Happy 74th Birthday David Lynch 20th January 2020!

Happy birthday Love Bob

Happy birthday to the singular godlike genius and visionary artist that is David Lynch, seventy-four years old today.  We can truly say our world would not be the same without him.

That Darn Cat! (1965)

That Darn Cat 1965

Do I look like Eliot Ness? Siamese pretty boy Darn Cat aka DC returns to the suburban home he shares with sisters Patti (Hayley Mills) and Ingrid aka Inkie Randall (Dorothy Provine) with a partly-inscribed watch replacing his collar after he follows bank robbers Iggy (Frank Gorshin) and Dan (Neville Brand) to their hideout where they’re hiding their kidnap victim Margaret Miller (Grayson Hall). Patti sees the news story and thinks the watch belongs to the woman and reports the case to the FBI who detail Agent Zeke Kelso (Dean Jones) to the case.  He has a really tough job tailing DC on his nighttime excursions trying to track down the robbers … D.C.’s a cat! He can’t help his instincts. He’s a hunter, just like you are. Only he’s not stupid enough to stand out in the pouring rain all day! Long and funny slapstick cat actioner with Mills utterly charming and Jones perfectly cast as the agent charged with following the titular feline. There are good jokes about surf movies, TV weather and nosy neighbours, with Elsa Lanchester a particular irritant. Roddy McDowall is a hoot as Gregory, the woefully misguided mama’s boy who serves as a brief romantic interest for Ingrid, mainly because he can drive her to work every day. Provine has a marvellous moment looking to camera in one of their scenes. Adapted by Bill Walsh and The Gordons, from their 1963 novel Undercover Cat, this has enough satirical elements to win over a wide audience. Bobby Darin sings the title song, composed by the Sherman brothers. You might recognise one of the two versatile Seal Point Siamese cats who play DC as the co-star of The Incredible Journey. Directed by Robert Stevenson. Sir, a mouse is no more permitted in here, than a man without a car

Elephant (2003)

Elephant

Get the fuck out of here, shit is going to happen. John (John McFarland) is being driven through the suburbs to school by his drunken father (Timothy Bottoms). Alex (Alex Frost) is a talented pianist being bullied at Watt High School, Oregon. He and his best friend slacker Eric (Eric Deulen) play video games, watch a documentary about Nazis, have sex in the shower and load up on guns. On their way into the building wearing camo gear and carrying black bags, Alex warns John not to go in. Elias (Elias McConnell) goes round the hallways photographing other students before going to the school newspaper office to develop his pictures. Nathan (Nathan Tyson) leaves the football field with girlfriend Carrie. Bespectacled outcast Michelle (Kristen Hicks) runs through the corridors and escapes to the library to avoid sports. Three bulimic girls gossip and end up in the Ladies’ Room. When the boys fail to explode propane bombs and prowl the corridors and library shooting everyone on sight, Acadia (Alicia Miles) freezes and Benny (Bennie Dixon) helps her escape through a window … Damn, they shot him. Gus Van Sant’s meditative exploration of the moments leading up to a Columbine high school-like massacre looks and feels less assured than it did upon release. Perhaps because unlike its source material (Alan Clarke’s BBC film Elephant, which was about sectarian politics in Northern Ireland) it is politically rootless unless you regard teenage alienation as justification for genocide and the inclusion of a TV documentary about Nazism adequate as rationale for unleashing senseless violence upon your contemporaries. Perhaps that is the point – that children and guns are just not a good mix, teenagers are unknowable and basically ungovernable, allowing them too much time on their own is a really bad idea because literally anything could happen in those burgeoning adults. The over the shoulder tracking shots down the school corridors and their repetitive nature bring us back to the same moments again and again giving the narrative a poetic rhythm and spatial familiarity, as does the auditory track which occasionally lapses into silence and then white noise, particularly when Alex is sitting in the cafeteria and we get a hint of the killings to come. There is no doubt that the very boring nature of the scenario and the real-time pacing lends an incremental tension to the situation. The biggest problem here is that the affectlessness of the protagonists means a conventional drama cannot be constructed and a moral is hard to discern while the filmmaker is attempting to get into these boys’ brains. That is the core of the story: there are things that people simply cannot get to grips with. The moment when a teacher approaches a student who’s just been shot dead at a classroom door and treats it as if it’s normal is simply staggering. Screenplay by Van Sant with controversial ‘memoirist’ JT LeRoy and Diane Keaton credited as producers on a project that started life as a documentary. Most importantly, have fun

