Milos Forman 02/18/1932-04/14/2018

MF Leave it to Me.jpgMF Vintage Car.jpgMF Black PeterMF Audition.jpgMF Before the Nickelodeon.jpgMF Tell Them Who You Are.jpgMF Loves of a Blonde.jpgMF The Firemens BallMF Taking Off.jpgMF I Miss Sonja Henie.jpgMF Visions of Eight.jpgMS Cuckoos Nest.jpgMF Hair.jpgMF Ragtime.jpgMF Amadeus.jpgMF Heartburn.jpgMF New Years Day.jpgMF Valmont.jpgMF The People vs Larry Flynt.jpgMF Man on the MoonMF Keeping the Faith.jpgMF Goyas Ghosts.jpgMilos Forman photo.jpg

The death has taken place of Jan Tomas Forman aka Miloš, whose arresting anti-Soviet New Wave Czech films (as both writer and director) brought him to the attention of the world in the Sixties. His dyspeptic view of society and politics in films like The Firemen’s Ball made him a predictably iconclastic commentator on American life in Taking Off, his transatlanic debut which also exposed his taste for classic comedy and nearly caused him a total nervous breakdown when it was a commercial failure. He did everything he could to remain in the US. His desire to make Hair would have to wait a decade when the rights were finally acquired. Paired with Jack Nicholson’s powerhouse performance his ability to tailor a zesty confrontational ‘message’ film was encapsulated in the classic One Flew Over the Cuckoo’s Nest, a masterful adaptation of Ken Kesey’s novel and a tribute too to Michael Douglas’ producing. It bears tragedy and humour with equal weight, appropriately considering Forman was at his lowest ebb when he was offered the job. It won the Big 5 Oscars. With Amadeus, one of his Eighties literary adaptations, he was practically an opera conductor in a film which is satanic in its majesty. His taste for salty sociocultural appraisal came to the fore again in the Nineties with portraits of Larry Flynt and Andy Kaufman (Man in the Moon), helping to craft performances about very problematic and eccentric public figures. He never lost his spirit of rebellion and resisted the urge to wallow in bitterness despite having seen his parents taken to concentration camps where they were murdered by the Nazis. Rest in peace.

Advertisements

Isao Takahata 10/29/1935-04/05/2018

IT Heidi.jpgIT Grave of the Fireflies.jpgIT Only Yesterday.jpgIT Pom Poko.jpgIT The Tale of the Princess Kaguya.jpgIsao Takahata.jpg

The death has taken place of Isao Takahata, the co-founder of legendary Japanese anime Studio Ghibli. He was 82.  Probably most acclaimed for Grave of the Fireflies, he was instrumental in bringing the artform to a global audience. He began working in the field at the Toei Studio in 1959 and eventually teamed up with arch rival Hayao Miyazaki in 1985 to make hugely influential and serious-minded films like the ecological story Pom Poko. This multi-talented auteur was a writer, producer and director (but not an animator).  His tendency towards realism balanced Ghibli’s more fantasy-oriented material, focussing on the quotidian and normal activities, bringing his literary education to bear on the world of the comic book and elevating its ambitions in the process. Rest in peace.

Wayne’s World (1992)

Wayne's World.jpg

We’re not worthy! Sleazy advertising guy Benjamin Oliver (Rob Lowe) wants to take the public access show Wayne’s World to the world of commercial television. Slackers Wayne (Mike Myers) and Garth (Dana Carvey) battle to save the show and Wayne’s hot girlfriend, band singer Cassandra (Tia Carrere) from Oliver …  That’s just the start. This spin-off from a Saturday Night Live skit was dumped on Valentine’s Day 1992 – to a very appreciative audience as it happens. It went from here to cult fasterthanthis. Mike Myers’ McJobber Wayne Campbell became a spokesman for disenfranchised yet optimistic youth – even if we didn’t all put on a cable access show in our parents’ basement. Dana Carvey’s disciple Garth became a doer and not just a dweeb with an unfortunate overbite. These metalhead guys are lovable and full of heart and this perfectly postmodern comedy is a screamingly funny outing that has a host of sayings that still pepper my conversation while ordering Chinese food, singing along to Bohemian Rhapsody in the mirthmobile and eating Grey Poupon. Not! Directed by Penelope Spheeris. Party on! A sphincter says what?! Excellent! And monkeys might fly out of my butt! As if!

