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Windwalker

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Windwalker (1980) is a unique Western. A production of Pacific International Enterprises, better known for their documentaries, Kieth Merrill's movie strives to an authentic portrait of Cheyenne Indian culture. It's a commendable effort, even if it's not entirely satisfying.

Aging Cheyenne Windwalker (Trevor Howard) recalls his long and eventful life. As a young man (James Remar) he marries pretty Tashina (Serene Hedin) and raises twin boys, only to lose her (and one son) to the rival Crow tribe. Windwalker recovers from his illness, wondering why he's been spared. An upcoming clash with the Crow provides the answer.

Windwalker meticulously recreats Native American life, from Reed Smoot's pristine photography to a cast speaking authentic Cheyenne and Crow dialects. Set before white settlers, Windwalker avoids the usual "death of frontier" posturing. Even rival tribes prove less daunting than wolves, bears and the elements. Merrill handles Indian culture with equal sensitivity: spirituality pervades the film (Windwalker's white horse and deathbed visions) but it's not insisted upon. The Cheyenne aren't murderous brutes, cringing victims or savage sages, but real people with their own culture and agency.

Too bad Windwalker doesn't work better as a movie. Ray Goldrupt's script operates moment by moment, a collection of disjointed episodes past and present. Merrill employs a somewhat awkward flashback structure, queued by a jarring English language voice over. Nothing wrong with an episodic approach, but the sloppy transitions neuter much of the dramatic potential (namely the revelation concerning one of Windwalker's sons). Such flaws prevent Windwalker from really taking off.

Trevor Howard immerses himself so commendably in his role (even speaking Cheyenne) that any reservations about ethnicity vanish. With studios only offering cameos, Howard turned to indy oddities like this and Sir Henry at Rawlinson End for bigger parts. Among the supporting cast, James Remar (The Long Riders) and Billy Drago (The Untouchables) are recognizable in early roles. But most of the cast benefit from anonymity: the Cheyenne and Crow actors, especially the sweet Serene Hedin, provide pitch perfect support.

Windwalker is too uneven to be a classic. For its detailed exploration of Amerindian culture however, it's definitely worth a look. 

Best & Worst Film Viewings of 2013

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We'll take caller 29. Name Lord Cardigan's actor to win a date with Groggy!

Happy New Year's everyone! Time to ring in 2014.

At this point last year, I lived with my parents working a minimum wage job with 50+ hours a week. That's not mentioning the 30 mile commute, positively hellish in wintertime. In January for instance, I tried driving down a back road in a blizzard, got stuck in a snowdrift and got pulled out by a stranger's tractor. Last March, my car spun out on the highway and flipped on its side. Always nice knowing you can die on your way to work.

Fortunately, in April I started a new job in Pittsburgh. It's been a rocky adjustment, financially and mentally. But the job, if not ideal, is far better both in pay, hours and general tolerability. Thanks to family and friends, I've been able to adjust and retain my sanity. And there's something to be said about finally being an "adult" - eg., owning my own place. This leaves me guardedly optimistic for the coming year.

But enough about me - you came for the movies.

Among the above improvements, I've got more free time, better internet connection and access to a decent library. Besides my usual reviews, I tried some more ambitious projects. Some, like my Cracker overview or this essay, turned out pretty darn well; others not so much. Either way, this gave me a chance to exercise my talents in ways they haven't been since college. Hopefully these pieces brought some satisfaction to my readers, too.

For those who missed last year's post, this is a list of movies I watched (and reviewed) for the first time in 2013, obviously not restricted to 2013 releases. Sadly there were interesting films that I didn't have time to review, both classics (Sunday Too Far Away) and new releases (Captain Phillips). I also exclude rewatches, which means removing The Conversation, The Leopard and The Treasure of the Sierra Madre from consideration. 

Still, we have plenty of films to consider. And what an eclectic bunch! New releases and 70 year old classics, Hollywood and foreign films, silly comedies and dark dramas. Sure there's an absence of East Asian cinema and musicals, but some accounting must be made for Groggy's predilections. Hope you'll enjoy reading this list as much as I did writing it.

The Best

10. The Damned (1969, Luchino Visconti)
Groggy rediscovered his passion for Italian cinema this year. Luchino Visconti took up lots of time, especially this portrait of Nazi decadence. Many consider it trash, and surely The Damned is long on graphic violence and sexual perversion. But its complex plot (think Macbeth Meets Buddenbrooks), ace ensemble cast and richly realized historical setting provide endless fascination. The amazing Night of the Long Knives set piece alone justifies a viewing.

9. Sullivan's Travels (1940, Preston Sturges)
Preston Sturges' classic comedy works on multiple levels. Besides being a charming romantic comedy, it raises thoughtful questions about poverty, commerce corrupting idealism, and art's role in everyday life. Most pointedly: Why should we rate comedy a lesser art form than dramas? This not only foreshadows later list entries, but provides intellectual cover for my Bob's Burgers fandom.  

8. Le Samourai (1967, Jean-Pierre Melville)


Jean-Pierre Melville's stylish French noirs deserve their formidable reputation. And Le Samourai remains their pinnacle. Tense, impeccably paced and full of striking violence, it's everything a crime drama should be. Alain Delon's icy performance strikes an unsettling chord; it's either brilliant acting or inspired use of a nullity. Are those concepts exclusive?

7. Five Easy Pieces (1970, Bob Rafelson)

Bob Rafelson earned a spot on last year's list with Mountains of the Moon, an expansive historical epic. This earlier work is much more intimate and even more effecting. Jack Nicholson gets his best role, a charming cad who abuses his girlfriend and disowns his family, leaving wasted talent and broken dreams behind him. As a penetrating character study, Five Easy Pieces has few equals.

6. 12 Years a Slave (2013, Steve McQueen)
The recent glut of slavery dramas draws comment only because the subject's been swept under the cinematic rug for so long. Steve McQueen's 12 Years a Slave depicts the "Peculiar Institution" in a bracingly visceral way, without resorting to cliches or stereotypes. Great acting, powerful set-pieces and a commendably unconventional narrative make this a challenging but unforgettable work.

5. The Hill (1965, Sidney Lumet)
Sidney Lumet's underrated classic depicts life in a wartime penal colony. Sean Connery gives the performance of a lifetime, though he's matched by an ace supporting cast led by Harry Andrews and Ozzie Davis. It's a remarkable portrait of men under duress, pitting individual fortitude against arbitrary authority.

4. The Chant of Jimmie Blacksmith (1978, Fred Schiepsi)
I took a few more tentative steps into Australian cinema this year. The standout is The Chant of Jimmie Blacksmith, an extremely brutal look at Australia's frontier days. Tackling heady themes - racism, law-and-order, Australian nationalism - with commendable conciseness, Jimmie's measured storytelling and shocking violence prove unforgettable.

3. Silver Linings Playbook (2012, David O. Russell)
David O. Russell's hard-boiled romance was a pleasant surprise. Russell shows the wit and charm of a classic screwball comedy, so engaging that his cliched conclusion proves endearing. Bradley Cooper and especially Jennifer Lawrence provide sharply honed protagonists both lovable and frustrating. I can't wait to see American Hustle.


2. Salvatore Giuliano (1962, Francesco Rossi)
Most Italian political dramas advocate causes far to my left, yet the artistry and provocative passion put the bland neutrality of American dramas to shame. Salvatore Giuliano marks an early example, using a Sicilian gangster/separatist as an entry point into Italy's postwar politics. Combining docudrama style with palpable outrage, it presaged a generation of equally angry (though rarely as accomplished) films.

1. In the Loop (2009, Armando Ianucci)
Armando Ianucci's Iraq War comedy hasn't aged a day, its caustic satire of bureaucratic absurdity coming on like Dr. Strangelove's foul-mouthed cousin. Peter Capaldi's Malcolm Tucker keeps British and American politicians in line through ornate profanity, with scarcely a hint of conscience. When Tom Hollander's weaselly minister warns that "I'm on the verge of making a stand" on a Middle East conflict, I can't help thinking of certain American statesmen this year... Like the best comedies, In the Loop is ultimately depressing in its credibility.

Honorable mentions:

Carlos, Colonel Redl, 8 1/2, Jezebel, Outcast of the Islands, Paisan, Papillon, Wake in Fright, Walker, Zero Dark Thirty

The Worst:

This year's key learning: even talented filmmakers can produce utter garbage. None of these films have exactly stellar reputations, but I gave them a try considering the people involved. Don't make the same mistake.

10. The Assassination of Trotsky (1972, Joseph Losey)

Since Joseph Losey’s avant garde thriller isn’t quite so bad as its reputation suggests, I considered leaving Assassinationoff my list. But how could I ignore a movie whose idea of foreshadowing is a bullfight rendered in blood-vomiting detail? Where Alain Delon’s assassin, contemplating his motivation for killing Trotsky, sees Stalin reflected back at him in a river? Where Richard Burton, skull split with a pickaxe, shrieks like a girl? I’d be derelict in not including it.

9. The Night Porter (1974, Liliana Cavani)
Why trash The Night Porter when I loved The Damned? Both movies wallow in fascist depravity, but The Damned's twisted craftsmanship achieves almost operatic grandeur. The Night Porter, by contrast, is a sordid melodrama straining for significance with "artsy" flash cutting and lurid sadomasochism. Despite lacking convincing characters or credible drama, we're to assume that sex plus Nazis equals a profound statement on the Human Condition. Sadly, filmmakers still make that mistake; The Reader, anyone?

8. Phenomena (1985, Dario Argento)

Sure, I generally love Dario Argento's stylish slasher movies. But my taste for the macabre has limits, and Phenomena pushes well past them. Nifty razor murders are one thing; killer chimps, gator-faced serial killers and baths in corpse soup something else entirely. Indeed Phenomena's almost self-parodic, presaging Argento's recent descent into irredeemable garbage.

7. The Plough and the Stars (1936, John Ford)
Sometimes a great director’s lesser-known works are obscure for a reason. Case in point: John Ford's The Plough and the Stars. Playwright Sean O’Casey’s caustic look at the Easter Rising must have seemed ideal for Ford, who’d just scored a critical and commercial success with The Informer. But Ford’s screen adaptation is insipid, badly cast and utterly impenetrable; one of Pappy’s biggest flops.