Out of Blue (2019)

Out of Blue

Can you explain your place in the universe? When well-connected black hole expert and astrophysicist Jennifer Rockwell (Mamie Gummer) is found shot at a New Orleans Observatory, police detective Mike Hoolihan (Patricia Clarkson) is put in charge of the investigation and questions her co-worker, observatory manager Professor Ian Strammi (Toby Jones) and her teaching colleague boyfriend Duncan Reynolds (Jonathan Majors). When she encounters Jennifer’s father Colonel Tom Rockwell (James Caan) she finds an intimidating figure, a well-known local businessman, famous soldier and POW who walks on a cane. His wife Miriam (Jacki Weaver) is a fidgeting fusspot, the twin sons Walt and Bray (Brad and Todd Mann) argumentative and odd. Their office is dominated by a family portrait. Similarities are noted by her colleague Aaron Tevit (Tony Silvero) and reporter Stella Honey (Devyn A. Tyler) with the unsolved murders of other blonde thirtysomething women from decades earlier where items were exchanged with the victims. Mike pursues the idea that Tom might have been responsible but then it becomes clear that Jennifer killed herself. When Mike finds a familiar brooch among Jennifer’s collection of vintage clothes and costume jewellery questions of the cosmos start to inform the solution … The catastrophic death of a star brings new life to the universe. We are all stardust.  This adaptation of Martin Amis’ 1997 genre novel Night Train has some changes but mostly it bears the marks of writer/director Carol Morley, a singular talent who likes to compose a flat frame with just enough textural detail to suggest complexity, a taste that lends itself perfectly to this atmospheric thriller which shows a less travelled side of New Orleans. Mike is a troubled former alcoholic with a spare lifestyle; while Jennifer’s home is filled with nick nacks and her recorded talks anchor the narrative:  We spend our lives trying to get to the heart of this dark energy. It’s other people who point to the clues in the past – a TV journalist and another police officer. The similarities to the .38 caliber gun murders are inescapable – the victims are all blonde and of a certain age and the killings stopped when Jennifer was born. The intriguing use of imagery – not just fetish objects like blue marbles, a pot of handcream, but the confusion as to whether Mike is fantasising, dreaming or even remembering – is conjoined with the theme of the stars and their influence. And with a hint of Chinatown hanging over a story about family and power, there’s a cute reference when Miriam leaps into Mike’s police car and pulls her nose: You know what happens to very nosy people?  They lose their noses! We are reminded of Polanski. The narrative raises questions about how society deals with war – just what kind of man walks out of three years’ imprisonment a hero? Clarkson is great as this unconventional woman who lets loose in a strip club:  There’s many ways to be a woman. There are black holes in the story itself with a wry running joke about cats in boxes (and not just Schrödinger’s). In my experience usually what’s in a sealed box is dead. In the end, this is not just about the murder mystery, it’s about where we come from, who we are, what formed us and what happened to us. In that sense, the final sequence is truly a revelation of personal history in a unique procedural narrative which grapples with a bigger cosmic picture. Produced by Luc Roeg with a score by Clint Mansell. The past is messy

Interiors (1978)

Interiors

I can’t seem to shake the real implication of dying. It’s terrifying. The intimacy of it embarrasses me. Interior designer Eve (Geraldine Page) and her husband, narcissistic corporate attorney Arthur (E.G. Marshall) split after decades of marriage and it comes as a shock to their three adult daughters when Eve attempts suicide:  tightly wound poet Renata (Diane Keaton), struggling Joey (Mary Beth Hurt) and actress Flyn (Kristin Griffith). Arthur’s new romance with vivacious artist Pearl (Maureen Stapleton) whom he wants to marry, introduces new tensions to the daughters’ own relationships – Joey’s with Mike (Sam Waterston), Renata’s with writer Frederick  (Richard Jordan) and there is a rift over Renata’s position as the family favourite. Arthur’s wedding at Eve’s old summer home brings everything to a head… She’s a vulgarian! Woody Allen’s first serious drama as writer/director is a mixed bag of influences, most obviously Chekhov, O’Neill and Bergman (and the scene slashed with the Cries and Whispers scarlet flourish is one of anguish). It’s a rumination on marriage, romantic behaviour, parenting and late-life desperation. There are moments of performance that are truly brilliant – the penultimate scene between Hurt and Page is astonishing. Stapleton is literally the story’s lifesaver. The end is shattering. You’ll live to be a hundred if you give up all the things that make you want to 

Bananas (1971)

