Aka Im Lauf der Zeit (In the Course of Time). How do you live? While travelling his route along the rural border between East and West Germany, solitary film projector repairman Bruno Winter (Rüdiger Vogler) meets depressive paediatrician and linguist Robert Lander (Hanns Zischler) when the latter attempts suicide by driving his car into a shallow lake following the breakup of his marriage. The two form a genuine friendship as Robert accompanies Bruno on the road to fix equipment in deserted and dilapidated cinemas. They discuss the decline of German film, the hegemony of America culture and their challenging relationships with women. Robert stops at his home where he discusses his unhappiness about his mother’s death eight years earlier with his printer father (Rudolf Schundler) whom he believes disrespected her. Bruno and Robert then encounter a third man (Marquard Bohm) whose wife drove their car into a tree the night before. They stay with him until the repair service turns up. Bruno decides to break off from his work to go to his childhood home on the Rhine and he and Robert take a motorbike with sidecar and a boat to get there but Bruno cannot bring himself to spend the night in the house. They return to the border where they ultimately part ways, with Bruno from his truck watching Robert on a train as their paths cross on the railway line. Then Bruno talks to a woman (Franziska Stoemmer) whose father refuses to screen new films at his cinema because he believes modern work exploits people … For the first time I see myself as someone who’s something in a certain time and that time is my history. Perhaps the quintessential Wim Wenders film, this road movie is an inky black and white portrait of the psychological state of Germany thirty years after the war, which has never really ended in its impact – empty roads, filled with signifiers of a depressed and separated nation and a people whose heads are singing along to American songs while contemplating suicide. The film ends at a border sign. For Wenders this is both an American-style film filled with air and space and music and occasional political references (including a funfair’s cigarette lighter made from a cast of Hitler’s head); and a conversation about the boundaries between geography and cinema, a dialogue about the colonising of the German consciousness, which he allows a character to state explicitly. This reflexive iteration gives the form a new European stamp, bringing it all back home, accidentally on purpose, colonising the ultimate American film form. In the end, film yields to the reality of geopolitics with American-ness a permanent inhabitant even if the troops are mostly dispersed and the Soviets are entrenched, at least for the time being. They are out of sight except as newspaper headlines. Hearts and minds: the perverse antithesis to tourism as the uninvited guest lingers in ways that cannot be explained, only imagined. There are things that might shock, such as when Vogler defecates in the open air (an image that once seen is never forgotten) and the general sense of masculine despair. The third of Wenders’ road trilogy. Shot by Robby Muller with music by Axel Linstaedt. The Yanks have colonised our subconscious
I was going faster than I ever went in my whole life, then I fell off. Pro motorcycle racer Halsy Knox (Robert Redford) runs into amateur Little Fauss (Michael J. Pollard) after a race held near Phoenix, Arizona. They strike up a friendship as Fauss is attracted to Halsy’s carefree lifestyle. But Fauss’s father Seally (Noah Beery Jr.) regards Halsy as a bad influence and refuses to help Halsy when his truck breaks down. Halsy tricks the admiring Fauss into repairing his motorcycle for free at the shop where he works. When Fauss breaks his leg, Halsy, who has been barred from racing for drinking on the track, proposes that they form a partnership in which Halsy would race under Fauss’s name with Fauss serving as the mechanic. Fauss joins Halsy on the motorcycle racing circuit despite his parents’ disapproval. Fauss is constantly confronted with his inferiority to Halsy, both on and off the racetrack. Their partnership is finally broken when wealthy drop-out Rita Nebraska (Lauren Hutton) arrives at the racetrack and immediately attaches herself to Halsy, despite Fauss’ keen attention. Fauss returns home to find his beloved father has died. Halsy later visits him and attempts to ditch Rita, who is now heavily pregnant. Fauss refuses to let Halsy pawn her off on him and informs him that he plans to reenter the racing circuit. They race against each other at the Sears Point International Raceway. Halsy’s motorcycle breaks down. As he watches from the side of the track, he hears the announcement that Fauss has taken the lead… Well if that’s friendship, I’m aghast. Screenwriter Charles Eastman is now probably better known for his sister Carole aka Adrien (Five Easy Pieces) Joyce, than anything he himself wrote, including this, one of the more obsure biker flicks despite its big-name star. And yet Redford could say of it, That was the best screenplay of any film I’ve ever done, in my opinion. It was without a doubt the most interesting, the funniest, the saddest, the most real and original. He seems born to play the shirtless, feckless, ruthless handsome womaniser leaving a trail of destruction in his wake who only loses his shit-eating grin when things don’t go his way. I make it a rule to never make promises. Beery and Lucille Benson as Pollard’s parents are like a new generation’s Min and Bill. They’re so good they