6.  Ned Kelly (1970, Tony Richardson)
Tony Richardson's career veered wildly from classics like The Loneliness of the Long-Distance Runner to cack like, well, Ned Kelly. Choosing muddy incoherence over lucid storytelling, Richardson produces an undigested, formless mess that's DOA. It speaks volumes that Mick Jagger's aggressive non-acting is the least offensive element.

5. The Singer Not the Song (1958, Roy Ward Baker) 
What was Roy Ward Baker thinking with this weirdo Western allegory? John Mills is an uptight priest opposite Dirk Bogarde’s baddie in bondage gear, warring for the souls of Mexican villagers. Excitingly oddball that may sound, but despite rampant homoeroticism and portentous dialogue it's indescribably dull. Recommended for Intro to Film Analysis and Queer Studies courses, but its entertainment value is nil.

4. Only God Forgives (2013, Nicholas Winding Refn)
 

If viewed as self-parody, Only God Forgives is a masterpiece. Every shot swims in a primary color; every scene riddled with pointless flashbacks, absurd fantasies and Kuleshov cutaways; every conceivable evisceration employed; every actor drained of emotion or humanity, instead posing like lawn ornaments. Except Nicholas Winding Refn is deadly serious, from the karaoke-singing villain to Ryan Gosling reaching into his mother's womb. Somehow, it's only the second worst 2013 flick on this list...

3. Inchon (1981, Terence Young)
Picking on Inchon is like kicking a two-legged dog: both cruel and unnecessary. So many critics have savaged it, so many ways - from its Moonie origins to the incompetent battle scenes and tin-earned script - that it scarcely needs further evisceration. Yet its badness deserves recognition, if only for Laurence Olivier's portrayal of Douglas MacArthur as an effeminate mummy.

2. Savages (2012, Oliver Stone)
Okay, we can stop mourning Oliver Stone's decline. Savages is offensive enough to nullify two decades of great work. I could almost tolerate the unlikeable leads, gratuitous stylization and unironic use of "wargasm" and "Baddist" as dialogue. But for God's sake, that ending would earn an F in junior high English!

1. The Great Gatsby (2013, Baz Luhrmann)

I owe Baz Luhrmann a favor. Sure, The Great Gatsby bombs in every conceivable way: epileptic imagery, gauche art direction, gratuitous slow-mo and CGI, miscast stars hamming their hearts out. But after years of invoking Tom Laughlin's Billy Jack saga, I now have a new benchmark for cinematic awfulness. In 2020 I'll be watching some musical adaptation of Wuthering Heights with Harry Styles and Taylor Swift and console myself: hey, at least it's not The Great Gatsby.

Is that how you write a best and worst list? Yes it is, Bionic Groggy, yes it is.

Operation Daybreak

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Architect of the Final Solution, brutal governor of Czechoslovakia, Reinhard Heydrich might be Nazi Germany's nastiest figure. His May 27th, 1942 assassination inspired several films, from Hollywood's propaganda fantasies Hangmen Also Die! and Hitler's Madman (1943) to the little-seen Czech drama Attentat (1964). Operation Daybreak (1975) recreates Heydrich's death in painstaking detail, resulting in a top-notch thriller.

In late 1941, Britain's SOE recruits three Czechoslovak exiles to assassinate Reinhard Heydrich (Anton Diffring), Reichsprotektor of Bohemia-Moravia. Jan Kubis (Timothy Bottoms), Jozef Gabcik (Anthony Andrews) and Karel Curda (Martin Shaw) join Czech resistance fighters to affect their mission. In May 1942 Kubis and Gabcik mortally wound Heydrich, but their triumph soon becomes a nightmare. The Nazis unleash brutal reprisals, rounding up thousands of suspects and liquidating the village of Lidice. But they have no luck catching Heydrich's killers until one of them turns traitor.

Operation Daybreak achieves the verisimilitude of other '70s thrillers. Director Lewis Gilbert shoots key scenes on authentic Prague locations and resists embellishment unnecessary. Ronald Harwood's clinical script sells the story's more improbable moments. Heydrich's murder is a bungled affair; one assassin's Sten gun jams, the second succeeding because Heydrich's bodyguard stupidly pursues them on foot. The finale, with Dubcek and Co. fighting off an SS battalion in a church, seems like typical Hollywood exaggeration - yet it really happened.

Gilbert's slick direction gives the required action scenes punch while illuminating telling details. One grotesque scene shows Heydrich's servants roughly dressing his corpse in official uniform. The second half gains a grim momentum, the German manhunt amounting to bloody reprisals and gun battles. One historical source reports up to 5,000 killed at Lidice and elsewhere. Conceived by the Allies as a propaganda blow at the Third Reich, Heydrich's death effectively crushed Czechoslovak resistance until war's end.

If Daybreak has a serious flaw (besides David Hentschel's cheesy synth score), it's the bland, interchangeable leads. Gilbert draws little distinction between the three protagonists, though Kubis pursues a love affair and Curda comes to doubt the mission. Supporting characters are better realized: Heydrich's utter loathing for his Czech subjects, the woman (Diana Coupland) who shelters the killers unbeknownst to her husband, the pair of miners outwitting a Nazi patrol. 

Timothy Bottoms makes a likeable, if bland hero, matched by costars Anthony Andrews and Martin Shaw. Anton Diffring (Where Eagles Dare) makes a chillingly credible Heydrich, all officious arrogance and studied contempt. Rene Kolldehoff (The Damned) plays an odious Gestapo chief. Viewers can spot Nigel Stock (Victim), Vernon Dobtchef (The Day of the Jackal) and Neil McCarthy (Zulu) in supporting roles.

Operation Daybreak works from its exciting action to the downbeat conclusion. Striking down Hitler's favorite protege might well have scored a propaganda victory, and we certainly admire the Resistance heroes' grit and determination. But the massive human cost, and lack of tangible gains, leaves viewers wondering if it was a tragic miscalculation.

The Wolf of Wall Street

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After a decade of overreaching epics (Gangs of New York) and ambitious genre pieces (Shutter Island), Martin Scorsese returns to more comfortable ground. The Wolf of Wall Street (2013) is a white collar Goodfellas, from its frenetic style to its searing portrait of self-indulgence. Overlong and flawed, it's nonetheless compulsively watchable.

Stockbroker Jordan Belfort (Leonardo DiCaprio) loses his job in the Black Monday crash of '87. Jordan regroups selling penny stocks, seeing in the outrageous commission rates an opportunity. Along with Donnie Azoff (Jonah Hill) Jordan builds Stratton Oakmont, a brokerage firm known for both their profligate lifestyles and shady business dealings. Jordan leaves his frumpy first wife (Cristin Milioti) for supermodel Naomi (Margot Robbie), no keener on his serial womanizing. Jordan's drug abuse effects both his personal and professional lives. And the FBI takes notice of Stratton Oakmont, with Agent Denham (Kyle Chandler) determined to bring Jordan down.

Early on, stock boss Mark Hanna (Matthew McConoughey) dispels Jordan's illusions of salesmanship, saying drugs and hookers are the key to success. Jordan takes this message to heart. His staff meetings resemble fascist rallies more than corporate briefings. It goes without saying he has no concept of ethics, viewing customers as suckers to bleed dry. Jordan's a brilliant man but he's only interested raw materialism. When he first meets Agent Denham, he proudly compares himself to a Bond villain, on board a yacht with a private helicopter.

Indeed, Jordan's whole lifestyle intertwines deceit with debauchery. Scorsese stages endless parties, raves and orgies, including an R-rated Citizen Kane homage. These repeat to the point of exhaustion, titillation giving way to repulsion. Wolf mixes this promiscuity with ritual humiliation of customers and others: Jordan pays a female employee to publicly shave her thread, stages midget-throwing contests and beats his gay butler. Wolf's misanthropy makes In the Company of Men seem tame.

Scorsese proves as adept chronicling corporate chicanery as organized crime. Terence Winter's verbose script never feels flabby despite frequent sidebars: digressions on drugs and yachting feel organic. Jordan's in-your-face narration mixes exposition with winking narcissism; Jordan seems like a kid who can't believe what he's getting away with. Scorsese sells even darker moments through morbid humor, like a prolonged sequence where Jordan and Donny succumb to Quaaludes. Wolf plays almost as a comedy, with an upbeat conclusion that's supremely depressing.

But there's a hollowness to Wolf that knocks it below Scorsese's best work. Jordan's a perfectly realized monster, but the supporting cast remains colorful but shallow types. Naomi is especially weak, no match for Karen Hill or Casino's Ginger Rothstein. Jordan's dad (Rob Reiner) gets introduced as an enforcer but does little but bitch about Jordan's excesses. Aside from Donnie, Jordan's co-founders are interchangeable twits. And despite a three hour length, Scorsese treats Jordan's crimes so hazily viewers may wonder why the Feds hassle him.

Leonardo DiCaprio, fortunately, is an unqualified success. Groggy's long been a Leo skeptic: DiCaprio generally fails to lose his persona in characters. That said, he's brilliant here. DiCaprio delivers a performance manic, hateful and roguishly charming. DiCaprio shows boundless energy, relishing Winter's meaty dialogue and uncompromising with Jordan's nastiness. In one sequence, he showcases a surprising gift for physical comedy. It's a truly fearless performance, easily the best of DiCaprio's career.

Jonah Hill's manic turn is far more effective than his Oscar-nominated work on Moneyball. Matthew McConoughey gets an electrifying cameo that sets the movie's tone. Jean Dujardian's Swiss banker manages to best Jordan in oily underhandedness. Kyle Chandler (Zero Dark Thirty) excels in a thankless role and Rob Reiner sells his brief scenes. Only Margot Robbie and Cristin Milioti struggle with weak characters.

The Wolf of Wall Street is engrossing and outrageously fun, if overloaded. And yet it's fitting that a film about excess feels, well, excessive.

The Golden Salamander

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Ronald Neame was a workhorse director in both British cinema (The Prime of Miss Jean Brodie) and Hollywood (The Poseidon Adventure), producing good, if rarely remarkable films. The Golden Salamander (1950) marks a respectable early effort, a thriller whose noir-ish style overcomes a thin plot.

