Say Anything … (1989)

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– Diane Court is a Brain. – Trapped in the body of a gameshow host. Lloyd Dobler (John Cusack) is an underachieving eternal optimist who seeks to capture the heart of Diane Court (Ione Skye) an unattainable high-school beauty and straight-A student who’s been hot-housed by her Dad and barely knows anyone else at high school. She delivers the class valedictorian speech to no appreciative laughs – Dad got it, they don’t. It surprises just about everyone when she goes out with Lloyd to a party where she meets her classmates properly. And it goes much further than even he had dared hope. But her divorced father (John Mahoney) doesn’t approve and it will take more than love to conquer all…  Yup, the one with the boombox!  And what a surprise it was, and remains. A heartfelt, funny and dramatic tale of adolescent love and a first serious relationship after graduation. She’s gorgeous and serious and can Say Anything to her desperately ambitious dad, He’s a kickboxing kook with zero parental obligations (they’re in Germany in the Army) and his only close family in the neighbourhood is his divorced sister (Joan Cusack, his real-life sis) and her little son whom he’s educating early in the martial arts. Cameron Crowe’s debut as writer and director hits a lot of targets with wit, smarts and real empathy for his protagonists who live complex lives in the real world where people go to prison for tax evasion. Lili Taylor has a great role as the semi-suicidal songwriting friend who finally sees through her beastly ex after writing 63 songs about him. Growing up is tough but there’s so much to recognise here not least the fact that every guy in the Eighties had a coat like this! I gave her my heart and she gave me a pen. With lines like this you know you’re not in an ordinary teen romance. This is human, charming and utterly cherishable.

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The Red Shoes (1948)

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– Why do you want to dance? – Why do you want to live? Vicky Page (Moira Shearer) is a ballerina torn between her dedication to dance and her desire to love. Her autocratic, imperious mentor (and ‘attractive brute’) Boris Lermontov (Anton Walbrook) who has his own ballet company, urges to her to forget anything but ballet. When his star retires he turns to Vicky. Vicky falls for a charming young composer Julian Craster (Marius Goring) who Lermontov has taken under his wing. He creates The Red Shoes ballet for the impresario and Vicky is to dance the lead. Eventually Vicky, under great emotional stress, must choose to pursue either her art or her romance, a decision that carries deadly consequences… The dancer’s film – or the film that makes you want to dance. An extraordinary interpretation of Hans Christian Andersen’s fairy tale, this sadomasochistic tribute to ballet and the nutcases who populate the performing universe at unspeakable cost to themselves and those around them is a classic. A magnificent achievement in British cinema and the coming of age of the Michael Powell-Emeric Pressburger partnership, it is distinguished by its sheerly beautiful Technicolor cinematography by the masterful Jack Cardiff. It also boasts key performances by dancers Robert Helpmann, Ludmila Tcherina and Leonide Massine with a wordless walk-on by Marie Rambert. The delectable pastiche score is by Brian Easdale. Swoony and unforgettable, this is a gloriously nutty film about composers, musicians, performers, dancers and the obsessive creative drive – to death. Said to be inspired by the relationship between Diaghilev and Nijinsky, this was co-written by Powell and Pressburger with additional dialogue by Keith Winter. It was a huge hit despite Rank’s mealy-mouthed ad campaign and in its initial two-year run in the US at just one theatre it made over 2 million dollars.

 

Electric Dreams (1984)