deserve a whole story of their own. Charles and Carole were Hollywood kids, if hardly upper echelon – their father worked as a grip at Warners while their mother was Bing Crosby’s secretary. Eastman was actually one of Hollywood’s most reliable script doctors through the Sixties, helping out on productions as diverse as Bunny Lake is Missing and The Planet of the Apes. He was something of an eccentric in that brotherhood of writers who wanted to be directors, inspiring people like Robert Towne with one of his unfilmed works which circulated in the Fifties, Honeybear, I Think I Love You. Towne remarked, For me, it was quite a revelation because it was the first contemporary screenplay I had read that just opened up the possibilities of everything that you could put into a screenplay in terms of language and the observations of contemporary life. It was a stunning piece of work, and I think it influenced a lot of us, even though it wasn’t made. Everybody tried to get it made, but Charlie was very particular about how it was going to be made, and in some ways I think he kept it from being made. Charlie was an original, that’s all. He used language in a way that I hadn’t seen used before. Towne speculated that his sister’s acclaimed screenplay for Five Easy Pieces was actually about Charles. Charlie was just one of those shadowy figures that I think cast a longer shadow over most of us than was generally recognised. Eastman would finally make his one and only foray into directing three years after this production with The All-American Boy, a boxing film starring Jon Voight. This is distinguished not just by the performances of opposites (a sexy opportunistic louse taking advantage of an ordinary decent rube) but by the evocative feelings it inspires – you get a real sense of character, predicament and place, indicating what Towne might have seen in Eastman’s writing – a kind of poetry, perhaps. That’s great screenwriting. It ain’t how you do, it’s where you’ve been. It feels as though it’s minting new archetypes it’s so fresh, vivid and affecting. It hits home even further in the special soundtrack of songs performed by Johnny Cash and written by him, Carl Perkins and Bob Dylan – arguably their on-the-nose content is the only thing that dates this, if at all. An unsung Seventies film and Pollard is just fabulous as Little. Sumptuously shot in Panavision by Ralph Woolsey on location in Antelope Valley, Sonoma County and Sears Point Raceway in San Francisco. Produced by Al Ruddy, Gray Frederickson (they would make The Godfather in a couple of years) and actor Brad Dexter – it was one of four films he produced. Wonderfully directed by Sidney J. Furie. What else is there to do?
Sometimes things happen for a reason. June Havens (Cameron Diaz) is a car fanatic preparing to board a flight back home for her sister’s wedding when she bumps into Roy Miller (Tom Cruise) in the middle of a busy airport. A few minutes later, they’re making small talk on the plane when June excuses herself to the bathroom, and all hell breaks loose in the fuselage. By the time June emerges with her makeup fixed and ready for some romance, Roy has killed everybody on board, including the pilots. After crash-landing the plane in a darkened cornfield, Roy tells June that she should expect a visit from government agents, but warns her that by cooperating with them she risks almost certain death. He drugs her and she wakes up at home the following day, and his prediction comes true when June is confronted by a group of CIA agents who come under heavy fire while bombarding her with questions about her mysterious companion who it transpires is a lethal CIA operative who is to be feared. Suddenly, Roy is back, whisking June away to safety and away from her ex, fireman Rodney (Mark Blucas). Before long the girl who never travelled far from home and doesn’t even possess a passport is off on an impromptu global adventure that takes her from the Azores to Austria, France, and Spain. Somewhere in all of the confusion and gunfire, June begins to forge a bond with Roy, a disgraced spy who’s trying to clear his name while trying to avoid being murdered. Unfortunately, it’s never quite clear whether he’s one of the good guys and by the time he reveals that he’s attempting to protect a valuable new energy source, a never-ending battery hidden in a toy knight and created by an autistic wunderkind called Simon Feck (Paul Dano), he’s got to protect him from not just his former colleague Fitz (Peter Sarsgard) but also a gang keen to get it for themselves … Nobody follows us or I kill myself and then her. A completely nutty action comedy with thrills, spills and mayhem is just what the doctor ordered so here it is, a star vehicle perfectly tailored to the respective talents of Cruise and Diaz, previously paired in the rather (in)different Vanilla Sky and taking place on planes, trains, automobiles and motorbikes. And yet they weren’t meant to be the stars when this was originally mooted and of the twelve writers – you read correctly, twelve – only one, Patrick O’Neill, gets credited. It takes some narrative shortcuts – every time June might pose a problem, Roy drugs her – but he doesn’t take advantage (no, really!) and she has some skills, and she gets to use them in the wittiest way possible no matter that she might fire off in all directions. Totally left field, barmy fun with amazing stunts, a stunning car-bike chase in the middle of a bull run and a nice twist ending. That’s Gal Gadot as a spy in a restaurant. Directed by James Mangold. Who are you?