Bananas

And now, as is our annual custom, each citizen of San Marcos will come up here and present his Excellency with his weight in horse manure. Hapless New York product tester Fielding Mellish (Woody Allen) desperately attempts to impress attractive social activist  Nancy (Louise Lasser). He travels to the turbulent Latin American country of San Marcos where he falls in with resistance fighters and, before long, accidentally becomes drafted as their leader replacing the crazed Castro-esque Esposito (Jacobo Morales) after foiling an assassination attempt by General Vargas (Carlos Montalbán). While Mellish’s position of authority wins Nancy over, he has to deal with the many burdens of being a dictator but being President just might impress Nancy ... Can you believe that? She says I’m not leader enough for her. Who was she looking for… Hitler? A hoot from glorious start to ridiculous finish, Allen’s hilarious homage to the Marx Brothers’ Duck Soup has everything: silent musicians (they have no instruments); Swedish deemed the only suitably non-decadent language appropriate for a post-revolutionary society; and a very young Marvin Hamlisch’s first ever score (funny in and of itself). A freewheeling mix of parody, satire, one-liners, sight gags and slapstick, this loose adaptation of Richard B. Powell’s novel Don Quixote USA is co-written with Allen’s longtime close friend, Mickey Rose, who also collaborated on Take the Money and Run. Featuring Howard Cosell, Roger Grimsby and Don Dunphy as themselves. Gleefully bonkers fun in the worst possible taste. Power has driven him mad!

Another Woman (1988)

Another Woman.jpg

She can’t allow herself to feel. The second wife of professor Ken (Ian Holm) with whom she had an adulterous affair while his wife Kathy (Betty Buckley) was suffering from ovarian cancer, when fiftysomething philosophy professor Marion Post (Gena Rowlands) rents an apartment to work on a new book, she soon realises that she can hear what’s going on in a neighbouring apartment, which houses a psychiatrist’s office. She becomes captivated by the sessions of a pregnant patient named Hope (Mia Farrow) whom she follows and eventually encounters in an antiques store. As Hope talks about her emotional issues over a long lunch, not only does Marion begin to reevaluate her life and recall the bullying her estranged brother Paul (Harris Yulin) was subjected to by their late father (David Ogden Stiers), she sees her husband lunching with their mutual friend Lydia (Blythe Danner) with whom he is clearly having an intimate relationship. She comes to realise that her coldness has shut her off from friends and family, and she has missed a chance for true love with writer Larry Lewis (Gene Hackman) who apparently made her the subject of his novel after she turned him down for Ken If someone had asked me when I reached my fifties to assess my life, I would have said that I had achieved a decent measure of fulfillment, both personally and professionally. Beyond that, I would say I don’t choose to delve. A remarkably perceptive work from Woody Allen on mid-life femininity and the things women have to do to protect themselves and their sense of self while also making men feel good about themselves. Fully belonging to that part of his oeuvre labelled Bergmanesque and not just because it’s shot by Sven Nykvist, this is sharp, funny, acidly realistic and gimlet-eyed when it comes to the inequality between the sexes:  while a husband plays at adultery (repeatedly), a woman tries to justify her very existence; a man celebrates his fifty years while a woman wonders what she has done with her life; an ex-wife shows up at the house with the detritus of their marriage to find herself socially condemned because she expresses her distress at betrayal. How Rowlands learns about her foibles through other people’s observations is psychologically devastating. The narrative is fearless and pointed in its target – structural misogyny. The peerless Rowlands is great in one of the best women’s roles of the Eighties and Farrow is no less good in a minor key, providing an oppositional image of possibility, with an ensemble of men having it all. I just don’t want to look up when I’m her age and find my life is empty

How Awful About Allan (1970) (TVM)

