Just Go With It (2011)

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I’m just happy to hear that his thing-a-ding can still ring-a-ding. In 1988 with his heart recently broken and left at the altar, medical student Danny Maccabee (Adam Sandler) gets a nose job and switches to cosmetic surgery and pretends to be married so he can enjoy dates with no strings attached as he builds up his successful business in Beverly Hills. His assistant Katherine Murphy (Jennifer Aniston) a divorcee with a daughter Maggie (Bailee Madison) and son Michael (Griffin Gluck) listens to his escapades as they attend to his patients at the surgery. His lies work, but when he meets grade school math teacher Palmer (swimsuit model Brooklyn Decker) at a society party she is the girl of his dreams and following a romantic night at the beach she sees the wedding ring and resists involvement. Instead of coming clean, Danny enlists Katherine to pose as his soon-to-be-ex-wife. Instead of solving Danny’s problems, the lies create more trouble because she brings up the subject of her kids and they blackmail him into a trip to Hawaii where they all get to know each other under fake identities – plus Katherine’s alleged boyfriend ‘Dolph Lundgren’ who is actually Danny’s friend Eddie Simms (Nick Swardson).  When Katherine’s college rival Devlin (Nicole Kidman) shows up at their pricey hotel and the women are involved in a re-run of Who’s Best everything becomes much more complicated …  I gotta tell you, last night, with the ass grab of the coconut, a little bit of the red flag. Le cinéma d’Adam Sandler continues apace, blending soft-centred farce with familial sentiment as is his shtick, in an agreeably nutty broad update/adaptation of Cactus Flower. The big joke here is of course that Danny’s ideal woman has been right in front of him for years – and he only realises when she strips down to her bikini and he sees her as never before. Are all Sandler films set in Hawaii?! A plus for appearing in them, methinks. There are some very funny visual jokes in the cosmetic surgery department but even though this just gets sillier by the minute, it’s all about fatherhood in the age of paternal post-feminist melancholy. Think I’m joking?! Sandler is the poster boy for immature masculinity begetting the likes of Seth Rogen et al, arising in the eruption of the bromance, a genre all its own and a hyperhomosocial sphere of apparently irreconcilable differences operating within the perfect fantasy world of man-child comedy in which immaturity is countered or offset by ameliorative paternity (and inbuilt ideological uncertainty). Sandler’s own star is now somewhat on the wane – perhaps pushing him into the sphere of ageing masculinity. Danny teaches these kids stuff (how to eat, how to swim) and becomes a better guy:  why do so many American comedies have to be life lessons with soft endings? Ho, hum. Never mind that the edge is blunted by this overwhelming and inadvertent desire to be a good man, it’s broad fun and when the kids get the better of him it’s enjoyable. It’s all completely ridiculous of course and the plot is ultimately disposable but the antics are very easy to like. Aniston and Sandler have real chemistry, Decker is a sweetly agreeable presence while Madison knocks everyone else off the screen. For devotees of The Hills Heidi Montag has a small role and there’s a really good in-joke at the end. Adapted by Allan Loeb and Timothy Dowling from I.A.L. Diamond’s original adaptation of the Abe Burrows stage play which itself was adapted from a French play. Rupert Gregson-Williams’ score coasts on songs by the likes of The Police. Directed by Denis Dugan aka TV’s Richie Brockleman, Private Eye. I can’t believe I let a six year-old blackmail me

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Frontier Gal (1945)

