation by her father. She clings to her belief that he did not kill himself and investigates the circumstances of his death. Before long, plots are being hatched to kill her and she is followed to her country house by Lips Leonard (Peter Jones) whose murder at the property leads Barbara and Robert to the backstreets of London and a drugs deal that implicates Hughes with Jimmy-the-One (Dennis Harkin) leading them to where it’s all at … Is this a new version of our old game? Probably of most interest nowadays for Stanley Baker’s early performance as a kind of wild-eyed half-wit called Willie Dougan who of course knows more than anyone realises, although for myself I’ll go a long way to see Peter Jones lurking in the undergrowth. This is a neatly constructed and well-performed programmer destined for the lower half of a double bill. The drug-oriented content is a surprise but this was becoming a social problem and is clearly demarcated in a city milieu. It features the final performance by Francis Lister who plays a murderous children’s home proprietor. Written by Ian Stuart Black  from an original screen story by Francis Edge and John Temple-Smith. Produced by Lance Comfort at the Riverside Studios in Hammersmith with a score by Malcolm Arnold and it’s shot by Reginald Wyer. Directed by Terence Fisher. You never know where you are with a dope

What She Said: The Art of Pauline Kael (2019)

What She Said The Art of Pauline Kael

People don’t tend to like a good critic. They tend to hate your guts. Film critic Pauline Kael had an unimaginable influence in the world of thumbs up, thumbs down reviewing and accumulated acolytes and rivals as she cultivated what she believed was an expressive art form. She was a failed playwright from California who moved to New York City, had an illegitimate daughter by experimental filmmaker James Broughton and returned to Berkeley where she started talking about movies on a radio show. What she failed at in her theatre writing she achieved in reviewing. Something just clicked, as one interviewee recalls. She loved Shoeshine, damned Limelight and got herself in print with a book called I Lost it at the Movies which made her a name. And that title underwrites everything about a woman who regarded every movie as a date. She worked at McCalls’ until she was asked to leave because she did not sit on the fence and was not in tune with the mainstream. She crucified some films, like Hiroshima, mon amour and Lawrence of Arabia. She deplored American cinema at the time. Bonnie and Clyde is the review that made her famous in the wake of Bosley Crowther’s famously damning criticism. Her review was rejected by The New Republic and when The New Yorker published it it was a sensation and she got a job there on a six-month on, six-month off contract.  Robert Towne, who consulted on the film, describes how it helped the film. She loved movies and famously wrote Trash, Art and the Movies where she delineates the difference between the good and the bad as she saw it. She experienced sexism, as she stated on a 1973 TV show:  It is very difficult for men to accept that women can argue reasonably. She had her favourites – Woody Allen, Robert Altman, Warren Beatty among them. Camille Paglia shudders and says she can’t understand why she went to the mat for Last Tango in Paris:  she bought her own ticket at the New York Film Festival and stole the march on her rivals, giving it a rave that weekend. Mean Streets she loved and Scorsese was one filmmaker who benefitted from her cheerleading. She crucified films she thought were phony – she described Shoah as having a lack of moral complexity and summed up Apocalypse Now as white man – he devil. She would not be intimidated. She hated horror movies – she lived in New York City and said she had a hard enough time living in such a scary place without having to contend with The Exorcist and its ilk. There’s an excerpt of a TV interview with author William Peter Blatty saying that Kael’s reviews are full of personal poison. She got herself a great big house in Massachusetts and would spend a week at a time in New York at screenings. She enhanced some careers,  damaged others. She had her camp followers and encouraged Paulettes like Paul Schrader who would take on a job on the LA Weekly and then jump on the bandwagon for a particular film at her request. She had a rivalry with auteurist critic Andrew Sarris whom she castigates in her essay Circles and Squares. His widow Molly Haskell says of Kael, No male critic had as much testosterone as Pauline. While this is quite good on context it never really nails the nitty gritty of what it is to be a journalist and to go out on a limb giving the only viciously – and presumptively – perceptive account of a film that other critics are afraid to give what she would call a con. Her famous book about Citizen Kane‘s authorship rehabilitated the reputation of forgotten screenwriter Herman J. Mankiewicz and his role in creating that masterpiece.  But just as Beatty sought to keep her quiet by giving her a job in Hollywood it showed she had blind spots and was perhaps rather naive:  she had come to believe her own publicity much as she professed to scorn the studios’: She was a virgin who was very willing to be seduced. Those six months made her bid a hasty retreat to the rather safer confines of critcism. When she loved something, you knew it:  she came out in a big way for Casualties of War. After 24 years and suffering from Parkinson’s she retired from The New Yorker. Readings from letters and telegrams that celebrities wrote to her capture some of the devastation she wrought including one from Gregory Peck:  You may have cost me good roles in the most productive phase of my career. Her review of Blade Runner was so damaging that director Ridley Scott hasn’t read a review since. On the other hand, Steven Spielberg wrote, 1000 reviews later you are the only writer who really understood Jaws.  It is interesting  – and impossible to credit in the democratised, non-edited non-hierarchical space and era of social media and the internet in which nobody has any particular importance – that one critic could have held such sway over popular opinion in a world where limited opening dominated. For Pauline Kael everything was a conversation. There are a lot of interviews here but their content feels circumstantial rather than deep or meaningful. It’s something of an irony. Written and directed by Rob Garver.  The movies needed her