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Meet Edgar. He’ll make you sing, make you dance, make you laught, make you cry, make you jealous, make you nuts. Architect Miles Harding (Lenny Von Dohlen) has dreams of a brick shaped like a jigsaw puzzle piece that could enable buildings to withstand earthquakes. He’s looking for a Casio Day Planner but winds up with a cut price personal computer – the sales assistant drops it off the shelf. Then he buys extra gadgets not necessary for his work – switches to control household appliances like the blender, a speech synthesizer, and a microphone. The computer calls him Moles’ because he’s incorrectly typed his name during the initial set-up. When he attempts to download the entire database from a mainframe computer at work, his computer begins to overheat. Miles uses a nearby bottle of champagne to douse the overheating machine.  He has unwittingly caused it to become sentient and first finds out one night when he’s woken up – the computer (now called Edgar and voiced by Bud Cort) is repeating what he’s said in his sleep. Then it plays music back through the air vents to the beautiful cellist Madeline (Virginia) who lives in the upstairs apartment. She believes it was Miles who had played variations on the duet, and falls for him despite being involved with fellow musician Bill (Maxwell Caulfield). Edgar composes a piece of music for Madeline but gets jealous when Madeline and Miles fall for each other. He cancels Miles’ credit cards and registers him as a dangerous criminal. Miles and Edgar have a confrontation, leading to Miles shoving Edgar and trying to unplug it, getting an electric shock. Then Edgar retaliates in a Pac-Man like game by harassing him with household electronics. Eventually Edgar accepts Madeline and Miles’ love and seems to commit suicide by sending a large electric current through his acoustic coupler – around the world (it’s alright – he’s dialled a toll-free number!) and back to himself just after he and Miles make amends. Edgar’s pop tribute to Miles and Madeline Together in Electric Dreams plays on radio stations across California. A love triangle with a difference – a man, a woman, a personal computer. Artificial intelligence being what it now is (scary) this is actually fairly accurate despite the machine-age imagery – which will however remind some of us of early exposure to the Amstrad! (How I miss green screens…) Von Dohlen hasn’t the charisma to carry this off but Madsen’s sweetness plays nicely off the rather more possessive qualities of Caulfield. A quintessentially Eighties outing with the faults and technical quirks of the era proving a jolt to the old memory stick (not to mention all those songs). Written by Rusty Lemorande and directed by music video maker Steve Barron, perhaps most famous for Billie Jean, Don’t You Want Me, Money for Nothing and The Sun Always Shines on TV all of which pretty much led to the beginning of MTV!

Evita (1996)

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Statesmanship is more than entertaining peasants. 1952 Buenos Aires: a film in a cinema is stopped by the newsflash that Eva Peron (Madonna) is dead. Flashback to years earlier: a little girl running into a church and placing flowers on the body of the man who was her father before she is hustled out. 1930s:  Eva Duarte is sleeping with a tango singer Magaldi (Jimmy Nail) before making her name as a radio actress and then befriending a powerful man Colonel Juan Peron (Jonathan Pryce) at a fundraiser following an earthquake. She becomes his mistress and encourages and hustles for him as he parlays his way to power, using her broadcasting nous to raise support for him during his imprisonment by political rivals who fear his rise. Throughout this larger than life musical drama (entirely sung through) Che Guevara (Antonio Banderas) is the shapeshifting commentator on the sidelines, positioning us in the narrative, until the final – unthinkable – departure of Evita. This is a robust, admirable adaptation by director Alan Parker and Oliver Stone of the Andrew Lloyd Webber-Tim Rice behemoth that bestrode theatre in the 1970s after its introduction as a concept album – a musical drama that deconstructs the life of the Argentine bastard who became an actress and whore before marrying the dissolute Peron and utilising her powers of demagoguery to help him and his Nazi thugs to Government. All of this is contextualised under the guise of sympathy for the impoverished masses of which she believed she was one because she was the illegitimate offspring of a married middle class man.  The story problem here is the persona of Evita herself – she’s a narcissistic exhibitionist whose principal passion is herself and this presents the issue of empathy for the viewing experience. It’s an epic political pageant but it’s politics as psychodrama:  you can admire the scale but it’s a mirthless spectacle about horrendous people. Madonna does an excellent job with the songs but her limited technical acting abilities aren’t helped by the parameters of the role itself, which is primarily declarative in function. The first opportunity she really gets to properly emote is on her deathbed: everything else is essentially a con job of presentation, inherent to the character herself. Banderas and Pryce are commentators and therefore essential to the interacting of the personal with the political on a broad canvas shot in muted amber tones which is admittedly captivating and occasionally jaw-dropping in ambition. There are some wonderful visual flourishes and pastiche references to classical filmmaking (Parker even makes a cameo appearance). At its heart this is a vengeful journey into fascistic madness framed by two funerals.  It’s certainly interesting to see this again (in any form) in the week in which the Perons’ successors are finally sentencing the pilots who carried out the murders of tens of thousands of dissidents by dropping them in the shark-infested Atlantic 40 years ago rather than wasting time torturing them – so many people had already invested their energies doing that and it was obviously tiring them out. Can you imagine what these toxic avengers would have done if they’d been allowed on the Falklands? Oh what a circus, oh what a show.