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I don’t want to be a bride – I want to be a widow! Johnny Hart(Rod Cameron)  heads for Red Gulch, looking for the mystery man who murdered his partner. He quickly meets Lorena Dumont (Yvonne De Carlo), a beautiful saloon keeper who is loved by Blackie (Sheldon Leonard), a jealous crook who doesn’t like her interest in Johnny. After he resists her seduction by saying he has another girl back home but she misunderstands his intentions, he is forced to marry her at gunpoint – an actual shotgun wedding! She turns him over to the sheriff when she learns he’s a fugitive with a price on his head. He escapes, spends a night of passion with Lorena, then is recaptured. Six years later, Johnny returns from a long spell in prison to Red Gulch seeking revenge. He now knows it was Blackie who killed his partner. Johnny’s former girlfriend is summoned to meet him, but it turns out he fathered a child with Lorena who’s now a whipsmart five year old called Mary Ann (Beverly Sue Simmons) …… Squaw easy to get. Hard to lose. This little-known western musical comedy is a lively, flavourful hoot from start to action-packed finish, with a zesty performance by De Carlo in a role intended for Maria Montez. Cameron isn’t great as her opposite number in this Taming of the Shrew knockoff, but Andy Devine is the business as Big Ben and little Simmons is just laugh out loud great as the sharp kid Johnny suddenly loves despite not knowing about her existence for five years. An underrated gem, written by Michael Fessier and Ernest Pagano and directed by Charles Lamont, this zips along to a cracking score by Frank Skinner and some entertaining songs performed by the cast although De Carlo is voiced by Doreen Tryden in one of hers. A gun so big can make a big man like me look so small

Tormented (1960)

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No one will ever have you! Jazz pianist Tom Stewart (Richard Carlson) lives on the beach in Cape Cod and is preparing to marry Meg Hubbard (Lugene Sanders) when old flame Vi Mason (Juli Reding) turns up to stop him and falls to her death from the local lighthouse when he refuses to lend her a hand as the railing breaks.  Wet footprints turn up on his mat, a hand reaches out to him, Vi’s voice haunts him and he starts behaving strangely particularly in front of Meg’s little sister Sandy (Susan Gordon).  Blind landlady Mrs Ellis (Lillian Adams) explains to him that similarly supernatural stuff happened when someone else died in the area. Then the beatnik ferry captain Nick (Joe Turkel)  who took Vi to the island to see Tom appears and starts getting suspicious that she never returned particularly when wedding bells are in the air … I’m going to live my life again and stop running. With a pedigree crew – director Bert I. Gordon co-wrote with regular collaborator George Worthing Yates – who did the screenplays for some great pirate movies and sci fis including Earth Vs. The Flying Saucers, which starred Hugh Marlowe, frequently mistaken for Richard Carlson – you’d be expecting a class act. And it’s a good story hampered by a minuscule budget which gives off a different kind of aroma. The effects are hilarious – particularly good is some woman’s hand entering frame when Tom is in young Sandy’s company and he hits it and runs off.  Sandy sees nothing, of course. My favourite moment is when Vi’s disembodied head appears and Tom reaches out and enjoys a tussle with a blonde wig which he then wraps in paper and throws down a step only to have it picked up by his blackmailer and opens it only to find dead flowers. Despite Carlson’s character mutating into a murderous beast and his ex spinning a Monroe-esque vibe, and the hilarious hey-daddy-o exchanges with the beatnik boatman (whom you’ll recognise as Lloyd the bartender in The Shining), by far the most complex performance comes from young Gordon (the director’s wonderfully talented daughter). The ending is satisfying indeed if you like really proper ghost stories. However if you think you’re going to hear some decent jazz, well, it’s hardly a priority in a camp outing such as this. This was Sanders’ last film in a strangely brief career.  She’s a perfume, she’s a footprint, she’s a hand, she’s a space in a picture

All Is True (2018)