David Redfern (Trevor Howard) is an archaeologist operating in Tunisia. During a rainstorm he uncovers a gang of gunrunners led by Rankl (Herbert Lom). He falls for local girl Anna (Anouk Aimee), whose lover Max (Jacques Sernas) is involved with Rankl's operation. Redfern tries to continue his research, but an unpleasant demise brings him into conflict with Rankl's syndicate.

Adapted from Victor Canning's novel, The Golden Salamander is a standard potboiler. The story mixes thriller material with exotic Tunis locations and a whiff of romance. It's pretty thin stuff: the setting amounts merely to local color, while David and Anna's romance mostly marks time. Neame tries to enliven things with twists so hokey they're scarcely worth spoiling. The title artifact isn't even a Macguffin, merely a cool image for the ad art.

But Neame elevates Salamander with striking direction. The opening scene sets the tone: a long, silent sequence of Redfern uncovering a weapons cache, moodily photographed by Oswald Morris. Neame provides other striking sequences: Redfern finding a corpse bobbing in the ocean, or when a flock of sheep aid in his escape. It's much more visually accomplished than Neame's later, visually anonymous works. Salamander works better as a collection of striking set pieces than a cohesive story.

Trevor Howard provides his trademark rectitude and crusty amiability. Not Howard's deepest role, it nonetheless plays perfectly to his strengths. Anouk Aimee (just 18 at time of filming) makes an appealing love interest. Herbert Lom practices the glowering villainy he'd assay throughout his career. plays the morally conflicted Max, while Walter Rilla, Miles Malleson and Wilfrid Hyde-White occupy key supporting roles.

The Golden Salamander is a well-directed thriller. The story contains few surprises, but Neame's stylish staging makes it worth a look.

Golden Globes

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The Golden Globes were last night. You can view the list of winners (and nominees) here.

Sorry for the lack of commentary; I'm fighting a bad stress headache right now. We do have a very special project in the pipeline to make up for it.

Guest Article: Top Five Stop Motion Films of All Time

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Strangely absent from this list!
 With Groggy mired in a blogging/movie-watching rut, I'm happy to report one person's picking up the slack. I received a very generous offer from Kate Voss, an animation enthusiast, to contribute a piece to this blog. I reproduce her work with only minor alterations. - Groggy

Animation allows artists to imbue life into otherwise inert forms, and it also allows viewers to temporarily immerse themselves in an alternate reality. It’s been used by artists, businessmen, and governments for everything from propaganda to promotional vehicles for toys to vehicles for seething political commentary. It’s an engrossing and emotionally manipulative medium, which completely alters our perception of reality.

Stop-motion can be particularly disorienting. It’s one thing to see drawn cartoons move around, but there is something incredibly uncanny about watching tangible forms act as though they were sentient beings. Conversely, it’s disorienting to see human subjects photographed in such a way that their motion or livelihood appears to have been rendered mechanical or artificial. There are many superb stop-motion films out there, and here is a list of five which everyone should see.

5.  Neighbours (1952) ― Norman McLaren

Scottish-born Canadian animator McLaren was chiefly interested in the interplay of sound and image. McLaren pioneered many techniques, including physically drawing the music onto part of the film stock, which would be “read” by the exciter bulb in a projector and translated into sound (producing scores which sound akin to early analog Moog synthesizers). He also made several abstract animations drawn directly onto plastic leader sheets ― in other words, each individual drawing was literally made onto plastic strips that were the exact dimensions of a film strip, with each drawing occupying a single 35 mm space.
The Oscar winning short Neighbours is unique in his body of work. It is narrative driven, even though formal play and experimental methods are used in this film also. It uses a stop-motion technique called pixelation, with characters manipulated frame by frame like puppets. The film tells the story of two neighbors who began feuding over a flower which grew right between their two yards. The fighting culminates in both men destroying each other’s houses and families...and all over what? The film offers an eloquent comment on the stupidity of war, with a wonderful epilogue requesting, in multiple languages, that we all “Love thy neighbor!”
[https://www.youtube.com/watch?v=4YAYGi8rQag]

4.  Alice (1988) ― Jan Svankmajer
Czech animator Svankmajer spent most of his career battling censorship in his native country. His work was dark and frequently contained subversive commentary. His dark themes were accentuated by his use of bizarre materials, including raw meat. With the Czech government controlling and regulating all media production, Svankmajer relied on illegal funds from friends and fans in foreign countries, and all of his films have a provisional aesthetic ― an aesthetic that works exquisitely in his film Alice, a feature length adaptation of Alice and Wonderland and Alice Through the Looking Glass by Lewis Carroll.
Alice is notable for employing multiple techniques, including segments which are animated by stop-motion manipulation of objects, pixelation, live action footage, and puppetry. One memorable sequences show Alice’s socks taking on a life of their own and moving around like snakes. It’s an excellent interpretation of Carroll’s writings. It can be streamed on sites like Netflix, and is a much-watch for any animation enthusiast.
[https://www.youtube.com/watch?v=-b-ol849NME]

3.  The Adventures of Mark Twain (1985) ― Will Vinton
Even though you might hear the word thrown around loosely, it’s Vinton’s studio who technically owns the rights to the term “claymation.” Vinton produced a series of short subjects in the seventies that were based on classic fairy tales, and used puppets made out of plasticine clay ― plasticine, because it doesn’t dry and stays pliable (and often times, the clay would be lit with high pressure lighting so that it would stay warm and be extra pliable). One of his best known contributions to pop culture are the California Raisins.
The Adventures of Mark Twain was a fairly ambitious undertaking for Vinton. The film tells the story of Mark Twain, Tom Sawyer, Hum Finn, and Becky Thatcher, as they travel around the world in a tricked-out hot air balloon and relive adventures from classic Twain tales. The film is memorable both for its superb script, and for its increasingly creepy aesthetic.
[https://www.youtube.com/watch?v=kAS1-lCF3yM]

2. De Artificiali Perspectiva, or Anamorphosis (1991) -- The Brothers Quay

It’s a 15-minute long documentary about anamorphosis, a tradition in visual art of toying with the viewer’s perspective that originated in the early Renaissance. The film discusses the mechanics of three-point perspective, and looks at notable paintings which blatantly subvert the viewer’s expectations. The Quays draw many stylistic elements from the Renaissance, and even examines some historical examples of anamorphosis, including the vanity painting The Ambassadors (1533) by Hans Holbein the younger. That large-scale painting which features two wealthy statesmen with beautifully rendered luxurious items and a distorted shape towards the bottom of the composition. If viewed from a certain angle the viewer can see that the shape is a skull. The film proposes that an image which is immediately accessible to the viewer may not leave a lasting impression, but an image which provokes inquiry and “rewards” the viewer with a surprise may make for a more meaningful viewing experience.
[https://www.youtube.com/watch?v=rqsiLNxi4Sw]

1. The Nightmare Before Christmas (1993) -- Henry Selick
Produced by Tim Burton (who provided the conceptual work and aesthetic constraints), and directed by Henry Selick (who also directed the feature-length Coraline). It owes much of its aesthetic sensibility to traditions in German Expressionist cinema (particularly The Cabinet of Dr. Caligari) and also to illustrators like Edward Gorey and Ronald Searle. It was made over the course of three years, with a team of around 100 highly specialized artists and technicians.
Yes, it’s a simple narrative. Yes, it’s a cash cow that is still present in the collective consciousness thanks partially to its glut of merchandise. Say whatever you want to, cynical detractor ― it’s an expertly crafted piece of filmmaking. The narrative is articulated chiefly through music and the imagery itself, although both are rich enough to carry the film's weight. So rich, that it requires seasonal viewing for many people.

And if you haven’t caught it yet this year, don’t fret! In addition to the several special edition releases made for the home viewing market (gotta love those Disney marketing maneuvers), you can now stream it online from a few different websites, and a DVD/Blu Ray that just came out recently to commemorate the 20th anniversary of the film’s theatrical release.
[https://www.youtube.com/watch?v=8qrB9I3DM80]

Oscar Nominations 2014

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This year's Oscar nominations came out today. Take a gander at the major nominees:

Best picture
"12 Years a Slave"
"The Wolf of Wall Street"
"Captain Phillips"
"Her"
"American Hustle"
"Gravity"
"Dallas Buyers Club"
"Nebraska"
"Philomena"

Best director
Steve McQueen -- "12 Years a Slave"
David O. Russell -- "American Hustle"
Alfonso Cuaron -- "Gravity"
Alexander Payne -- "Nebraska"
Martin Scorsese -- "The Wolf of Wall Street"

Best actor
Bruce Dern -- "Nebraska"
Chiwetel Ejiofor -- "12 Years a Slave"
Matthew McConaughey -- "Dallas Buyers Club"
Leonardo DiCaprio -- "The Wolf of Wall Street"
Christian Bale -- "American Hustle"


Best actress
Amy Adams -- "American Hustle"
Cate Blanchett -- "Blue Jasmine"
Judi Dench -- "Philomena"
Sandra Bullock -- "Gravity"
Meryl Streep -- "August: Osage County"

Best supporting actor
Barkhad Abdi -- "Captain Phillips"
Bradley Cooper -- "American Hustle"
Jonah Hill -- "The Wolf of Wall Street"
Jared Leto -- "Dallas Buyers Club"
Michael Fassbender -- "12 Years a Slave"

Best supporting actress
Jennifer Lawrence -- "American Hustle"
Lupita Nyong'o -- "12 Years a Slave"
June Squibb -- "Nebraska"
Julia Roberts -- "August: Osage County"
Sally Hawkins -- "Blue Jasmine"

Best original screenplay
"American Hustle" -- David O. Russell and Eric Warren Singer
"Blue Jasmine" -- Woody Allen
"Her" -- Spike Jonze
"Nebraska" -- Bob Nelson
"Dallas Buyers Club" -- Craig Borten and Melisa Wallack

Best adapted screenplay
"12 Years a Slave" -- John Ridley
"Before Midnight" -- Julie Delpy, Ethan Hawke and Richard Linklater
"The Wolf of Wall Street" -- Terence Winter
"Captain Phillips" -- Billy Ray
"Philomena" -- Steve Coogan and Jeff Pope