Ronin (1998)

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Lady I never walk into a place I don’t know how to walk out of.  IRA woman Deirdre (Natascha McElhone) assembles a team of ex-special ops men turned mercenaries in Paris to carry out a heist on a briefcase carrying some mysterious material. They include ex-CIA agent Frank (Robert DeNiro), Larry (Skipp Sudduth) and French op Vincent (Jean Reno). They are joined by Englishman Spence (Sean Bean) and German Gregor (Stellan Skarsgaard). Each has a special gift to bring to this party. Spence immediately thinks he knows Frank from somewhere and the narrative die is cast:  as each member of the heist team begins to distrust the other, the body count mounts and this travelogue (through the south of France) speeds at an exhilarating pace with amazing car chases punctuating the stylish action around Arles and Nice. Deirdre meets secretly with fellow IRA op Seamus (Jonathan Pryce) and while she is double-crossing the team their numbers are dwindling at the hands of the Russian mob whose path they cross. Added to the mix is the ice skater Natacha Kirilova (Katharina Witt) whose showcase becomes the venue for the penultimate showdown. J. D. Zeik’s story and screenplay received a major rewrite from David Mamet under the name Richard Weisz and this super smart spy thriller benefits from shrewd juxtaposition of action with gleaming character detail. Add to that beautiful cinematography, some of the best car stunts outside of Bullitt (with Sudduth doing most of his own driving) and spot-on performances and you have a cracking genre entertainment which at the time marked a major comeback for the amazing John Frankenheimer.  The francophile was making a return to the south of France for the first time since French Connection II.  It’s great to see Michael Lonsdale as a fixer whose interest in samurai supplies the story behind the title. The final revelation is both surprising and satisfying. And the contents of that briefcase?  Well you’ve seen enough Hitchcock films to figure it out for yourself. Fantastic stuff, brilliantly directed.

The Glenn Miller Story (1954)

The Glenn Miller Story

My number’s Pennsylvania 6-5000. Glenn Miller (James Stewart) is a young impoverished trombonist who pawns the instrument every time he leaves his latest band because nobody wants to use his arrangements: he hears music in a certain way but hasn’t the means to achieve his own orchestra, at least not yet. He’s confident it’ll happen some day just as he is that Helen (June Allyson) the girl he once dated at college in Colorado will marry him so he buys her a fake string of pearls and gets her to see him for the first time in two years despite her being engaged to someone else. Then he disappears again.  When she agrees to meet him in NYC she marries him and while he falls in and out of jobs she gets him to form his own crew with the money she squirrelled away without his knowing and by 1939 he has one of the biggest swing bands in the US … This biographical film is just so good it’s hard to know where to start:  the transitions which are so brilliantly inscribed by visually expert director Anthony Mann, particularly in the early scenes when the pawn shop is so central to Miller’s whole life;  the ease with which we grasp Miller’s misery at not being able to translate the music in his head to live performance (the squirming during a showgirl’s bowdlerized delivery of Moonlight Serenade has to be seen to be believed); the simple way the adoption of their children is handled; and the depiction of friendship with pianist Chummy (Henry Morgan) and its significance to running a smooth band. If you’re a jazz fan you’ll get a shiver of recognition every time a familiar chord strikes up and kudos to arranger Henry Mancini (who had played with Miller and was part of the ‘ghost’ band made up of the original and the Army Air Force players when he died) who errs just the right side of easy. There’s another recognition factor too – watching Louis Armstrong and Gene Krupa perform is another plus;  as is the scene in London during a German bombing raid when the band play on in the open air – and the audience applaud once they get up again. Stewart is splendid in the title role and his resemblance to Miller doesn’t hurt. He was paired previously with Allyson in The Stratton Story and would work with her again in director Anthony Mann’s Strategic Air Command. This was the star and director’s fifth film collaboration  (out of eight) and the first non-Western. It was a huge hit, as was the soundtrack album and is a genuinely thrilling musical which will give real fans immense pleasure. There’s a great final scene with that little brown jug. Gulp. Written by Douglas Morrow and Guy Trosper.