Aka Marriage a la Mode. What are you? Who the devil are you? When William Egerton (Rex Harrison) aka Charles Hathaway Peter, Pietro and Bill, emerges from a lengthy period of amnesia to find himself in a hotel in Wales. He retrieves a trunk of his belongings from a station and finds evidence that he was a conman and a serial bigamist. A professor of psychological medicine Llewellyn (Cecil Parker) helps him to start piecing his life back together but William discovers he has been married to seven women all over the country – at the same time. He is pleased to find that he is married to a lovely fashion photographer Monica Hendricks (Kay Kendall) in London, but when he goes to his office at the Munitions Ministry to ask his boss for sick leave, he is thrown out as a stranger. He is also persona non grata in his club, since he pushed a waiter over a balcony. He is kidnapped by the injured waiter (George Cole) and learns that he was also married to the waiter’s relative Lola ( ) who is now a circus acrobat, and whose Italian family run a restaurant. He is arrested and tried, and, ignoring his female barrister Miss Chesterman’s (Margaret Leighton) case for the defence, admits his guilt and asks to go to prison for a quiet life away from all his wives, who all want him back. On leaving prison he is still sought by his wives as well as by his barrister … I am beginning to be seriously concerned about my character. Director Sidney Gilliat and Val Valentine’s screenplay is an exercise in caddish charm, capitalising on the persona (on- and offscreen) of Harrison who had successfully essayed the type in Gilliat’s A Rake’s Progress, a decade earlier. As the women pile up, his dilemma worsens and the potential for criminal charges exponentially increases. The lesson if there is one in this farcical narrative is a kind of redemption but the ironic outcome has our hero simply running away from the imprisonment of marriage into a real prison: all the while these women cannot control their attraction to him. Male wishful thinking? Hmm! The witty, literate script comes to a head in an hilarious courtroom scene in which Harrison agrees with the prosecution’s characterisation of the dingy exploits of a shopworn cavalier; while Leighton bemoans sexism in the court yet falls for her hopeless client; and a lawyer wonders at the supportive wives, The same again is every woman’s ideal –they’re gluttons for punishment. This skates between a wry play on Harrison’s lifestyle and outright misogyny. Zesty, funny and played to the hilt by a fabulous cast of familiar British faces. The meta-irony is that Harrison commenced an adulterous affair with the fabulous Kendall, whom he married. Think of all your morbid fancies of yesterday – then look at this!
Fifty bucks never killed anybody! Rudy Russo (Kurt Russell) is an unscrupulous car salesman who aspires to become a State Senator for Arizona. In the meantime he works for the nice but ineffective old dealer Luke Fuchs (Jack Warden) with a dodgy ticker selling bangers that die once they leave the lot. When Luke dies in mysterious circumstances, Rudy takes over the business, but he faces stiff competition from his rival across the street, the scheming Roy L. Fuchs – pronounced ‘fewks’ – (also Warden) who wants his brother’s business for himself because he’s paying off the Mayor to put the interstate freeway through the property. Rudy needs to get hold of $10,000 to launch his political campaign. In order to get more customers, Rudy and Roy each devise ever more ridiculous promotions to gain the upper hand. Now it’s every salesman for himself! Then Luke’s estranged daughter Barbara Jane (Deborah Harmon) shows up just when there’s a televised Presidential address to disrupt … They are the lowest form of scum on the face of this earth and I urge you to stay away from them! John Milius gave the idea for the script to Robert Zemeckis & Bob Gale and lo! comedy gold was born in this outrageous tale of oneupmanship, rivalry and sheer chutzpah, a parody of hucksters and a satire about the USA at the tail end of the 70s. Russell and Warden are fantastic. This country’s going to the dogs. Used to be, when you bought a politician the son of a bitch stayed bought! Gerrit Graham, David L. Lander, Frank McRae and Michael McKean are among the brilliant cast where everyone has an angle, even Toby the dog. Screamingly funny, this is one of the best bad taste comedies ever made and simply hurtles to its riotous conclusion taking absolutely everybody prisoner on its mercilessly outrageous joyride. Executive produced by Milius and Steven Spielberg. Nothing sells a car better than a car itself. Now remember this, you have to get their confidence, get their friendship, get their trust. Then get their money