Best animated feature
"The Wind Rises"
"Frozen"
"Despicable Me 2"
"Ernest & Celestine"
"The Croods"

Best foreign feature
"The Hunt" (Denmark)
"The Broken Circle Breakdown" (Belgium)
"The Great Beauty" (Italy)
"Omar" (Palestinian territories)
"The Missing Picture" (Cambodia)

Best music (original song)
"Frozen": "Let it Go" -- Robert Lopez and Kristen Anderson-Lopez
"Mandela: Long Walk to Freedom": "Ordinary Love" -- U2, Paul Hewson
"Her": "The Moon Song" -- Karen O, Spike Jonze
"Despicable Me 2": "Happy" -- Pharrell Williams
"Alone Yet Not Alone": "Alone Yet Not Alone" -- Bruce Broughton, Dennis Spiegel

Best music (original score)
"Gravity" -- Steven Price
"Philomena" -- Alexandre Desplat
"The Book Thief" -- John Williams
"Saving Mr. Banks" -- Thomas Newman
"Her" -- William Butler and Owen Pallett

Best cinematography
"Gravity" -- Emmanuel Lubezki
"Inside Llewyn Davis" -- Bruno Delbonnel
"Nebraska" -- Phedon Papamichael
"Prisoners" -- Roger Deakins
"The Grandmaster" -- Phillippe Le Sourd

Best costume design
"The Great Gatsby" -- Catherine Martin
"12 Years a Slave" -- Patricia Norris
"The Grandmaster" -- William Chang Suk Ping
"American Hustle" -- Michael Wilkinson
"The Invisible Woman" -- Michael O'Connor

Best documentary feature
"The Act of Killing"
"20 Feet From Stardom"
"The Square"
"Cutie and the Boxer"
"Dirty Wars"

Best film editing
"Gravity" -- Alfonso Cuaron, Mark Sanger
"12 Years a Slave"-- Joe Walker
"Captain Phillips" -- Christopher Rouse
"American Hustle" -- Jay Cassidy, Crispin Struthers and Alan Baumgarten
"Dallas Buyers Club" -- John Mac McMurphy and Martin Pensa

Best makeup and hairstyling
"The Lone Ranger" -- Joel Harlow and Gloria Pasqua-Casny
"Jackass Presents: Bad Grandpa" -- Stephen Prouty
"Dallas Buyers Club" -- Adruitha Lee and Robin Mathews

Best production design
"12 Years a Slave" -- Adam Stockhausen and Alice Baker
"The Great Gatsby" -- Catherine Martin and Beverley Dunn
"American Hustle" -- Judy Becker and Heather Loeffler
"Gravity" -- Andy Nicholson, Rosie Goodwin and Joanne Woollard
"Her" -- K.K. Barrett and Gene Serdena

Best visual effects
"Gravity"
"The Hobbit: The Desolation of Smaug"
"Star Trek Into Darkness"
"Iron Man 3"
"The Lone Ranger"

Best sound mixing
"Gravity"
"Captain Phillips"
"Lone Survivor"
"Inside Llewyn Davis"
"The Hobbit: The Desolation of Smaug"

Best sound editing
"Gravity"
"All Is Lost"
"Captain Phillips"
"Lone Survivor"
"The Hobbit: The Desolation of Smaug"

Best short film, live action
"Aquel No Era Yo (That Wasn't Me)"
"Avant Que De Tout Perdre (Just Before Losing Everything)"
"Helium"
"Pitaako Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?)"
"The Voorman Problem"

Best short film, animated
"Feral"
"Get a Horse!"
"Mr. Hublot"
"Possessions"
"Room on the Broom"

Best documentary short
"CaveDigger"
"Facing Fear"
"Karama Has No Walls"
"The Lady in Number 6: Music Saved My Life"
"Prison Terminal: The Last Days of Private Jack Hall"

All this and I still haven't seen American Hustle. Will have to remedy that as soon as possible.

We'll also note in passing the death of Russell Johnson, aka The Professor from TV's Gilligan's Island.

Will Groggy return to substantive posting soon? Tomorrow's Friday, anything is possible.

Merry Christmas, Mr. Lawrence

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Nagisa Oshima's Merry Christmas, Mr. Lawrence (1983) turns the standard POW drama on its head. An Anglo-Japanese co-production starring famous musicians, full of dreamlike imagery, brutal violence and homoeroticism, Lawrence is an odd experience indeed.

In a Japanese POW camp on Java, British Colonel John Lawrence (Tom Conti) maintains an uneasy friendship with Japanese Captain Yonoi (Ryuichi Sakamoto) and Sergeant Hana (Takeishi Kitano). Then comes Major Jack Celliers (David Bowie), a British commando after months of guerrilla resistance. Yonoi's fascinated (not to say smitten) by Celliers, whose recklessness becomes a locus for prisoner resistance. Lawrence tries to intercede, but their neurotic battle of wills comes to an head.

Drawing on Laurens Van Der Post's novel The Seed and the Sower, Merry Christmas, Mr. Lawrence paints a stark picture of prison camp life. The Japanese can be friendly and even charming, but dispense wanton violence at a whim. Beatings are commonplace and prisoners starved to cure "laziness." RAF In a riposte to Bridge on the River Kwai, Captain Hicksley's (Jack Thompson) refusal to cooperate with Yonoi's engineering project achieves nothing. These scenes have an offhand credibility, but realism isn't Lawrence's main concern.

Instead, Lawrence reenvisions the war genre through a Freudian lens, equating male aggression with sexuality. The Japanese relish dominance over their Western prisoners, whose surrender proves their inadequate masculinity. The film opens when a camp guard rapes an inmate, causing the Japanese to mock Western skittishness and insecurity. "Samurai aren't afraid of queers!" sneers Hana. Culture clash becomes a dick-measuring contest, Western "fair play" supposedly inadequate next to Asian resolve.

And Lawrence's central conflict is overtly sexual, moving far beyond subtext. Yonoi admires Celliers, both as a physical specimen (he orders Celliers to strip in a courtroom!) and "soldiers' soldier"; he's the warrior Yonoi only wishes he could be. During an escape attempt, Yonoi attempts to goad Celliers into a duel; the Brit instead surrenders. Celliers' motives remain enigmatic: is he returning Yonoi's affections? Playing them for personal gain or subverting them to maintain the upper hand? Certainly Lawrence's finale suggests the latter. No wonder Yonoi's men see Celliers as an evil spirit.

Oshima and cowriter Paul Mayersburg populate their allegory with baroque personages. Celliers is by turns insouciant and withdrawn, haunted by memories of his deformed brother (James Malcolm). Yonoi cultivates a "cultured" facade, quoting Shakespeare and reciting Bushido, to cover up remorse. He regrets missing an abortive coup in Japan that left his brother officers killed. Lawrence is a bilingual Orientalist, relating more easily to his captors than fellow Brits. He bonds with Sergeant Hana, an earthy figure alternately friendly and cruel. Watching these bizarre characters spark off each other is Lawrence's greatest pleasure.

Oshima's direction emphasizes the psychic violence. The Japanese deal out beatings and torture but the self-inflicted damage registers most: following a grisly seppuku sequence, one character bites off his own tongue. Oshima alternates expected epic vistas with formalized staging and dreamlike style, from a Shinto ceremony turned violent to Celliers and Yonoi's final encounter. That's not mentioning Ryuichi Sakimoto's remarkable score, a mixture of tones and styles (classical, synthpop, Eastern traditional) rousing yet slightly discordant.

David Bowie does excellent work, his intelligent intensity grounding an inscrutable character. Sakimoto is less effective, a broad mix of blank stares and twitchy tics. In contrast, Takeshi Kitano is pitch perfect: chummy, crudely likeable but brutally violent. This was an early dramatic role for Kitano, later internationally famous as Beat Takeshi. Tom Conti (The Dark Knight Rises) excels in his thankless "straight man" role; Jack Thompson (Breaker Morant) struggles with a English accent.

Merry Christmas, Mr. Lawrence has few equals. Both surreal and unsettling, it fascinates in style, themes and colorful cast. Not the most conventionally satisfying film, Lawrence provokes thought and reflection.

Bartleby (1972)

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"I am not strange. I know what I think."
I first encountered Bartleby the Scrivener through TV's Archer, which says little for my literary sophistication. Herman Melville's short story influenced 20th Century writers like Albert Camus and Eugene Ionesco, remaining a potent portrait of alienation and despair. Hardly an ideal cinematic subject, yet many have tried bringing Bartleby to the screen.

Anthony Friedman's Bartleby (1972) might be the best adaptation. Its experimental style, sparse narrative and good acting make it cinematically interesting. Even so, bringing Bartleby to the screen proves rough sledding; film just isn't the right medium for this story.

Friedman updates Melville's story to modern London. Bartleby (John McEnery) quits his job in a dead-letter office, taking work as an auditor. His boss (Paul Scofield) initially likes Bartleby but grows irritated by his refusal to do tasks ("I'd prefer not to") and enigmatic personality. When the Boss discovers Bartleby squatting in the office he tries to fire him, to no avail. No matter how hard the Boss tries to "wash his hands" of Bartleby, the clerk just won't leave.

Bartleby does alter Melville's story: daffy employees Nippers and Turkey become several anonymous clerks, for instance. But the ideas remain mostly intact. Bartleby's plight is relatable to any desk jockey: disgusted by his dead letter job, watching thoughts and dreams of thousands discarded unused, he passively resists society's soullessness. He proclaims himself able to "see" the truth where his peers cannot, calling the world on its bluff. Indeed the Boss can't puncture Bartleby's conceit, whether by politesse or bluster. For all his warmness he's a conformist who can't understand a free thinker.

Director Friedman has the unenviable chore of making Bartleby cinematic. He casts Bartleby adrift in London's anonymous crowds, underscoring the alienation. He employs expressionist hard cutting and montage, from Bartleby answering job letters over shots of cityscape, or finding solace in dark alleyways and uncomprehending crowds. At only 79 minutes the film's an easy watch for all its talkiness and abstract content.