Ice Cold in Alex (1958)

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Aka Desert Attack. Two million men. Two million stories. This is one that happens to be true. Captain Anson (John Mills) is dying for a drink but he has to leave his post in Tobruk before the Germans invade and make his way with a medical unit by field ambulance (nicknamed Katy) to Alexandria in Egypt. He has to travel with MSM Tom Pugh (Harry Andrews) and a couple of nurses, Diana Murdoch (Sylvia Syms) and Denise Norton (Diane Clare). They make their own way when they get separated from the rest of their colleagues and come cross a South African officer Captain van der Poel (Anthony Quayle) who wants a lift to the British lines.  They are fired on by the German Afrika Corps and Denise is shot through the walls of the vehicle. When van der Poel approaches the Germans they withdraw. Anson is suspicious. Van der Poel cannot be parted from his backpack – he shows Anson a couple of bottles of gin and the Brit comforts himself with dreams of a a drink in Alexandria. Pugh is suspicious when van der Poel doesn’t know how to make tea the (British) Army way and is convinced he’s seen an antenna in the backpack. When van der Poel goes off again at night they shine the ambulance lights on him and he gets stuck in quicksand and they have to decide what to do with a German spy … This is a classic British fifties wartime adventure, with John Mills at the peak of his career exploiting notions of his occasionally abject masculinity and he’s especially impressive here, battling alcoholism and exhaustion. Syms has a very good role as the woman who appears to understand him while Quayle is excellent as the interloper with a diplomatic way about him and the brute strength required to push the ambulance when it gets stuck in an escarpment. Christopher Landon adapted his own Saturday Evening Post articles (and then a 1957 novel) with T. J. Morrison and it was directed with verve by J. Lee Thompson. This got a whole new lease of life thirty years ago when the final sequence was used as an ad by Carlsberg because as everyone knows and John Mills says, Worth waiting for. Iconic.

Invasion of the Body Snatchers (1956)

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Even these days it isn’t as easy to go crazy as you might think. Divorced Dr Miles Bennell (Kevin McCarthy) returns to his smalltown practice in California after being away for a couple of weeks at a medical conference. Seems like half the population has been complaining of a mysterious feeling and then not returning, claiming to be better. And the other half says family members aren’t themselves – they’re impostors, lacking nothing except emotion. When his ex Becky Driscoll (Dana Wynter) returns from England after her own failed marriage they visit mystery writer Jack Bellicec (King Donovan) and his wife Teddy (Carolyn Jones) because his double is lying on the billiards table and frankly it freaks them out. Becky’s father is a little strange too and as for the local psychiatrist…. Soon it appears the whole town is being taken over by alien seed pods now being actively cultivated to make everyone the same. Whether you take this as ‘straight’ sci fi or horror (as if that were ever a thing), a political allegory (it works for  communism or fascism) or a warning about the homogeneity and groupthink of Fifties culture or even a comment on the brainwashing techniques used during the Korean War, this is brilliant cinema. From the sly innuendo of McCarthy getting back together with his ex, to the satirical thrusts at a humdrum life, this hasn’t aged a day. The scene when Teddy sees Jack’s double open his eyes while Jack is asleep is really thrilling. And as for the pods throbbing in the greenhouse! Adapted by Daniel Mainwaring from sci fi legend Jack Finney’s Colliers serial (later a novel) it was directed by Don Siegel. Whit Bisssell is the Dr in the concluding scenes and Sam Peckinpah plays Charlie the meter reader – he was director Siegel’s dialogue coach on this and four other of his Fifties films. The prologue and epilogue were added because the studio got cold feet over the pessimistic content –  but you will never forget the sight of McCarthy shouting at the trucks on the highway, and this was its original ending. Nevertheless, this is extraordinary, urgent and fiercely exciting, simply one of the best films ever made.