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I’ve just bought a pension. I can’t die for at least 10 years or I’ll be ruined. It’s 1613, and Shakespeare (Kenneth Branagh) is acknowledged as the greatest writer of the age. But disaster strikes when his renowned Globe Theatre in London burns to the ground and he decides he will never write again. Devastated, he returns to Stratford, where he must face a troubled past and a neglected family. Haunted by the death 17 years earlier of his only son, Hamnet (Sam Ellis) he struggles to mend the broken relationship with his wife Anne Hathaway (Judi Dench) and daughters, Hamnet’s twin sister, spirited spinster Judith (Kathryn Wilder) and unhappy Susanna (Lydia Wilson) who is married to a noxiously stern Puritan, John Hall (Hadley Fraser). He is forced to examine his failings as an absent husband and father when 28-year old Judith finally gets involved with a suitor alleged to have impregnated another woman and Susanna is accused of adultery … A garden ain’t a play. Screenwriter Ben Elton has been wowing on the small screen with his very clever parody of Shakespeare in Upstart Crow but this is only occasionally in the same pantomimic vein albeit its nod/wink title (the original title for The Life of Henry VIII) toys with the idea that this is anything other than a confection of falsehoods and assumptions.  And it is a bit of a joke to start with – an old conqueror finally comes home and gets in the way of his wife and has the temerity to mess up the garden she has so carefully cultivated for the last 20 years. And then there are all those long country evenings when all you have is a candle for company. Irony is writ large here. At its heart a melancholy meditation on age, family and what you leave behind, Shakespeare is confronted with the long-hidden truth of his young son’s death, a boy whom he believed to have been greatly talented but who had actually been presenting the work of his twin, who was left unable to read and write, being but a girl. The discovery is poignant indeed. There’s a sonnet-off  (# 29) when Will is confronted with another truth – that the now elderly object of his affection Henry Wriothesley (Ian McKellen) is not interested in him but appreciates his art. How wonderfully odd that two of the great contemporary exponents of the Bard are quoting him at each other. Anne’s feelings are nothing – when the poems were published (illegally, without Will’s consent), he never thought about her reputation or what people might say. I’ve never let the truth get in the way of a good story. The bedrock of his entire life it seems has been other people and what they say – what was said of his father, what was said of him, and now, what is said about his daughters, both caught up in scandals of their own. He is a man for whom all truth is literally relative. Retirement is not easy and revelations about what happened at home when he was enjoying fame and adulation come as a shock to someone for whom all the world’s a stage and now his daughters are ruining the name he literally wrote out of disgrace to redeem his father’s blackguarding. Branagh is very good, prosthetics and all, capable of being hurt and amusing and rueful. The motifs are striking in a beautifully shot production – two fires dominate the visuals: the opening conflagration at the Globe caused by a misfiring cannon in a production co-written with John Fletcher; and the smaller one in the grate when Judith attempts to destroy what Hamnet transcribed – because Will needs to believe it was his dead son who wrote the poetry and she is guilty at being a gifted woman because he has such a low opinion of her. And Will loves the word on the page – when he sees his son’s name written in the funeral record in the local church his face comes to life. Anne chides him that when Hamnet died he was busy writing The Merry Wives of Windsor. Dench is wise and moving in the role of the much older wife protecting him from terrible knowledge. However the slow pace and ruminative setting, autumnal and somewhat bucolic, hide the sad drama within. It’s stunningly shot by Zac Nicholson, not just allowing us to see the wide open spaces juxtaposed with interestingly shot and lit interiors – so many dimpled with pure candlelight as the sole source – but telling us that there is always a bigger story and hinting where to look. There are funny scenes with the ridiculously ingratiating local MP Sir Thomas Lucey (Alex Macqueen) and some wild put-downs. There’s even a jibe about authorship and how it was that a man who owns up to having lived such a little life could have ended up knowing everything. Lest we forget, Elton is the best Elizabethan historian we have, when you think about Blackadder. It’s not Shakespeare, but it is very lovely. Directed by Kenneth Branagh. Nothing is ever true

Little Pink House (2017)