Happy 79th Birthday Ali McGraw 1st April 2018!

AMG A Lovely Way to Die.jpgAMG Goodbye Columbus.jpgAMG Love Story theatrical.jpgAMG The Getaway.jpgAMG Convoy.jpgAMG Players theatrical.jpgAMG Just Tell Me What You Want.jpgAMG The Winds of War.jpgAMG China Rose.jpgAMG Dynasty.jpgMurder Elite theatrical.jpgAMG Survive the Savage Sea.jpgAMG Natural Causes.jpgAMG GlamAMG The Kid Stays in the Picture.jpgAMG Moving Pictures book.jpgAli McGraw.jpgAMG fashion early.jpgAMG Love Story fashion.jpgAMG style.jpgAMG silver jewellery.jpgAMG backless dress.jpgAMG turquoise.jpgAMG contemporary icon.jpg

The stunning Ali McGraw turns 79 today! Actress, stylist, interior decorator, model, wife, mother, memoirist, cover girl, style icon, animal rights activist, she made an incredible impact on cinema and was the world’s top female star in 1972, beloved of many. Her rare film and TV appearances are always worth watching but she has carved out another career, as yoga practitioner, and her bestselling video is believed to have been largely responsible for making it popular in the US.  Famous for her marriages to Robert Evans and Steve McQueen, she is her own woman and a true star. Many happy returns!

Ingrid Bergman: In Her Own Words (2015)

Ingrid Bergman_In_Her_Own_Words.jpg

She would rather live with a producer than her children. The great Swedish actress is recalled through her diaries and letters (voiced by Alicia Vikander), photographs and any amount of home movies which she shot compulsively.  She believed she was only truly alive when she was being photographed and described her home life away from the studio in Hollywood as ‘being locked in a suitcase suffocating.’ Following the early death of her mother this was a little girl cosseted by her father who documented her on camera and even Alfred Hitchcock (‘he brought out the best in me’) declared she took film more seriously than real life. Her father died young too and this leaves something of a Freudian association trailing throughout the film with her evident need to be constantly photographed and speaking other people’s lines.  Following drama school and early success in Swedish cinema she was discovered by Hollywood and arrived there to work with David O. Selznick whose colleague Kay Brown became her agent and lifelong friend. She abandoned her little girl and doctor husband for various lovers including Robert Capa (who wouldn’t sacrifice his short-lived career for her) and then Roberto Rossellini whom she pursued until he hired her for a film and she had his illegitimate child. She couldn’t adjust to his filmmaking style – she was no improviser and writing dialogue was contrary to her training. Her husband divorced her and got custody of Pia, while, after having more children by Rossellini,  the director abandoned Bergman for another woman (in India) who had yet another of his illegitimate children and Bergman then took off for Paris with a lover of her own. She saw her children in Italy once a month, more often when daughter Isabella (who became an actress) developed scoliosis. Daughter Pia discusses her mother’s obsession with Joan of Arc from an early age as being evidence that she wanted to make her name. There are many newsreel excerpts and interviews about her chaotic intercontinental life, pursued by paparazzi and condemned by various authorities until director Anatole Litvak declared in the mid-50s that she was the only actress he could consider for the role of Anastasia and an Academy Award for her performance smoothed her way back into the Hollywood fold. Despite her shortcomings and basically abandoning her young, her adult children (presumably with the benefit of relatively old age) describe her in contemporary interviews  as being totally charming with eldest daughter Pia even declaring, I craved having more of her. Stig Björkman’s film is a stunning evocation of a unique, peripatetic life which despite the rather unsettling morality of its fame-seeking subject simply exudes joy and contains many insights into the acting mind. Written by the director with Stina Gardell and Dominika Daubenbuchel with a great score by Michael Nyman, topped with a song by Eva Dahlgren in the closing credits.