But Bartleby never transcends an unavoidable shortcoming. Opaque characters like Bartleby often work in literature, where internal monologues and reader interpretation lend weight to allegorical conceits. On film it's harder to make a blank canvas compelling. Friedman opens up the story, showing Bartleby's previous job and giving him several speeches, but the character still feels flat, incomplete. With his hesitant speech patterns and social disconnect, Bartleby seems less existentially tormented than mentally challenged. And without discernible ambition, his rebellion's less inspiring than pathetic.

Paul Scofield gives one of his more understated turns. Warm and professional at first, he's baffled, frustrated and perversely fascinated by his wayward charge. John McEnery (Nicholas and Alexandra) gets an impossible role: Bartleby lets on so little, even to the audience, that he threatens to become a bore. McEnery is a suitably wet blanket, all mournful stares and mumbled dialogue, good acting implemented for a lost cause.

Bartleby is well-made yet feels unsatisfying. But then, as an adaptation of an allegorical short story, it starts with two strikes against it. Great literature doesn't always translate to film, Melville especially (see also the innumerable Moby-Dick adaptations). We're left with an admirable experiment that can't help but disappoint.

Shalako

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If nothing else, Shalako (1968) has a unique pedigree. Based on a Louis L'Amour novel, produced by Englishman Euan Lloyd, featuring an cast of European stars and shot in Almeria, it's a truly international Western. Journeyman director Edward Dymytrk provides plenty of action, but Shalako just won't hunt. 

Several European big game hunters travel through 1880s New Mexico. Army scout "Shalako" Carlin (Sean Connery) rescues Countess Irina (Brigitte Bardot) from Apache Indians, who consider the Europeans' incursion as a treaty violation. Despite Shalako's efforts to keep the peace, the two groups violently clash. Duplicitious guide Fulton (Stephen Boyd) deserts the hunters, leaving Shalako and the others behind. Attempting to reach safety, they're hunted by Apache leader Chato (Woody Strode), who nurses a grudge against Shalako.

Shalako sadly squanders its nifty premise. The Europeans might as well be wayward settlers for all it impacts the story. Worse, J.J. Griffith and Hooper's script barely distinguishes between characters: what's the difference between the stuffy Englishman (Jack Hawkins) and arrogant Prussian (Peter Van Eyck) besides accents? Similarly, Irina and Lady Julia (Honor Blackman) are basically the same character, except Irina likes Shalako and Julia likes the bad guy. Between the shallow cast and cliched plotting, Shalako is dramatically stillborn.

Dymtryk's capable direction makes Shalako better than it should be. Ace photographer Ted Moore captures some lovely landscapes, and Dymytryk's unfussy action scenes work. The best are a prolonged Apache raid at midpoint, and Shalako's lance duel with Chato. The violence is mild compared to the similar Ulzana's Raid but there's edgier content like a prolonged pseudo-rape scene. For all its dramatic creakiness, Shalako should please undemanding Western fans.

Sean Connery proves an adept Western hero, Scots brogue and all. He carries his role with an easy authority his costars lack. Stephen Boyd's presence never improved a film and Shalako is no exception. Brigitte Bardot is easy on the eyes but little more. Honor Blackman at least breathes life into her snotty character. Jack Hawkins, Peter Van Eyck, Valerie French and Alexander Knox play  first-impression caricatures. Woody Strode gets the best scenes as Chato; as Strode was half-Cherokee, his casting's less inappropriate than it may appear.

Shalako delivers passable genre thrills, and is fast-paced enough it's never boring. It's just a shame the filmmakers merely used their promising concept to inject color into a bland story.

Book Review: From the Jaws of Victory (1971, Charles M. Fair)

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Fair, Charles M. From the Jaws of Victory: A History of the Character, Causes and Consequences of Military Stupidity, from Crassus to Johnson and Westmoreland. New York: Simon & Schuster, 1971. 445 pp.

Military incompetence is a common subject for popular history. Humans are nothing if not fallible, and studying failures is more illuminating than tired tales of glorious victory. Hence books like Cecil Woodham-Smith's The Reason Why (1953), Russell Braddon's The Siege (1970) or Cornelius Ryan's A Bridge Too Far (1974). It's fascinating to watch plans go disastrously wrong, whether through bad planning, personal mistakes or unforeseeable circumstances.

But curiously, serious systemic studies remain rare. Norman Dixon's On the Psychology of Military Incompetence (1976) focuses solely (though insightfully) on commanders' personal defects. James M. Perry's Arrogant Armies (1996) provides chapter-length accounts of disasters without overarching analysis. And Geoffrey Regan's increasingly worthless books (Great Military Blunders, Naval Blunders, Air Force Blunders - presumably Coast Guard Blunders is next) reduce warfare to toilet-seat trivia.

Charles Fair's From the Jaws of Victory (1971) proves an exception. Contemporary reviews regarded Jaws as a novelty, if not groundbreaking, for deviating from the Great Man/heroic battle template of military history. No less than Arthur Schlesinger praised it for "fasten[ing] on the factor most neglected by conventional historians - i.e., stupidity." It's not the subject's definitive treatment: it's popular history by an amateur, relying on secondary sources and driven by polemical anger. But it's definitely the most entertaining.

Fair certainly wasn't an academic. A contemporary profile pegs him as "an unsuccessful Yale student, an unsuccessful playwright and writer, a twice unsuccessful husband but pretty good jazz piano player." His other books are psychological or sociological works like The Dying Self (1969) and The New Nonsense (1974). By Fair's admission, frustration with the Vietnam War inspired him to write Jaws: "We learned so little from our recent past... I wanted to make people think."
Crecy (August 26th, 1346): when chivalry meets commonsense
Fair examines trends characterizing warfare throughout the ages. First there's the deadly mixture of pride and stubbornness, "a dull man's substitute for resolution" (262). Hence Ulysses Grant's ruthless attrition during his Overland Campaign, burning through 60,000 casualties in two months. Or Winston Churchill championing the Gallipoli Campaign long after it became an irretrievable failure. Hence also America's disastrous intervention in Vietnam, perpetrating a losing war beyond reason. The inability to admit mistakes proves more destructive than the original error.

Such obtuseness extends to tactics and technology. Fair deconstructs medieval chivalry, an inadequate military code that pitted "the brave versus the effectual." At Crecy in the Hundred Years' War, French gallantry proved no match for English longbowmen. He similarly recounts how Swiss pike formations terrorized continental armies, defeating rulers like Charles the Bold who relied on courage over commonsense. Conversely, firearms and artillery rendered both formations obsolete within a few decades. One scarcely need rehash what excessive tactical conservatism wrought in World War I.

Marcus Licinius Crassus.
But Fair's style (elegant, incisive and damning) works best examining individual figures. Fair starts with Marcus Licinius Crassus, Rome's wealthiest man, Spartacus's nemesis and military nincompoop. Fair views Crassus as an easily recognizable type, the megalomanic whose ambitions outraced his abilities (pp. 27-28):

The Rome in which he grew up was a disintegrating republic... On the whole he met the challenge of his age with phenomenal success. It was just that circumstances, added to his intense natural competitiveness, drove him to undertake too much...Win, lose, or draw, he was Somebody. History took note of him.

Crassus proved unsatisfied by mere power. He backed Sulla's violent dictatorship, surviving the fallout after Sulla's demise and emerging as Rome's wealthiest man. But during the Third Servile War, Pompey stole Crassus's acclaim for besting Spartacus. Even as one of Rome's Triumvirate, Crassus played second fiddle to Caesar and Pompey. Now Governor of Syria, Crassus decided to gild his reputation through war. But his campaign against Parthia masked more grandiose ambitions (p. 33-34):

[The Parthians] were thus not only beyond Roman power but powerful enough themselves to be a perennial threat and a nuisance. Crassus decided that he would settle the Parthian question... It led on, as though already a fait accompli, to still grander projects. [quoting Plutarch] "Being strangely puffed up.. he would not limit his fortune... but... proposed to... pass as far as Bactria and India and the utmost ocean."

Crassus conducted his "war of choice" with marked stupidity. Declining passage through Armenia, he instead marched his armies through Mesopotamia's hostile desert. He trusted an Arab chieftain who misled him further. When the Parthians struck at Carrhae (May 6th, 55 BC), Crassus proved hopelessly outclassed by their mobile tactics and skilled archery. The Romans were annihilated, Crassus murdered during a parlay. Afterwards, Fair notes, "the Romans... knew a morass when they saw it and seldom thereafter ventured into this one" (42).

Crassus served as the forebearer of megalomaniacs contemplating world conquest: Philip II of Spain, Napoleon Bonaparte, Adolf Hitler. "As a statesman he forecast those of today who, having adopted nonsensical policies, refuse under any circumstances to give them up" (42). Yet at least Crassus possessed brutal honesty. Philip cloaked his ambitions in religious piety; Bonaparte and Hitler, abstractions of ideology and nation. Crassus, at least, professed no cause but his own.

Charles XII of Sweden.
Fair's best chapter concerns Charles XII of Sweden, whose conduct of the Great Northern War (1700-1721) ended Sweden's reign as a world power. Drawing on Frans Bengtsson's The Sword Does Not Jest (1960), Fair contrasts Charles with his Russian nemesis Peter the Great. Charles was a better general, winning every battle but his last. But in his obsession with military conquest, he was the lesser sovereign (p. 183):

Like Edward III [of England] he had little time, and possibly no liking, for administrative matters, leaving those to his slow-moving, elderly ministers in Stockholm and showing few signs in his long, busy career that he understood the world which was growing around him - one in which numbers, wealth and strategic position were to be everything and questions of honor and dynastic policy utterly forgotten.

To modern eyes, Charles seems tragically anachronistic. He possessed a medieval style: pious religiousity, glory in warfare, leading from the front. But he also showed a tactical brilliance that overcame seemingly impossible odds. In his signature victory at Narva (November 19th, 1700), Charles bested a Russian force with four-to-one superiority. His courage and remarkable flexibility generated victory after victory.

Yet Fair depicts Charles as lacking vision for lasting success. His campaigns bogged down in sideshows, like a two-year civil war in Poland that allowed Russia time to regroup. Charles failed repeatedly to land a knockout blow against Peter, who mustered seemingly inexhaustible reserves. In contrast, his army "was...worn down and chipped away" by endless campaigning (168). Charles was a gambler playing against heavy odds; at Poltava (July 8th, 1709), his luck ran out.