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This land is everything I have.  In New London, Connecticut at the end of the 1990s twice-divorced paramedic Susette Kelo (Catherine Keener) renovates a little waterfront cottage overlooking the River Thames with the help of new boyfriend, antiques dealer Tim Leblanc (Callum Keith Rennie).  She finds out it’s designated for demolition in a deal the city has done with the Pfizer Corporation who want to turn the beautiful location into expensive real estate suitable for their needs. She reluctantly becomes the spokeswoman for the working class neighbourhood and endures horrendous intimidation led by Walthrop College academic Charlotte Wells (Jeanne Tripplehorn) forcing a legal battle with assistance from a free legal institution that goes all the way to the Supreme Court as her friends’ homes are bulldozed to make way for a factory manufacturing Viagra… We are only here to make this city you live in a better place.  This is an eye-opening true account of a battle about eminent domain – the compulsory acquisition of private property for development by third parties whether or not the home owners approve. That sounds dull as ditchwater but thanks to a legal decision it affects everybody. It’s truly awful to hear firefighters beating off the flames in the next door house muttering in earshot, That’s one way to get rid of her. You can only feel the wonderful Catherine Keener’s terrible fear. This biographical drama is low key but good on the law – slow moving, unfair and you have to be very quick off the mark in a society that is essentially corrupt to its core with a constant eye on the bottom line, the verbal version of that being, it’s for their own good! Rennie is terrific as the unfortunate boyfriend who endures horrific injuries in a car crash leaving him mentally and physically disabled. As if enough hadn’t gone wrong already. There is nice support from Tripplehorn as the almost caricatured double dealer who wears makeup to bed, compounding the moral chasm between her and the unshowy Keener;  and Giacomo Baessato as lawyer Scott  Bullock. The Supreme Court decision of 2005 (supported by one Donald Trump) to permit the enforced possession of people’s homes for the profit of private companies is in the same domain as the swamp occupied by that bastion of civil liberties Mark Zuckerberg – it may not be ethical but it’s sure as hell legal. Preserve us all from such fine minds. The fight continues. Written and directed by Courtney Moorehead Balaker, adapting the 2009 book by Jeff Benedict, this conveys complex information in a very accessible style.  There’s a lovely set of songs by Robin Rapsys. If you even try to take my home away from me the whole world is going to hear about it

 

 

Far From the Madding Crowd (1967)

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Don’t anyone suppose that because I’m a woman, I don’t understand the difference between bad goings-on and good. I shall be up before you’re awake, I shall be afield before you’re up, and I shall have breakfasted before you’re afield. In short, I shall astonish you all. In the late nineteenth century in England’s West Country beautiful young Bathsheba Everdene (Julie Christie) inherits a picturesque farm from her uncle and decides to run it herself. Three very different suitors – Francis Troy (Terence Stamp), an intense soldier who has impregnated a maid; William Boldwood (Peter Finch), a prosperous middle-aged farmer; and Gabriel Oak (Alan Bates), a neighbouring sheep farmer of modest means – all contend for her hand in marriage and her different attitudes to each of them cause conflict and tragedy … At home by the fire, whenever I look up, there you will be. And whenever you look up, there I shall be. Adapted by Frederic Raphael from Thomas Hardy’s classic novel, this is one of the most gloriously beautiful films of its era, starring some of the most attractive British performers, all shot in almost decadently luminous imagery by the great Nicolas Roeg, a few years from making his directing debut. However none of that would matter if it weren’t for the management of the material which clarifies the novel’s question – how is it possible for a woman to maintain her independence and property while claiming a romantic relationship for herself? The painful issues of patriarchy and community combine when Bathsheba turns down Gabriel’s offer of marriage and she inadvertently triggers a chain of horribly dramatic events in this bucolic setting. It’s director John Schlesinger’s third film with Christie and she’s at the peak of her beauty and charisma playing this passionate girl. You can understand why everybody loves her. A woman like you does more damage than she can conceivably imagine

Liz & Dick (2012) (TVM)