Jane (2017)

Jane 2017_film).png

I thought they were like us but nicer than us. I had no idea of the brutality they could show. The true story of Jane Goodall, the English woman who was secretary to biologist Louis Leakey and who went to live among chimpanzees in the Gombe of Tanzania, becoming an expert on the habitat in the world’s longest-running primatological study. I was the Geographic cover girl, she laughs, in a biographical work anchored in her narration and some contemporary interviews but brought to life by the archive footage shot by the man who became her husband, Baron Hugo van Lawick with a typically compelling score by Philip Glass. While she was studying chimp behaviour and learning how to rear their son from her subjects, she was finding that chimps could be as aggressive and war-like as humans and just how distressing the results could be. If you have read her work then you will be familiar with David Greybeard and the colour film of this magnificent animal will be truly heartwarming even if his bitter end is hard to bear. This also offers insights into Goodall’s background, the effect of separation from her husband and the difficulties in bringing up their boy Grub in the Gombe while van Lawick wanted to remain working in the Serengeti. Trips to raise money to keep the eventual research base going are treated with mordant humour. This is a wonderful piece of work with Brett Morgen’s assemblage of van Lawick’s 16mm films (thought lost until 2014) creating a painstaking record of the most important such study we have but also including much home movie footage which clearly demonstrate van Lawick’s growing infatuation with his other subject – Goodall herself. Adapted from Goodall’s books and notes by director Morgen, who also produced and edited this beautiful film. Utterly captivating.

78/52 Hitchcock’s Shower Scene (2017)

7852 Hitchcocks Shower Scene.jpg

The movie is about fragmentation. It IS fragmentation.  Seventy-eight camera setups and fifty-two cuts. Alexandre O. Philippe’s documentary about the most famous scene of all time in movies is a crowdpleaser – its subject is familiar to everyone. Starting with a ‘remake’ of Janet Leigh’s rainy drive to the infamous Bates Motel it settles into a series of interviews with a diverse range of commentators – from Eli Wood to Eli Roth, Walter Murch to Peter Bogdanovich, Danny Elfman to Guillermo del Toro, Stephen Rebello to Marli Renfro, Leigh’s body double, who offers intriguing insights into the week-long filming process.  The archive footage includes other Hitchcock films as well as TV interviews and excerpts from The Alfred Hitchcock Hour.  The contemporary interviews place the film in the vanguard of the culture and as part of a lifelong battle Hitchcock had with the censors – it’s pointed out that his previous film, North By Northwest, concludes in a phallic train entering a tunnel;  Psycho commences with a post-coital look between Leigh and John Gavin. It is also part of a disorienting cinematic process about space invasion and lack of safety, a film that literally changed how we watched films, and not just because by showing a toilet flush for the first time on the Hollywood screen Hitchcock wanted to remind us how our lives can just randomly go down the drain. Providing deft visual analysis (with great insights into the use of the jump cut), production information and ideas about the score, this is intensely interesting for the buff, the geek, the movie freak and even the seven year old daughter of one of the interviewees who has never seen the film but likes to make the knife action while imitating Bernard Hermann’s shrieking violins. That’s how influential this is. It’s obvious that Janet Leigh has to survive!

The Academy Awards 2018

90th Oscars90th Oscar nominees 1.jpg90th Oscars nominees 2.jpg90th Oscars pix.jpg

A note:  in the year in which quite conceivably the greatest number of politically correct, sensitive, inclusive, diverse and nice everyone’s-a-winner films have been nominated for an Academy Award, a Crash collective, if you will, I have found myself longing for something utterly vile, racist, misogynistic, homophobic, vicious, exploitative, violent and insensible just to shake me out of the socially-inflicted self-satisfied glow that currently infects the civilised globe. Is this just a phase or will the millennial project finally vindicate the enemies of Allan Bloom? Is it me? Who wins? Does it matter? Will the Oirish-American accountant return by stealth and create another envelope snafu? Popcorn, potato chips and poteen at the ready, I’ll be watching. All night long!