Charles invaded Russia in the winter, with predictable results; he lost 12,000 of his 32,000-man army before coming to grips with Peter. Renewing his campaign in spring, Charles found himself low on supplies and deep in hostile territory. Worse, wounded in a preliminary skirmish he deferred to less able subordinates Lewenhaupt and Rehnskold. Poor coordination squandered initial Swedish success, allowing the Russians to crush the Swedes in detail. Facing overwhelming numbers and firepower, Charles' army was destroyed.

Fair chastises Charles suborning the basic needs of state to military glory. Unlike Napoleon, his return from exile in Turkey brought little enthusiasm for further campaigns. Charles died in a desultory conflict with Norway, his achievements dying with him. Within a few years Sweden's empire collapsed, reducing that nation to a second-rate power. And Russia, under Peter's erratic but farsighted leadership, emerged as Eastern Europe's unquestioned master. Writes Fair (p. 183):

The Tsar's acts and preoccupations were of far greater scope, most of them converging on a common aim and a surprising number of them yielding substantial results... He still fell short of bad generalship in one essential - he did not kill people for absolutely nothing. In the end, Charles did.
Poltava: The only battle Charles XII lost - and the only one that mattered.
From tragedy to farce, Fair moves to Ambrose Burnside. America's Civil War generated scores of terrible generals. Its peculiar nature, a sectional conflict with mostly-volunteer armies, propelled wire-pulling amateurs (Benjamin Butler), well-connected incompetents (Braxton Bragg) and inexperienced nullities (Irvin McDowell) to unmerited positions. Even among this dismal crowd Burnside stands out, and not just for his legendary facial hair.

Burnside becomes the patron saint of bad generals. A corps commander at Antietam (September 17th, 1862), his dilatory assault on the Rohrbach Bridge cost the Union a decisive victory against Robert E. Lee. Soon after, he assumed command of the Army of the Potomac after George McClellan's dismissal, despite admitting his own shortcomings. Fredericksburg (December 11-15, 1862) proved Burnside right: Burnside lost 12,000 men in 14 successive assaults against Confederate positions on Marye's Heights.

Reduced to corps command, Burnside topped himself with the Battle of the Crater (July 30th, 1864), an extraordinary incident during Grant's Siege of Petersburg. Burnside implemented a subordinate's plan to explode a mine under the Confederate lines. This promising idea became doomed from the start: Grant and Meade argued over tactical details, while Burnside selected the attack's lead division by drawing straws! With such paltry preparation, disaster became inevitable (287):

Ambrose Burnside.
"No one, it appears, had thought to train the assault troops to climb out quickly over their own works... As a result the attack was slow in getting under way and the men lost formation almost at once... By the time the Southerners had recovered from their shock... they found themselves not under flank attack but looking down into an immense hole in the earth full to its upper slopes with black and white soldiers struggling back and forth in wild disorder. Such an opportunity for massacre... was seldom given the Confederates... They opened up with every cannon and musket that could be brought within range."

Burnside claimed two modest successes: his amphibious 1862 campaign against North Carolina's Outer Banks and defending Knoxville in November 1863. But even these achievements weren't especially impressive. At New Bern, Burnside conducted a rash frontal assault without reserves: "Had his first rush failed he would have been in grave trouble" (248). Burnside's bullheadedness worked against undermanned Carolina garrisons. The Army of Northern Virginia wasn't so accommodating.   


How did Burnside, affable but utterly incompetent, keep rising to positions of authority? After the war, Burnside parlayed his checkered service into a successful political career, serving as Governor of Rhode Island. Fair suggests that Burnside's very mediocrity was his greatest asset; it mattered more that he looked a soldier than showing actual ability (p. 270):

The man who is by temperament and physique close to the going tribal norms tends to rise no matter how stupid he is... Burnside... was a sort of Victorian beau ideal, looking the photographs of many of our own grandfathers... It is such as he who do most of the world's important business, and sheer good luck for the rest of us when the same men happen to be reasonably intelligence. They represent... a... New Feudalism whose aristocracy, while more fluid than the old, is fully as biological in principle.
Fredericksburg: Burnside lost 12,000 men in 14 assaults on Marye's Heights.
Fair provides consistently excellent vignettes. His broader analysis though is often flawed and hazy. He notes a continuity of errors and "types" throughout history, but only fleetingly notes how leaders overcome them or how specific circumstances effect military mindsets. He shows little interest in colonial conflicts, where brute force often did triumph despite incompetence and bad policy. Fair shows stupidity in the context of great power conflicts, missing opportunity for stronger analogies.

At his worst, Fair trades analysis for invective. He deems Napoleon a bad general with good press, stressing parallels with Charles XII. But Napoleon lost many battles before Waterloo, while his political and cultural legacy (much of it constructive) easily eclipses Charles'. Fair gets equally carried away on World War I, denouncing idiotic fictional generals in Remarque's All Quiet on the Western Front. Reading his vitriol towards Douglas Haig, one's not surprised to find Alan Clark's dubious The Donkeys as his source.

Unsurprisingly then, Fair's final chapter on Vietnam proves his weakest. Naturally Fair attempts to apply previous lessons to this modern conflict, especially imperial overreach and inflexibility. But these lessons apply only up to a point. As an asymmetrical conflict, it's hard to compare Vietnam to his other subjects, where technology, brute force and "realism" typically won. Likewise, comparing Lyndon Johnson's modest (though certainly destructive) ambitions of "containing" Indochinese Communism to Philip II's hegemonic fantasies is absurd.

One concedes these failings, but Fair's broader point remains. His subjects destroyed their own nations, or at least caused thousands - even millions - of deaths. Fair perversely concludes that "we need such men" (416) to remind us the cost of misguided policy and needless war. It's a powerful conclusion to a formidable book.

Call Northside 777

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Henry Hathaway delivers a fine crime drama with Call Northside 777 (1948). Despite an even mixture of realism and Hollywood contrivance, it's a compelling account of a real-life judicial miscarriage - resolved, of course, by an intrepid reporter.

In 1932, two thugs murder a Chicago policeman and Joseph Wiecek (Richard Conte) is convicted. After Wiecker's mother (Kasia Orzazewski) places a newspaper ad to clear her son's name, Chicago Times editor (Lee J. Cobb) assigns reporter P.J. McNeal (James Stewart) to cover the case. Initially skeptical of Wiecek's story, McNeal eventually grows convinced he's the wrong man. McNeal faces opposition from an uncooperative witness (Betty Garde) and the Chicago police, who resent his efforts to clear a cop killer's name.

Critics regularly label Call Northside 777 a film noir, which doesn't seem right: aside from the gritty crime angle it avoids that genre's standard tropes. It's more mixture of whodunnit and docudrama a la Hitchcock's The Wrong Man, resembling the latter in both its realism and subject matter. But where Hitchcock's Frank Bellastrano, Wiecek has McNeal on his side. In contrast to Wrong Man's downer ending, Call Northside concludes with naked sentimentality.

Indeed, there's an ambivalence about Northside that's hard to ignore. Hathaway doesn't sentimentalize Wiecek's slum neighborhood, where locals speak Polish, work menial jobs and distrust outsiders. And the portrayal of Chicago authorities isn't flattering: police stonewall McNeal's investigation, supported by an administration fearing a public backlash. On the other hand, McNeal resolves everything through lie detectors and improbable photo enhancements, culminating in an 11th-hour field trip by an incredulous courtroom. Northside's based on a true story but I can't imagine real life was so tidy.

But some contrivance can be excused, as Call Northside 777 works fine on its own merits. Hathaway's unfussy direction moves things at a brisk clip. He makes excellent use of Chicago locations, photography straightforward but allowing for some stylish flourishes. McNeal's tense confrontation with Wanda (with her boyfriend lurking nearby) is the closest Northside gets to straight noir, style-wise. And screenwriters Jay Dratler and Jerome Cady craft a dramatically solvent narrative, allowing even the silly moments to go down easily.

James Stewart provides a tougher turn on his usual character. Despite his hardened exterior, Stewart's ultimately an idealist underneath. Richard Conte proves compellingly sympathetic, though you wonder how such an obvious. Kasia Orzazewski gets several heartbreaking scenes while Betty Garde makes an unreliable witness. Lee J. Cobb gets a substantial role, with familiar faces E.G. Marshall John McIntire, and Moroni Olsen farther down the cast list. Thelma Ritter has an early walk-on.

Call Northside 777 is a solid film. One imagines another director providing a more realistic take on the story, but Hathaway's the man for accomplished genre pieces.

American Hustle

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David O. Russell is among Hollywood's best contemporary directors, which makes American Hustle all the more disappointing. It's hyped as a Best Picture frontrunner yet compared to The Fighter or Silver Linings Playbook it's lightweight. Expanded from those films' intimate yet explosive scale, Hustle is more hollow exercise than satisfying drama.

Set in the late '70s, Hustle depicts the FBI's controversial ABSCAM operation. Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) are a team of con artists-lovers offering fraudulent loans. They're busted by FBI Agent Richie DiMaso (Bradley Cooper), who enlists them in a sting operation. Their initial target is Carmine Polito (Jeremy Renner), Mayor of Camden, NJ who's trying to raise revenue for Atlantic City casinos. But the investigation expands to include organized crime and Congressmen. Irving entertains doubts about ABSCAM and Richie's motivations, while his unstable wife Rosalyn (Jennifer Lawrence) threatens to derail everything.

At worst, American Hustle plays like Russell doing Martin Scorsese, complete with period songs, sardonic narration and moral ambiguity. Russell's imitation is remarkably crude: he makes Sydney and Irving cool guys playing the System, unlike Scorsese's foul mafioso. Bribes and Mob ties are just "the cost of doing business," and who's the FBI to say otherwise? Similarly, Hustle's period detail exists less for verisimilitude than calling attention to low-cut dresses and gaudy hairstyles. Russell intends this as a statement about social role playing, but on some level it's just mocking Christian Bale's gross comb-over.

