Why does it hurt so much? Kat (Annabeth Gish) and Daisy (Julia Roberts) are sisters working with Jojo (Lili Taylor) at the pizzeria in Mystic Connecticut. Kat is an egghead astronomer aiming to get into Yale who falls for the father (William R. Moses) of the child she’s babysitting while his wife’s away. Daisy is a good time gal with eyes for a WASPy law school grad Charlie (Adam Storke) who’s actually been sacked for cheating on his finals. Their mother favours Kat and worries perpetually about Daisy. Jojo gets cold feet on the day of her wedding to fisherman Bill (Vincent D’Onofrio) and then goes to pieces when they eventually split. Meanwhile the pizza parlour’s proprietress Leona (Conchata Ferrell) is worried that her revenues are slipping and the girls think that a spot on The Fireside Gourmet‘s TV show would do the trick… There are terrific performances gracing this sleeper which illustrates all the strengths of the respective actresses: it’s not hard in retrospect to see that Pretty Woman would be all Roberts’ when you see her shaking out her hair and raising her hemline to catch a lift on the roadside. Amy Holden Jones’ story and screenplay about this Portuguese Catholic community got a rewrite from Perry Howze & Randy Howze and Alfred Uhry and it’s decently handled by Donald Petrie but that soundtrack is seriously intrusive! For details obsessives it’s fascinating to hear the adenoidal tones of Robin Leach describing Mar-a-Lago on Lifestyles of the Rich and Famous and that’s Matt Damon playing the preppie’s little brother during an excruciating dinner party. A major cult at this point.
Aka Farewell to the Master and Journey to the World. Must I take drastic action in order to get a hearing? When humanoid alien Klaatu (Michael Rennie) arrives on a flying saucer in Washington DC the military takes action and the world takes notice. He’s accompanied by an eight-foot robot called Gort. When Klaatu speaks about world peace a nervous soldier opens fire and he disappears from Walter Reed Hospital where he cures himself. Meanwhile Gort is in front of the spaceship, unmoving. Klaatu hides in plain sight in a boarding house (wearing a suit from a dry cleaner’s bearing the tag ‘Mr Carpenter’) where he is befriended by Bobby (the great child actor Billy Gray) whose widowed mother Helen (Patricia Neal) is a secretary engaged to Tom Stephens (Hugh Marlowe). Bobby goes to Arlington National Cemetery with Klaatu and the alien expresses a desire to meet someone of the calibre of Lincoln. Bobby suggests Professor Barnhardt (Sam Jaffe) but when Klaatu visits he’s out so he writes a solution to a mathematical problem left unfinished on the blackboard with instructions on how to be reached. Klaatu returns with government escort and the men discuss the dangerous nature of atomic power: Klaatu warns that Earth will be eliminated. Bobby follows him and sees him enter the spaceship. He reports the incident to Helen and Tom and Klaatu visits Helen at work and they enter an elevator that stops – he stops all electricity worldwide for a half hour, demonstrating the incapacity of governments to deal with true power… it all comes to a head when he returns with Helen to Professor Barnhardt and the trigger-happy military shoot him dead after being forewarned by Tom. Until … Klaatu stages a resurrection. This Christ analogy was smothered in censor-friendly form, its pacifist message a radical intervention into Cold War paranoia with superb production design (Frank Lloyd Wright contributed to the UFO!) and a suitably strange soundtrack by Bernard Herrmann. Tightly written by Edmund H. North from a story by Harry Bates and superbly directed documentary-style by Robert Wise, this has many great scenes with some of the best in the boarding house between Rennie and Gray. There’s a reason this is a classic and it’s very resonant today. Remember – Klaatu barada nikito!