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He treated me like a queen and I loved his voice. God how I loved his voice.  Anyone who knows anything about Elizabeth Taylor and Richard Burton knows one thing above all else – they were never called Liz and Dick. Nobody would have dared. That aside, this is a gloriously kitschy exercise in flashback framed by an interview with them (that never happened in reality and culled from the many letters and notes Burton wrote to Taylor) in which they discuss their fatal attraction on the set of Cleopatra in 1962 , their subsequent adulterous relationship despite having children in their respective marriages, living together and making The VIPs and Who’s Afraid of Virginia Woolf  (Taylor insisted), tricky divorces, their wedding, their peripatetic lifestyle and decision to live on a boat because of the living expenses of two families travelling from set to set and regular house moves in the middle of a never-ending international paparazzi hunt.  It’s all here, with the immensely welcome if odd presence of the great Theresa Russell as Taylor’s mother Sara. Surely some mistake. Punctuated by fabulous jewellery, newspaper headlines, make-ups and bust-ups, heavy drinking, Taylor’s weight gain, Burton’s jealousy of her Academy Awards, the need to make films to solve financial problems and finally Burton’s alleged affair with Nathalie Delon which drove Taylor to a supposed assignation with Aristotle Onassis – at the centre of the chaos and tantrums is a couple whose sexual attraction to one another is overwhelming and quite incomprehensible to other people (a truism for most couples – the only thing these icons ever shared with mere mortals). What we have outside of the relationship is the nature of celebrity as it simply didn’t exist prior to this scandalous duo whose newsworthy antics even attracted the ire of the Vatican (‘erotic vagrancy’). Hello Lumpy! Lohan was roundly criticised for her portrayal and it’s true she doesn’t actually sound, look or move like Taylor but boy does she revel in the lines, like, Elizabeth wants to play. Strangely, she convinces more as the older Taylor with the frightwig and makeup. Bowler is adequate as Burton (even without the disproportionately large head) and underplays him quite well, but what is essential is what surrounds them – glamour, beauty, incredible locations. They literally had a dream of a life. What is clear in this evocation of the Battling Burtons is their need for constant reassurance and the one-upmanship resulting from their shared drive to always do better to keep on an even keel. I will love you even if you get as fat as a hippo. Burton’s descent into full-blown alcoholism upon the death of his brother Ifor (David Hunt) following a desperate fall in their home in Switzerland is the pivot to the real conclusion of the famous relationship, a second short-lived marriage following one of Taylor’s serious illnesses notwithstanding. There are a lot of books about them but if you want to see something as crazy, turbulent and tragic as they seem to have been, watch this. It’s wonderfully made, completely daft and utterly compelling. Written by Christopher Monger and directed by Lloyd Kramer. I want more

 

The Left-Handed Gun (1958)

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You’re not like the books! You don’t wear silver studs! You don’t stand up to glory! You’re not him! Volatile young drifter and gunfighter William Bonney (Paul Newman) works for kindly Lincoln County rancher John Tunstall aka ‘The Englishman’ (Colin Keith-Johnston) and they develop an unbreakable bond. When Tunstall is murdered by a corrupt sheriff and his cronies because he was about to supply beef to the local military company, a distraught Billy swears revenge and goes on a rampage through the New Mexico Territory, endangering the General Amnesty established by Governor Lew Wallace. Billy finally guns down all the men who killed Tunstall – but in the process he endangers the life of his old friend Pat Garrett (John Dehner), who is about to be married and doesn’t take kindly to the Kid’s erratic behaviour and vows to hunt him down as newly appointed sheriff ... One shot – one ten cent bullet, and that’s it! Gore Vidal’s 1955 Philco Playhouse TV feature gets the big screen treatment by screenwriter Leslie Stevens with Arthur Penn making his directing debut and Newman inheriting a(nother) role that James Dean was expected to play (and which Newman had played in the TV episode). Occupying that space between the psychological western and authentic approach to biography it’s a revisionist exercise that’s not 100% successful but remains a fascinating picture of Fifties acting styles as well as being a rather beautiful historical narrative. You been called. Newman plays Billy as a juvenile delinquent, a typically doomed misunderstood teen of the era who loses it when his substitute father is killed but it’s the underwritten edges he can’t quite fill out, ironically making his character all the more credible because this is all about perceptions of the heroic.  There’s nice support from Lita Milan as Celsa, Dehner as the conflicted Garrett, James Best as Tom Follard and especially Hurd Hatfield as Moultrie the travelling companion who transforms Billy’s life into a series of dime store novels that Billy can’t read and who ultimately betrays him. Got myself all killed. A dramatically arresting and visually striking, much imitated taste of things to come from all concerned, not least of which would be Penn’s own Bonnie and ClydeI don’t run. I don’t hide. I go where I want. I DO what I want!