A Month by the Lake (1995)

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My father taught me it’s better to observe than to be observed.  It’s 1937. Miss Bentley (Vanessa Redgrave) is making her annual pilgrimage to Lake Como, the destination she frequented with her late father. She’s an unmarried woman of a certain age, the sporty delight of gorgeous young Italian men and a jolly hockey sticks type who fraternises with the ladies of the establishment (mainly Alida Valli). Then she spots a newcomer, Major Wilshaw (Edward Fox) with whose ears she becomes obsessed and whom she attempts to attract while beating him at tennis and making him miss the steamer back to the hotel. When a young Italian family employ a new American nanny Miss Beaumont (Uma Thurman) straight out of finishing school he mistakes the girl’s earnest gesture upon his early leavetaking – and returns. The complications that arise are gently dramatised and the unfolding romances culminate in a broadcast that reminds us that this is the last such summer for several years… This is a charming and subtle comedy of flirtation, manners and misunderstandings. H.E. Bates’ novella gets a thorough treatment from Trevor Bentham and is really well acted by Redgrave who channels her inner Joyce Grenfell, fusing boyishness with withheld emotion:  she has a particularly funny scene when handsome young gun Vittorio (Allesandro Gassman, son of actor/director Vittorio) attempts to seduce her. She conquers him with the camera she carries everywhere. Produced by Fox’s younger brother Robert (previously married to Redgrave’s daughter, Natasha Richardson) this almost-family affair was filmed around Varenna, Bellagio and Lierna and it looks utterly splendid. A lovely way to spend a Sunday afternoon – or indeed a month. Directed by John Irvin.

American Graffiti (1973)

American Graffiti

You just can’t stay seventeen forever. From magic hour until dawn, George Lucas’ evocation of the last night of properly being a teenager in Modesto, CA c. 1962 remains one of the most truly felt, realistically dramatised portraits of that difficult age. Curt (Richard Dreyfuss) is arguing with high school class president Steve (Ron Howard) in the car park of Mel’s Drive-In when he says he’s changing his mind about leaving for college in the morning. Steve breaks up with Curt’s sister and head cheerleader Laurie (Cindy Williams) and vests custody of his beloved wheels to Toad (Charles Martin Smith) while the oldest teen in town, John Milner (Paul Le Mat) looks on.  Music is pouring from the school hall where Herby & the Heartbeats aka Flash Cadillac and the Continental Kids are performing at the back to school hop. Steve and Laurie have to pretend they’re still getting along as they dance in front of everyone. Curt spots a blonde angel (Suzanne Somers) cruising the strip in a Thunderbird and can’t be persuaded she’s a prostitute even after phoning her. John gives little Carol (Mackenzie Phillips) a ride and she aggressively but innocently pursues her crush on him. Toad picks up Debbie (Candy Clark) in the car and she proves surprisingly sweet considering her Monroe-esque attributes. John agrees to a drag race on Paradise Road against Bob Falfa (Harrison Ford) and it ends in a flame-out at dawn …  This low budget quasi-autobiographical film and tribute to hot rodding was made by George Lucas when he couldn’t get his version of Apocalypse Now off the ground. HIs college classmates Gloria Katz and Willard Huyck co-wrote his story and Richard Walter did a sexy rewrite which didn’t work for Lucas and he rewrote it all himself using his record collection as inspiration for the different sections. It wasn’t sufficiently sexy or violent enough for AIP so United Artists financed the development (whew). It looked to UA like a music montage so that was when Universal came up with the money for production. It was shot in Techniscope utilising two cinematographers in each scene to save time and money and look like widescreen 16mm. It was editor Walter Murch’s idea (after Verna Fields left the rough cut for a bigger budget movie called What’s Up Doc?) to arrange the story to Wolfman Jack’s radio show focusing on rock ‘n’ roll classics. The soundtrack budget didn’t allow for the fees demanded by Elvis’ company, RCA and it’s all curated by Kim Fowley. The songs chronicle each of the vignettes, culminating in Curt’s departure for college at the local airport. Steve stays in Modesto and the credits commence with a card telling us of what supposedly becomes of each of the four protagonists. Ironically Lucas missed his high school reunion in Modesto because of the shoot which took him to San Rafael and then Petaluma. It was done in sequence and mainly at night so the actors would look progressively more tired as the night becomes morning. Charming, cherishable, wise and funny, with a vast array of performers who became household names and starting a huge vogue for Fifties nostalgia – Rock and roll has been going downhill since Buddy Holly died, as one of the guys declares while rubbishing The Beach Boys. An evocative, classic, inspirational homage to guys, girls, cars and rock ‘n’ roll. What more do you want?! Produced by Francis Ford Coppola, whose Dementia 13 is on the marquee of the local cinema.