What makes the imitation sadder is that Russell has his own inimitable style. He excels portraying closely observed characters whose eccentricities spark sizzling confrontations. Yet Hustle provides a curious distance, from its more conventional plot to the tiresome narration. Rare for a Russell picture, his characters remain colorful types rather than credible people. One exception is Rosalyn, who channels the energy of Fighter's Charlene or Silver Linings's Tiffany. But she's somewhere between plot contrivance and special effect, materializing only when the story flags.

Without strong characters or cohesive plot, we're left with a mildly interesting caper movie. Russell and cowriter Eric Warren Singer play up ABSCAM's absurd aspects, from Richie setting up an unauthorized FBI fund to the phony Sheik (Michael Pena) who doesn't even speak Arabic! Obviously Hustle works best in its character scenes: DiMaso's rivalry with his straight-laced boss (Louis C.K.) and the inevitable clash between Sydney and Rosalyn come to mind. Even these angles dry up as the plot unfolds, culminating in a head-scratching "happy ending."

American Hustle's cast is its greatest asset. Christian Bale does subdued work as a cagey operator. Bradley Cooper is comparatively manic, playing as a ridiculous, power-hungry poseur. Jennifer Lawrence is so explosive she threatens to overwhelm her costars. But the standouts are Amy Adams, mixing measured desperation and kittenish deceit (complete with fake English accent!), and Jeremy Renner, combining idealism with graft. Robert De Niro provides a brief cameo while Louis C.K., Shea Whigham, Michael Pena and Anthony Zerbe populate supporting roles.

American Hustle is a mixed bag. One admires the cast and the zany energy; others will enjoy Russell's roguish cynicism and detailed depiction of corruption and crime busting. But if I wanted Scorsese, I'd have watched The Wolf of Wall Street again.

John Osborne on Film: Inadmissible Evidence (1968) and Luther (1973)

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John Osborne was mid-century England's premiere playwright, so naturally filmmakers sought to adapt his work. But Osborne's challenging plays struggled to find a cinematic audience. Tony Richardson's Look Back in Anger(1959) and The Entertainer (1960) were well-received flops; Hotel in Amsterdam received two forgettable television productions. A Patriot for Me"inspired" Istvan Szabo's Colonel Redl (1985), but the film's so dissimilar it scarcely counts as an adaptation.

Two other Osborne films remain obscure. Both Inadmissible Evidence (1968) and Luther (1973) suffer from being literal stage-to-screen adaptations, despite a considerable gulf in quality. I've reviewed the plays at some length here, so we'll skimp on textual analysis. How do they work as films? 

Inadmissible Evidence (1968, Anthony Page)
Inadmissible Evidence fails in a predictable way. The play is crushingly unpleasant, Brecht-by-way-of-Strindberg surrealism depicting a middle-aged loser's descent into despair. Anthony Page directed Evidence onstage, but seems at a loss reshaping it for the screen.

Solicitor Bill Maitland (Nicol Williamson) struggles to shore up his crumbling existence. His employees loathe him; a pregnant secretary (Eileen Atkins) eagerly resigns, while his partner (Peter Sallis) considers working for another firm. If Maitland's job is shaky, his personal life's a disaster. His relationship with wife Anna (Eleanor Fazan) is constantly strained by his domineering personality, dalliances with ex-wife Liz (Jill Bennett) and chasing younger girls. Maitland collapses in a heap of self-loathing, trying to make sense of his life.

Inadmissible Evidence is doomed from conception. The play's most interesting bits occur within Maitland's skull: his dream trial for personal shortcomings, delusional phone conversations and anguished monologues. Powerful, wrenching stuff that's profoundly un-cinematic. Page and Osborne scuttle it almost completely, save flashbacks and brief book-ends. To open things up, Maitland visits a strip club, beds his secretary (Ingrid Boulting) and attends boring dinner parties. These bits bore rather than elucidate.

But Page's direction is the killer. He occasionally experiments with hard flashbacks Sidney Lumet-style and employs a seedy pop leitmotif like The Servant. But mainly it's static, point-and-shoot hackwork, tinged in unattractive monochrome. Possibly no one could have translated Osborne's unhinged dream play onto film, but any attempt requires someone with a taste for the outre or avant garde. Page goes for the obvious approach, and the result is deadening.

Nicol Williamson was touted as Britain's Brando but flamed out quickly as a leading man. His robust style didn't translate well to film (Pauline Kael called him "so damned electrifying he burns us out"), while his backstage antics (from drinking to punching out collaborators) alarmed studios. Flops like The Bofors Gun (1968) and Laughter in the Dark (1969) surely didn't help. Aside from occasional character roles (Robin and Marian, Excalibur) Williamson faded into obscurity, leaving behind wasted potential.

Williamson is the only reason to bother with Evidence. By cinema standards his performance is outsized, even hammy; Williamson rarely dials his voice below a bellow, his tics and gestures thoroughly theatrical. But it's the only way to play Bill Maitland, a bullish monster whose self-loathing manifests as boisterous misanthropy. Williamson commands the screen, devouring seasoned costars like Jill Bennett (The Charge of the Light Brigade), Eileen Atkins and John Normington. He delivers a palpable portrait of torment transcending the diluted material.

Perhaps Inadmissible Evidence serves a curatorial purpose: it preserves Williamson's Bill Maitland, one of the great theater performances, for posterity. That doesn't much enhance its cinematic value. If Evidence scintillated on stage, Page's film offers only a dim reflection.

Luther (1973, Guy Green)
An American Film Theater production, Guy Green's Luther (1973) isn't especially more cinematic than Evidence. Yet Osborne's Reformation psychodrama translates more comfortably to film. Anchored by Stacy Keach's perceptive performance, Luther provides an intimate portrait of Christianity's greatest crisis.

Martin Luther (Stacy Keach) toils as an Augustinian monk. His inquisitive mind and personal anguish mark him unsuited for monastic life, and Luther soon begins questioning Church doctrine. Infuriated by Catholic indulgences, Luther makes a splash denouncing crooked friar John Tetzel (Hugh Griffith). Summoned before the Diet of Worms, Luther's denounced as a heretic, leading him to break openly with Rome. Despite official persecution, Luther's teachings trigger religious upheaval and bloody warfare - leaving Luther appalled.

Luther benefits from Edward Anhalt's lucid screenplay. He expands the role of the Knight (Julian Glover), a rebellious warlord, into a recurring narrator, but otherwise adheres to Osborne's text. Upheavals and bloodshed occur off-screen, leaving the characters center stage. Green never ventures outdoors, but the elaborate pageantry and Freddie Young's assured photography seem cinematic enough. Luther's more conventional than Evidence, much to its benefit; Green and Anhalt need change little to make it compelling.

Like many historical dramas, Luther is a character study writ large. Luther emerges as tormented but idealistic; from his strained relationship with his father (Patrick Magee) to chronic constipation, Luther's got enough personal demons. His doubt contrasts with Church smugness, gleefully selling indulgences and elevating the Papacy over scripture. Luther's greatest crime isn't dissent but making Christianity more accessible to commoners. Where Brecht's Galileo ridicules the individual's role in history, Osborne frames the Reformation within Luther's self-discovery.

Stacey Keach gives a flawless performance. Both intelligent and classically charismatic, his Luther credibly evolves from troubled youth to reluctant savior. Normally understated, Keach relishes the chance to stretch his acting chops: he delivers Osborne's meaty speeches with aplomb, but handles the more intimate scenes delicately. Keach's Luther is approachable, more endearingly human than other screen martyrs like Paul Scofield's Thomas More and Richard Burton's Becket.

Like most AFT outings, Luther provides a rich cast. Leonard Rossiter (Billy Liar) enlivens early scenes as a friendly monk. Alan Bladel (The Day of the Jackal) and Hugh Griffith (How to Steal a Million) play amoral church officials, viewing graft as their birthright and rectitude as heresy. Patrick Magee (Zulu) gets an electrifying scene as Luther's disapproving father. Judi Dench appears briefly as Luther's wife. Julian Glover, Robert Stephens and Maurice Denham feature in supporting roles.

But neither Inadmissible Evidence nor Luther is an ideal adaptation. Both are filmed plays (Luther especially), more faithful to the source material than the needs of cinema. Luther's formal structure arrives onscreen intact; Evidence is an existential oddity that might only work on stage. Either way, perhaps Osborne's talents aren't best-served by film.

Now, Voyager

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Now, Voyager (1942) is a quintessential "woman's picture" and one of Bette Davis's signature roles. Irving Rapper's high-toned melodrama hits all the right notes, adapting Olive Higgins Prouty's novel into an endearing crowd pleaser.

Charlotte Vale (Bette Davis) is the introverted daughter of controlling Boston matriarch Windle (Gladys Cooper). Encouraged by psychologist Dr. Jacquith (Claude Rains), Charlotte spends several months in a sanitarium, where she learns self-reliance. She winds up taking a cruise to South America, falling for Jerry Durrance (Paul Henreid), a dashing, unhappily married man. Charlotte returns to Boston a new woman, her assertive personality angering her mother. Soon she befriends Tina (Janice Wilson), a troubled teen who resembles Charlotte's old herself - and who happens to be Jerry's daughter.

Weepies don't get more accomplished than Now, Voyager. Rapper and writer Casey Robinson reshape the genre's hoariest stereotypes (abusive parents, Cinderella transformations) into something grand. Charlotte evolves into a strong, independent woman with a kind mentor, a sensitive lover and a trip abroad. (Book your cruise to Rio now!) Best of all, she pays it forward in the end. It's an appealing fantasy with universal resonance: even plain girls can get ahead with a little confidence.

Voyager contains every chick flick convention to rankle feminists. Of course "new" Charlotte discards her glasses and buys fancy clothes! But Charlotte's triumph is gaining independence - appearance, and indeed romance are a small part. She's a heroine anyone can root for, standing up to her mother, blowing off an airhead suitor (John Loder) and making her way in the world. Certainly Voyager lacks the ugliness of Prouty's earlier Stella Dallas, which punishes its protagonist for nonconformity. Charlotte becomes her own woman and achieves happiness.

And who better to play Charlotte than Bette Davis? Once we move past her silly "ugly" scenes, Davis delivers a performance with intelligence and sensitivity, handling the romance and self-discovery aspects beautifully. Charlotte's more vulnerable than Davis's usual protagonists, but no weaker. Charlotte's different from, say, Jezebel's Julie in that her assertiveness is admirable: self-hood needn't equal selfishness. And Davis's natural strength anchors the role in a way many contemporaries couldn't have.