The Best of Everything (1959)

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Here’s to men. Bless their clean-cut faces and dirty little minds! 1950s Manhattan:  three young women meet in the typing pool at Fabian Publishing and later share a home together: glamorous Gregg Adams (Suzy Parker) is an aspiring actress secretly yearning for domesticity whose director David Savage (Louis Jourdan) is using her; naive country girl April Morrison (Diane Baker) is left pregnant and alone by callous playboy Dexter Key (Robert Evans); and ambitious Radcliffe graduate Caroline Bender (Hope Lange) finds solace in the arms of editor Mike Rice (Stephen Boyd) while her fiancé is abroad. Together the three contend with unwise entanglements, office politics and the threat that their dreams for a fulfilling career will be cut short by marriage and children, while their romantic obsessions attract tragedy and the office is ruled with an iron fist by bitter chief editor Amanda Farrow (Joan Crawford) ...What is it about women like us that make you hold us so cheaply? Aren’t we the special ones from the best homes and the best colleges? I know the world outside isn’t full of rainbows and happy endings, but to you, aren’t we even decent?  Rona Jaffe’s1958 novel was an electrifying publishing event – a book by a woman about women trying to make it with explosive stories of sex and illegitimate pregnancy, featuring a spectrum of female experience in the workplace. Its influence is all over the presentation of corporate NYC in Mad Men and its cast represents a showcase for stars new and old in an era just before Women’s Lib. Edith R. Sommer and Mann Rubin’s adaptation fillets the material yet the throughline of forging your way through a chauvinistic office and patriarchal world retains its edge and raw emotion. Crawford supposedly made some script revisions but whether they were retained in the released film (as opposed to the tantalising trailer) is up for debate. She sure gets the lion’s share of tough lines as office witch Amanda Farrow who at heart is just a lonely disappointed older woman albeit with a hell of a list. She is the benchmark for female achievement in a drama about the perils of settling for less and the sacrifices you have to make to succeed. She has a carapace of steel but it can be pierced  … Martha Hyer also impresses as Barbara, the divorced office siren, while Lange is a sympathetic heroine and Brian Aherne is fine as the loathsome Lothario Mr Shalimar. An entertaining romance about whether or not you can have it all which limns the realities of being female – the contemporary detail may be different but the song remains the same. Directed with his customary zest and smooth visual finesse by Jean Negulesco and produced by Jerry Wald.  Author Jaffe – who was a Radcliffe alumnus working at Fawcett Publishing in NYC when the book came out – appears briefly as an office pool stenographer. She graduated to writing extraordinary culture pieces at Cosmopolitan and enjoyed huge success with her subsequent books. I’m so ashamed. Now I’m just somebody who’s had an affair

Decision at Sundown (1957)

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You’d better leave town if you want to stay in one piece. After three years of searching and hell-bent on revenge, flinty gunslinger Bart Allison (Randolph Scott) rides into a sleepy Western town with sidekick Sam (Noah Beery) and only one goal in mind: to kill local roughneck Tate Kimbrough (John Carroll), who kidnapped his wife years ago. Both men have blood on their hands over the woman’s eventual suicide. Allison and Kimbrough, wracked with guilt but boiling over with bloodlust, are set to face off for one final confrontation. Tensions mount as sunset approaches, and the townspeople must choose sides before sundown just as Kimbrough prepares to wed local girl Lucy (Karen Steele) and sheriff Swede (Andrew Duggan) assists in surrounding the men in a stables… Doc, when you have been tending bars as long as I have, you wouldn’t expect so much out of the human race. With a screenplay by Charles Lang, director Budd Boetticher reunites with Scott for their second collaboration and the usually taciturn star plays a man unravelling at the seams rather with a residual question over his psychological well-being not to mention his partial responsibility for his wife’s death, tearing at the reason for his quest and turning the tables on the town itself as the lines blur between notions of the hero and the villain. There are ugly digs at women and their predilections with Kimbrough’s mistress Ruby (Valerie French) the third point of this bad women triangle but this is compensated for by the precision of the action sequences, cut closely and distinctively, echoing the irony that underscores this unusual revenge western, offering no light relief to the brutal sense of justice at its core. What we remember is the detail of Randolph Scott’s face, etched with pointless obsession. I’ll tell you one thing, none of us will ever forget the day that Bart Allison spent in Sundown