How Awful About Allan

It’s not your ordinary family reunion. Years after being blamed for the fire that killed their father Raymond (Kent Smith) and suffering from psychosomatic blindness, Allan Colleigh (Anthony Perkins) is released from a mental hospital to stay with his disfigured sister Katherine (Julie Harris) and begins to hear voices when mysterious boarder Harold who has throat problems moves in. Meanwhile his ex-fiancée Olive (Joan Hackett) resumes contact and reports that Katherine’s ex-boyfriend Eric (Trent Dolan) is in town, something Katherine denies.  Allan believes Eric and Harold are one and the same …  The home and the property are both valuable and they’re half mine. We’re in true cult territory here with a collaboration between novelist Henry Farrell (What Ever Happened to Baby Jane? etc) and director Curtis Harrington with Farrell adapting his 1963 novel which was complimented by none other than Dorothy B. Hughes in The Washington Post. Both men can be considered auteurs in their own right while Perkins of course gave one of the greatest performances in cinema under the direction of Hitchcock but arguably never escaped the shade of Psycho and in truth is replaying some of its more emotive notes here. The cinematography has not aged well but the individual elements and Perkins’ presence compensate in this rather sub-par suburban Gothic with his tape recording of his suspicions the inner voice that drives the narrative. Perkins and Hackett would be reunited three years laster for The Last of Sheila, an intricate shipboard parlour game mystery which he co-wrote with Stephen Sondheim. An ABC Movie of the Week from Aaron Spelling Productions.  We’ll have our afflictions in common, won’t we

Zelig (1983)

Zelig

All the themes of our culture were there. In this fictional documentary set during the 1920s and 1930s a non-descript American called Leonard Zelig (Woody Allen) achieves notoriety for his ability to look, act and sound like anyone he meets. He ingratiates himself with everyone from the lower echelons of society to F. Scott Fitzgerald and the Pope becoming famous as The Changing Man. Even Hollywood comes calling and makes a film about him. His chameleon-like skill catches the eye of Eudora Fletcher (Mia Farrow), a psychiatrist who thinks Zelig is in need of serious cognitive analysis as someone who goes to extremes to make himself fit into society. Their relationship moves in a direction that’s not often covered in medical textbooks as she hypnotises him I’m certain it’s something he picked up from eating Mexican food. A formally and technically brilliant and absolutely hilarious spoof documentary that integrates real and manipulated newsreel footage with faked home movies, a film within a film, period photographs of the leads and interviews with contemporary personalities, real and imagined, from Susan Sontag and Saul Bellow to ‘Eudora Fletcher’ (Ellen Garrison) in the present day. Even Bruno Bettelheim shows up to declare the subject the ultimate conformist. The sequence on the anti-semitism Zelig experiences as a child (his parents sided with the anti-semites, narrator Patrick Horgan informs us mournfully) is laugh out loud funny. Of course it has a payoff – in Nazi Germany. The editing alone is breathtaking, there is not a false moment and the music is superlative, forming a backdrop and a commentary as well as instilling in the audience a realistic feel for the time in which this is set. There are moments where you will not believe your eyes as Allen transforms into everyone he meets – regardless of race, shape or colour. An original and funny mockumentary that’s actually about the world we live in, an extreme response to childhood bullying and what we do to make ourselves fit in and where that could lead. You just told the truth and it sold papers – it never happened before!

 

Crimes and Misdemeanors (1989)

Crimes and Misdemeanours.jpg

Everybody got honourable mention who showed up. Opthamologist Judah Rosenthal (Martin Landau) wants to preserve his marriage to Miriam (Claire Bloom), and his dangerous brother Jack (Jerry Orbach) comes up with what appears to be the only viable solution – murder. Initially he is plagued with guilt about his infidelity and confides in his Rabbi client Ben (Sam Waterston) whom he is treating for sight loss. However when he becomes certain that his neurotic and hysterical mistress Dolores (Anjelica Huston) is about to tell his wife about their four-year long affair, Judah agrees to Jack’s plan. Cliff Stern (Woody Allen) is a documentary maker whose films make no money and he spends his afternoons at the movies with his orphaned niece. His wife Jenny (Joanna Gleason) chides him for his failure and refuses to have sex with him but things seems to be resolved when her brother, horribly successful TV comedy producer Lester (Alan Alda) says he can make a film about him, which introduces him to associate producer Halley (Mia Farrow), who shares his love of movies Without the law it’s all darkness. A film of two halves in which Allen tries to unite the ideas of tragedy and comedy – happily Alda is at hand to illustrate it via Oedipus Rex using the hoary saying, Comedy is tragedy plus time. It’s a wholly ironic work in which Huston’s death should trigger guilt in Landau but he escapes scot-free while his rabbi advisor ends up with sight loss; and Allen’s character who wisely advises his orphaned niece about life through daily trips to the movies doesn’t see what’s clear to his wife – that the object of his affection Farrow is in lust with the obnoxious Alda. Meanwhile his philosophical hero Professor Louis Levy (Martin S. Bergmann) whose interviews form a Greek chorus of morality for a proposed film commits suicide. That the entire tragicomedy is concluded in a wedding is the greatest irony of all in a work which balances like the finest of high wire acts. God is a luxury I can’t afford