 

Alvarez Kelly (1966)

Alvarez Kelly

I’m a reasonable man. If I weren’t I might go over to the other side. In 1864 Alvarez Kelly (William Holden) is a Mexican-Irish cattle rancher who is doing his best to stay out of the Civil War. He has no interest in which side may win or lose being more concerned about his own survival, and about making money, supplying cattle to the Union side via Major Tom Stedman (Patrick O’Neal). He soon finds himself in the middle of the conflict, however, when a confederate colonel Tom Rossiter (Richard Widmark) captures him and forces Kelly to help his soldiers steal a nearby herd of cattle, which they desperately need for food. Kelly is blackmailed into doing it by alluring and very well-named treacherous widow Charity Warwick (Victoria Shaw) but is really attracted to a madam in peril Liz Pickering (Janice Rule) whose escape he engineers. However on the trail of the rustlers is Stedman and it becomes a battle of wits as Kelly has to decide whose side he really does belong to God deliver me from dedicated men. A dynamic story that somehow doesn’t get justice which you can probably put down to the stylings of director Edward Dmytryk. The screenplay by Franklin Coen (with uncredited rewrites by Daniel Taradash and Elliott Arnold) certainly has all the elements required for a frequently comic western, albeit the humour is rooted in darkness and male sexuality. The casting is of course key:  Widmark is playing to his Tommy Udo reputation while you can see why Peckinpah wanted hyper-sexed renegade Holden in The Wild Bunch a few years later. The combination of fruity exchanges and violence creates a particularly potent admixture even if you would never credit Dmytryk with an ability to indulge humour. The scenes between Holden and Rule are especially pleasurable:  Pity is the real empty room I despise, she deadpans. They’re a sure thing. Until they’re not. The rivalry with Widmark is extremely well played, with an edge of nastiness that tips into threat and violence on many occasions. Save for a few obvious process shots it looks very well courtesy of Joseph MacDonald and gets rebalanced at the end with a tremendous pairing of stampede and shootout in a slick robbery that even impressed Lincoln. The virtuous Irish lord wasn’t able to stop his son from becoming a pirate

Ennio Morricone 10th November 1928 – 6th July 2020

Renowned Italian composer Ennio Morricone has died at the age of 91. He gained fame along with his classmate Sergio Leone for whom he created some of the most iconic scores in cinema with the Dollars Trilogy but was working with comedy auteur Luciano Salce from his earliest days in the industry and contributed to the scores of films in all genres – crime, musical, horror, thriller, drama – before he became famous with that particular variation on America’s foundation narrative, the spaghetti western, even if he occasionally worked under a pseudonym. And it is those signature themes that mark him out from almost every other composer, so embedded are they in our collective consciousness, synonymous with sparse storytelling, merciless mercenaries with no name, dangerous sand swept towns, dastardly narrow-eyed villains and stunning shootouts. He worked with every other great Italian director and western maker at the time – Sergio Corbucci, Sergio Sollima, Giulio Petroni, Dario Argento, Bernardo Bertolucci, Pier Paolo Pasolini, Gillo Pontecorvo and Liliana Cavani to name but the obvious. His work in Hollywood exposed him to ever wider audiences and the lyrical sweep and the lustrous tones of scores to films such as The Untouchables and The Mission finally introduced him to some of the Academy of Motion Picture Arts and Sciences who gave him a Lifetime Honour in 2008 and ultimately awarded him an Oscar for Tarantino’s The Hateful Eight. He had a classical training and played trumpet but also got involved with the avant garde which surely informed some of the unusual instrumentation in a lifetime of 500 or so scores which didn’t even represent his total output because he was a composer and songwriter in his own right. His name went before him,so transcendent is his impact in the culture. An absurdly prolific man, a true musical visionary and a keen performer to appreciative crowds, the Maestro is gone. Long live the Maestro.