Aka S is for Stanley – 30 Years Behind the Wheel for Stanley Kubrick, S Is for Stanley – Trent’anni dietro al volante per Stanley Kubrick. He was fast. Filmmaker Alex Infascelli came across Emilio D’Allesandro upon the publication of his memoir, Stanley Kubrick E Me and decided to make a documentary about the man who was the auteur’s driver and assistant for more than a quarter of a century. Emilio relates to camera and over montages and home movies his story of emigration – he took the train from Italy to London in 1960 and made a splash driving at Brand’s Hatch but needed to make money for his new family with English wife Janette and became a taxi driver. One night in 1970 when the firm couldn’t get anyone else to take ‘an object’ to a house outside London he was the only driver brave enough to go in a snowstorm. He was greeted at the front door by Kubrick who had a newspaper cutting about him in his pocket and asked if he was the same man who had driven at the famous racetrack and whether he drove that quickly on normal roads. Emilio said, no, he did not drive fast outside races and started working for Kubrick the following day, using his own car. He found that his new employer loved cars as much as he did and particularly Mercedes because he believed the German marque was the safest. He asked Emilio if he could drive an imposing truck constructed to withstand immersion in water. Emilio said if it had a steering wheel and four wheels he’d give it a try. There was a house move, from Abbots Mead (owned by Simon Cowell’s father!) near Elstree Studios to Childwickbury Manor, a huge country house ten minutes away that had enough stables to serve as production offices and vast lands for rescue animals to roam. The place was a zoo, Emilio sighs and photos show him on the back of a poor sad donkey. The documentary is a feast of information, with Kubrick’s many notes and letters narrated by Clive Riche, and they are a marvellous insight into his working method and his home life with wife Christiane and their three daughters. He believed in labels and lists – one of which dominated the house: Basic Training. It starts, If you open it, close it. There are 11 further lessons to live by. The meticulous approach, as detailed by Emilio, and some of which is catalogued in the many archive boxes in his own garage filled with memorabilia, is known to Kubrick’s fans but its application domestically, including pet care – he took in all the dogs and cats that came into his purview and housed them and took care of them and left particular notes on each of their needs – demonstrates the mindset that was above all utterly practical. The first production Emilio was directly involved in was Barry Lyndon, to be shot in Ireland. He would fly from London to Dublin as many as four times a day, back and forth, with highly confidential items. He recalls being asked to find a candle manufacturer that could produce candles for three years straight: he would discover later that Kubrick planned on shooting the film by candlelight. Emilio had a run-in with Jack Nicholson on the set of The Shining and when he told Kubrick, I would like to stay away from him, the director understood and it was not a problem. His home telephone always rang at meal times. When Emilio said it wasn’t fair to Janette, Kubrick asked if it would be alright to install a separate line for his calls at their home. Emilio recalls having call Federico Fellini on Kubrick’s behalf to find out how he achieved a certain effect. Kubrick’s calls were lengthy, and even Fellini finally had to make his excuses and hang up. Why did they do this to me? asked Kubrick in the wake of his daughter Anya’s marriage and the other two girls moved to London. He was a gregarious sort, a devoted spouse, father and family man and he felt abandoned. Emilio declares bemusedly that only Christiane and all those animals were left at the house. While Emilio and he were driving one day Kubrick spotted an abandoned gasworks that would serve as the main location for Full Metal Jacket and Emilio was like another father to Matthew Modine, the star. In 1991 when Emilio was turning 50 and his parents were ageing and infirm he wanted to return to Italy. He gave Kubrick three years’ notice, during which his father died. On the eve of departure, Kubrick asked him to stay two more weeks. He and Janette suffered when their racer son had to have his leg amputated following a crash and Kubrick sent them to the best doctors, taking care of the bills. What do you do during the day? Kubrick asked Emilio when he had finally gone home to Italy. Emilio remembers, I started watching the films and that was when I realised what a genius he was. Kubrick asked him to return to England for a fortnight. Janette believed it was a trick to get Emilio back working again but knew her husband was happier working with Kubrick. When he and Janette went for afternoon tea he asked the director about his current film and Kubrick responded he couldn’t do it without him. If you tell me you’ll come back I’ll do it. Emilio and Janette stayed in England and Kubrick shot Eyes Wide Shut half an hour away from home, at Pinewood Studios, where Greenwich Village was reproduced. He made the film partly in tribute to Emilio – he had him in the film at a news stand where Tom Cruise