I’m a sucker for a 50s sci-fi and this is a beauty – gorgeous to look at and filled with everything you expect from the era: great design (although crucial mattes had to be replaced by less expensive sketches), daft romance, a madman in a wheelchair, a sense of jeopardy – extinction! – and a winning optimism about life outside Earth. Producer George Pal could be considered an auteur in this area and the source material is a couple of novels from the 1930s by Philip Wylie and Edwin Balmer adapted by Sydney Boehm. Pilot David Randall (Richard Derr) has top secret photographs which he brings from South African astronomer Dr Emery Bronson (Hayden Rorke) to American scientist Dr Cole Hendron (Larry Keating) confirming that the planet is in the path of rogue star Bellus. The world is going to end in 8 months and Hendron goes to the United Nations to let everyone know and pleads for space arks to transport a limited number of humans to the passing planet Zyra which orbits Bellus, realising it is humanity’s only hope. He’s not believed and has to get money from wealthy and disabled industrialist Sydney Stanton (John Hoyt) to build the vehicles but Stanton wants to choose the people instead of just being allocated a seat. Meanwhile Joyce Hendron (Barbara Rush – wahey!) falls for Randall, forgetting about her boyfriend. Everyone is building rocketships, people are being evacuated and the world is about to end: who will survive the impact of Zyra as it first approaches Earth and causes volcanoes and crashing buildings? And who will make it onto the arks in this lottery for survival? Soon as anything, there’s a riot going on. Great fun. Directed by Rudolph Mate.
Aka Pirates of the Caribbean: Dead Men Tell No Tales. Thanks to the Australian government’s tax incentives, that Pirates-shaped gap in my life has finally been plugged with a new instalment in the delayed series. I love these films, and all pirate films, and have had to sate myself with the genius Black Sails in the interim (I have one series to go, so no spoilers please! I’m still not over Charles Vane’s execution!). This is number 5 in the franchise and it operates as a kind of unofficial reboot because it has been (gasp) 14 long years since the first film, Curse of the Black Pearl, was released. And it’s aptly returned to this for most of the bones in terms of story, character and structure, even if this has way more shaggy-dogness about it in an untidy set of plot mechanics. Henry Turner (Brenton Thwaites), the son of Will Turner and Elizabeth Swann vows to find Captain Jack Sparrow (Johnny Depp) to right the wrong on his father who’s abiding in a watery limbo on the Flying Dutchman. He knows that the Trident of Poseidon will break the curse. Death meanwhile lurks on the high seas in the form of Salazar (Javier Bardem) and his ghostly crew who cannot set foot on dry land – also condemned and cursed by Sparrow’s antics. An astronomer Carina Smith (Kaya Scodelario) is being executed as a witch in St Martin where a bank is being opened – and this is where Captain Jack makes his spectacular reappearance with his unruly and disgruntled crew led by Kevin McNally, with their awful ship in dry dock where they’re all broke. Captain Barbossa (Geoffrey Rush) is summoned by Henry to help out and he is ironically reunited with a daughter who doesn’t know the provenance of the map she seeks … Colourful, silly, not entirely logical and definitely rehashing plot points from the earlier films particularly the first one, this is handled pretty well by Norwegian directing duo Joachim Ronning and Espen Sandberg working from a screenplay by Jeff Nathanson, with a story by Nathanson and Terry Rossio. The young lovers story gets a run-through, the Barbossa plot gets a very fitting conclusion, there’s a fascinating flashback (I want one to give me skin like that in real life) and there are homages here and there to make you smile – the zombie sharks being a reference to the original summer blockbuster granddaddy of them all, the ghost crew a nod to the original’s skeleton crew, Depp taking his Robert Newton/Keith impersonation to new heights of pantomime, a great Paul McCartney cameo and a bank robbery like no other. Some of the lines could have done with a rewrite – especially the jokes which are heavy on the misogyny; and there’s no real mad surrealism which has graced previous episodes (is there anything as wild as the hallucination of the ship on dry land and the multiple Jacks?!). While most of the legendary tropes are present bar a real Brit villain the last action sequence is so darned complex I genuinely forgot what it was about. But it’s full of fun and wild adventure and I for one love this series even if number 4 fell far short of expectations. Thwaites and Scodelario make a pretty useful couple to base the next set of films, kicking some new plotlines into touch. What do you want – live action Space Mountain?! Hoist the mainbrace! Wahey me hearties! More!
I left this singing the songs and wiping tears from my eyes. Hardly a typical exit from a movie on a viciously cold winter’s day but confirmation that everything you’ve heard about this is true: it’s absolutely, unexpectedly wonderful. The opening is casually breathtaking, a pass-it-along song among disenchanted motorists stuck in a traffic jam on the freeway in LA, singing and dancing as far as the eye can see in an utterly joyous spectacle. Ryan Gosling is playing and re-playing a piano sequence on the tape deck of his vintage car while Emma Stone is in the car in front, talking on the phone and looking at a scene for an audition. She doesn’t see the traffic move along, he overtakes, glares at her and she gives him the finger. This meet cute is in three parts and the second is at a club where he gets fired for playing his preferred jazz tunes; then a pool party where he’s playing in an 80s covers band and she requests I Ran. He invites her to see Rebel Without a Cause (my favourite movie!) at The Rialto and then the romance begins in earnest, under the stars at the Griffith Observatory, over the course of the seasons, with everything colour coded, in tribute perhaps to The Umbrellas of Cherbourg but with liberal references to a slew of other musicals that have soundtracked our lives. Everything is perfectly judged as they move in together, she attends hilariously awful auditions, he has to slowly forego his dream of a jazz club and must earn his crust playing with John Legend (I know), just as he’s persuaded her to love the musical form she associates with Kenny G (exactly). He explains to her what jazz is: Conflict and Compromise. And that’s how the story works. There is wit and smarts to spare, not just movie references, since the score by Justin Hurwitz is its own animal and the free jazz improv daubs this Damien Chazelle work with its own singular mojo. The narrative combines the integrated musical, the backstage musical and straightforward musical drama in a discursive work which posits settling against success, love against loss, against a bedrock of millennial failures and wannabes – baristas, waiters and jobless performers, living in an LA rarely seen on screen with its rackety streets, vintage accoutrements, nouveau restaurants and old style clubs, not to mention the Warners’ lot. This is just brilliant filmmaking, with an audacious ending and fantastically good performances by the leads who are terrific given their deliberately limited dancing and singing abilities. Gosling has improved so much (wasn’t The Nice Guys the making of him?); and Stone gives a gracious, complex, fully rounded empathy to a role that beautifully complements his sardonic but passionate dude. A widescreen valentine to Hollywood, music, movies, and La-La-Land, that destination for dreamers everywhere. Stunning.
Why? It’s my favourite film. I have adored James Dean and Natalie Wood since I first saw this aged 11. I’ve been to the LA locations and stepped around the High School motto. I’ve read everything there is on the production and I have always admired the cinema of Nicholas Ray and the screenplays of Stewart Stern. This moves me like few films could. It is staggering to watch in so many ways. It is a film about feeling. And because it’s my 1,000th post on Mondo Movies. Scuse me while I kiss the sky.
An offbeat British sci-fi starring Patricia Neal, who had of course helped save the world in a previous outing, The Day The World Stood Still. Helmut Dantine arrives in rural England and we don’t see his face for the longest time – it’s all over the shoulder stuff – and his essential German-ness is of course responsible for everyone feeling the fear: like it or not the deliberate style of speaking is a national trait that alienates everyone else, pun intended. Produced and directed by Burt Balaban, most of it takes place in a Tudor public house – Neal is the proprietor’s daughter. Her government official fiance suspects all is not right with this mysterious intruder who has healed her injuries after their meet-cute at the car crash caused by the stranger’s flying saucer landing lights (that’s not a euphemism). He calls the war office.The journalist following the story gets the stranger to translate into multiple European languages to prove they’ve been listening to our radio broadcasts (I must try that sometime). Police cordon off the area and the stranger gets antsy when his communications disc is stolen, preventing him calling his colleagues. He’s the advance party for a major landing warning Earthlings to stop developing dangerous technologies (too late, I fear) because detonating H-bombs means the gravitational orbit of the entire solar system would be adversely affected. Whitehall want Venusian technology and their shortsighted ploy destroys the peace mission … The story by Desmond Leslie advocates the safe deployment of nuclear weapons, a pretty radical message for the time which predated the founding of CND by a few years.
One of the best 50s sci fis and directed by Jack Arnold, who was responsible for another, The Incredible Shrinking Man, a brilliant existentialist work. He was also responsible for some of the original creature features – The Creature from the Black Lagoon and Revenge of the Creature and another sci fi, The Space Children. This was adapted from a story by Ray Bradbury and has both his sense of wonder and his sense of optimism. With Richard Carlson and Barbara Rush -and their doubles!
Two hours into their honeymoon, rocket scientist Hugh Marlowe (one of my favourite leading men) and wife Joan Taylor, experience a flying saucer. That’s not a euphemism. The earth is under attack from mistranslated aliens in one of the era’s best sci fis, cowritten by blacklistee Bernard Gordon, George Worthing Yates and Curt Siodmak from the book Flying Saucers from Outer Space by Major Donald E. Keyhoe (retired from the Marine Corps) and directed by Fred F. Sears. Good effects – particularly at the conclusion and a great sense of urgency! – so it’s a pity it was shot in monochrome.