buys a paper; and a café is named for him (Caffé Da Emilio); he found every possible way to include him. Love, Stanley. After editing the film Emilio found Kubrick in need of assistance one day as he tried but failed to break a tablet in two for one of his pet cats. Kubrick regularly needed oxygen and was exhausted from the film. His beard had turned white and he was utterly drained. He died that night, one week after a screening for Warner Brothers in New York. In the present day, Infascelli drives Emilio back to Childwickbury, where a Private sign hangs on the closed gate. Emilio doesn’t want to enter. (Kubrick is interred there, along with Anya). It’s a gentle and touching recollection of things past, a lovely personal account of a long-lasting friendship and working relationship told across the background of four major films made by one of the cinema’s most astonishing filmmakers. For a man who ironically disliked being photographed, some of the happiest pictures here of Kubrick are from the home movie of the party he held for Emilio when he was leaving for Italy in the early 90s. I still think when the phone rings it might be him
It may not interest you technically but for a large section of humanity it could be a matter of life and death. The British government asks entomologist Frances Gray (Margaret Lockwood) to go behind the Iron Curtain and examine insects that might be used as carriers to spread disease in germ warfare. Grudgingly accepting the job, Frances goes undercover as Frances Conway, a tour director looking for potential holiday destinations and meets tough American reporter Bill Casey (Dane Clark) in the process. Unfortunately, the chief of police Razinski (Marius Goring) quickly sees through Frances’ flimsy cover. Then her contact is murdered and his body left in her hotel room and Frances is taken into custody, prompting Casey to come to her aid… A few months ago some people were shot accidentally in the woods. It was terrible. A vehicle for Lockwood after a period doing theatre, Eric Ambler loosely adapted one of his novels (The Dark Frontier), changed the gender of the protagonist and it’s a spirited adventure. The Ruritanian setting hints at the comedy style, returning Lockwood to a kind of thriller along the lines of The Lady Vanishes – enhanced by the casting of Naunton Wayne as Frances’ recruiter, Hedgerley, Wilfrid Hyde White (after The Third Man) and Goring’s performance as a comedy police chief, enlivening the playfulness. Like The Third Man, Ambler’s script makes a meta issue of storytelling, there’s a torture scene in a TV studio-like location and there are references to soap opera and a character called Frank Conway, the star of a radio serial that Frances listens to for her little nephew and for whom she is re-named. Nicely done with a good mix of intrigue, suspense and fun led by Clark as the inadvertent hero of the situation. Directed by Roy (Ward) Baker. You just can’t do things like that in real life.
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
I kept asking myself, all night long, who would want to such a thing? FBI agent John Ripley (Broderick Crawford) inherits three cases his murdered partner Zack Stewart (Kenneth Tobey) has been investigating, hoping one of them will turn up his killer. Glamourpuss Connie Anderson (Martha Hyer) can be connected to gas station killer Joe Walpo (Joe Bassett). Fashion buyer Kate Martell (Ruth Roman) is getting phonecalls extorting insurance money that she received following her husband’s death and her young daughter is being threatened.When boxer Matty Pavelich (Claude Akins) beats up blind Julie Angelino (Marisa Pavan) her husband Vince (Gene Reynolds) agrees to testify, so another case is tied up … I don’t like men staring at me before lunch. Adapted by The Gordons (Mildred and Gordon) from their novel Case File FBI, this serves as something of a Valentine to that agency although J. Edgar Hoover reputedly objected to the early draft scripts. It’s enlivened by the shift between documentary-style realism, great location shooting and a conventional thriller mode boasting some terrific female performances, particularly Hyer (once touted as the new Grace Kelly) giving it the full Marilyn Monroe as the sexpot link to a mysterious criminal. Roman is her customarily intense self with a problematic household, an aggressive romantic interest (Max Showalter) and a job as a fashion buyer to contend with; while Crawford’s gruff persona suits the no-nonsense lead role. There is some especially piquant dialogue and a gloriously funny moment when an inventor tries to sell him on a Geiger counter for spies (it has a light that comes on when a taxman is in the vicinity). The stories are well put together and it ends (happily, for the viewer at least) at the Hollywood sign in a Los Angeles that is still notably rural, with the freeway almost empty of the traffic to come. Directed by Arnold Laven. Sometimes you meet some nice people in this business
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