Gladys Cooper plays one of Hollywood's most hateful matriarchs: bullying, humorless and self-absorbed. One-dimensional indeed, but Cooper sells her effectively. Paul Henreid gives one of his more appealing turns, sharing the iconic "dual cigarette" scene with Davis. He's much better here than his stiff performance in Casablanca. Claude Rains though seems wasted in a marginal role.

Now, Voyager is so pleasant that the creaky bits (an extended gag with Jerry's Brazilian chauffeur) and plot contrivances barely register. It's an impeccable mix of characterization and outsized emotions, accompanied Max Steiner's lush score. In the right mood, well-made mush like Voyager hits the spot.

Gentleman's Agreement

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"There's no way to tear open the secret heart of a human being."
Gentleman's Agreement (1947) provides an early example of the Hollywood "message movie." An Oscar-winning drama on antisemitism, it presages the kid gloves handling of hot button issues later embodied by Stanley Kramer. Yet Elia Kazan's forceful presentation raises it a notch above most of its peers.

Journalist Phillip Green (Gregory Peck) gets assigned by his editor (Albert Dekker) to pen an expose on antisemitism. Phillip can't come up with "angle" for his story, until he hits on a solution - posing as a Jew himself! Green experiences slights big and small in his new identity, learning that prejudice is deeply engrained. The project takes it toll on Phillip's personal life too; his initially supportive girlfriend (Dorothy McGuire) grows distraught by the attention, while son Tommy (Dean Stockwell) is targeted by school bullies.

Gentleman's Agreement won Best Picture on the strength of its topicality. Antisemitism was indeed a hot button issue in 1940s America: not only upper class WASPs but working class toughs snubbed Jews (or worse), while the interwar years saw the Klan and pro-fascist groups adding muscle to rhetoric. Gentleman's Agreement works better than Crossfire, Edward Dymytryk's noir with a shoehorned anti-bigotry message. Despite being well-made, it can't help feeling like a lecture.

Agreement codifies the queasy "message picture" format, making in the safest possible fashion. Kazan and writer Moss Hart can only address prejudice through a WASP posing as a Jew - you know, so audiences can relate. Kazan's characters themselves point out the flaw: besides being a Gentile, Phillip invites backlash by insisting on his Jewishness. Agreement gets more mileage out of David (John Garfield), a Jewish serviceman \who gets the most pointed speeches. For all its proud liberalism, Hollywood in 1947 wasn't brave enough for a Jewish protagonist.

Agreement vacillates between soap box oratory and rigged drama. Some scenes just don't work, like an awkward passage where Green tries explaining Judaism to his son: clunky platitudes don't make for gripping cinema. It doesn't help that Agreement also leans on tired dramatic devices that numb the audience. Most egregious Karen, the ubiquitous nagging girlfriend who doesn't understand her lover's noble quest. As a device, it's as trite here as in every subsequent use. The movie spends time on Phillip's romance, but most viewers hope he'll ditch Karen for spunky reporter Anne (Celeste Holm).

If Gentleman's Agreement is strident and occasionally creaky, its message resonates. Moss provides some pointed set pieces, as when David confronts a bigot or Phillip tries to enter a restricted hotel. Then there's David's pointed speech to Karen, denouncing her inaction towards bigotry. Kazan's straightforward staging works wonderfully in these moments, allowing Moss and the actors to shine. The unalloyed use of racial and ethnic slurs adds an unexpected sharp edge. Agreement plays better scene-by-scene than as a whole.

Gregory Peck coins his most identifiable type, the man of earnest convictions and bedrock integrity. Nobody sells liberal rectitude better than Peck. John Garfield though gets the meatier part: why isn't David our hero instead of WASPy Phil? Dorothy Maguire handles her hopeless part well, though tough-minded Celeste Holm is more appealing as a character and actress. Anne Revere stands out as Phil's doting mother. Albert Dekker (The Wild Bunch), June Havoc and Sam Jaffe (Gunga Din) handle supporting roles.

Lest we view Gentleman's Agreement as dated, let's consider that 21st Century dramas still overwhelmingly take an outsider's (usually WASP) perspective, whether addressing racism, drug trafficking or terrorism. Films of that sort become paeans to white guilt rather than meaningful statements on any issue. If Agreement occasionally feels false, it's at least redeemed by strong acting and direction. Who will remember The Ides of March in 70 years?

Farewell to Maximilian Schell and Others

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Woke up to some sad news today. Several film notables have passed away in the last 48 hours.

First Maximilian Schell. Austrian-born but a Swiss native, Schell debuted in 1957's Children, Mother, and the General. He broke into Hollywood with The Young Lions (1958), but he's best-remembered for Judgment at Nuremberg (1961), winning an Oscar as a fiery defense attorney at a war crimes trial. Schell thereafter became familiar in Hollywood cinema. Besides military roles in war films like A Bridge Too Far and Cross of Iron (both 1977), Schell appeared in such diverse works as Topkapi (1965), The Man in the Glass Booth (1975) [probably his best performance], Julia (1977), The Black Hole (1979), The Freshman (1990) and Deep Impact (2000). His final film role was in The Brothers Bloom (2008) opposite Mark Ruffalo and Rachel Weisz.

Besides his acting work, Schell pursued a directorial career. His best-received fiction work was The Pedestrian (1974), a German-Israeli coproduction about a Nazi war criminal. Schell also directed several documentaries. In Marlene (1984) he attempted to profile Marlene Dietrich, who agreed to be interviewed but then demanded her footage be excised from the documentary. In 2002 won a Golden Bambi Award for My Sister Maria, a documentary about actress Maria Schell (who was indeed his sister), focusing on her career and later illness.

Schell also had a prolific stage career. On the German stage he gave an acclaimed turn as Hamlet, a role he played theatrically three times. Schell reprised the role in a dreary 1960 film, best-remembered for its mockery on Mystery Science Theater 3000. He was also the original Alfred Redl in John Osborne's A Patriot for Me (1966), notorious for its homosexual content. Later in his career he revisited Judgment at Nuremberg on the Broadway stage, this time playing defendant Ernst Janning.

Sadly, Schell isn't the only film figure we've lost in the past few days. Miklos Jancso, the Hungarian director best-known for The Red and the White, passed away Friday. There's also Christopher Jones, star of the notorious cult flick Wild in the Streets and David Lean's Ryan's Daughter, who died at age 72 from cancer. After the latter film's failure Jones mostly retired from film, becoming a successful artist. Finally Arthur Rankin, Jr. of animation team Rankin/Bass, who died Thursday.

When it rains, it pours.

Gravity

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Alfonso Cuaron's Children of Men (2006) starts with an excellent premise and nifty cinematography, but devolves into predictable action and plot contrivances. Gravity (2013) avoids the same fate, remaining amazing from start to finish. Its story and premise are simplistic, but the visual effects so incredibly immersive it never loses interest.

While repairing the Hubble Telescope, NASA technician Ryan Stone (Sandra Bullock) is cast adrift by space debris from a Russian missile launch. Astronaut Matt Kowalski (George Clooney) saves her from drifting away and the two make their way to the International Space Station. But Matt vanishes, leaving Ryan to fend for herself. Trying desperately to establish radio contact with Earth, she decides to shoot for a Chinese space station and try a risky reentry.

Gravity's most obvious appeal comes through incredible special effects. Using computer effects, green screen and even animatronic robots, Cuaron and effects the Framestore craft an amazing experience. Gravity contains realistic planetary views and star fields Stanley Kubrick could only dream of. Where3D spectaculars like Avatar seek to create a fantasy environment, Gravity tries to generate unsurpassed realism.

The opening ten minutes or so, with the camera orbiting slowly over the protagonists, is a genuine wonderment. Cuaron and cinematographer Emmanuel Lubezski create an astonishing physical universe, amazing yet terrifying. The gorgeous space give way to terror with the deadly space junk and abandoned spaceships full of corpses. It's so seamless only the crabbiest viewers will try to spot seams. Best of all, every environment (even the interior scenes) takes full advantage of the 3D format. This is the rare movie that needs 3D for full impact.

For all its technical ballyhoo, Gravity's relatively straightforward storytelling. Aside from a few action scenes it's a pretty simple survival drama, fit snugly into a lean 91 minutes. Cuaron uses downtime between the spectacle to flesh out the characters. He excels in such quiet moments; Stone's radio conversation with an uncomprehending Inuit is a heartfelt gem. One's reminded of Ray Bradbury's "Kaleidoscope," where doomed astronauts drift through space, connected only by their radios.

Perhaps Gravity could have dwelt more on this crushing isolation, which it captures mainly in brief spurts. After awhile its plot settles into a predictable series of tasks (go to this space station! Get inside the escape pod! Dodge the flying debris), with a silly dream sequence and ending on a needlessly bombastic note. These shortcomings don't stop Gravity from being one of the most imaginative sci-fi films in a long time.

Sandra Bullock has the only substantive part (George Clooney exits pretty early) and carries it well. Ryan's a tough, resourceful character with little space experience and a rough back story that emerges in snippets. Bullock sells her feeling of hopelessness mixed with growing determination. She makes a compelling heroine it's easy to root for.

Gravity's been re-released in theaters due to the upcoming Oscar race. If you missed Gravity the first time around, by all means check it out. I guarantee this movie won't be the same on video.

RIP Philip Seymour Hoffman

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Philip Seymour Hoffman died today, apparently from a drug overdose. He was just 46 years old.

In his long acting career, Hoffman established a reputation for remarkable diversity. He played comedy and drama equally well, playing characters of integrity, insanity, eccentricity and angst. He transitioned easily between blockbusters and independent films. Between 1997 and 2000 he broke through with roles in Boogie Nights (1997), The Big Lebowski (1998) and Magnolia (1999). The following decades saw notable supporting roles in Almost Famous (2000), Cold Mountain (2005), Mission: Impossible III (2006) and Moneyball (2011).

Well-established as a character actor, Hoffman crossed over into leading roles. He won an Oscar portraying Truman Capote in Capote (2005), and earned Supporting Actor nominations for Charlie Wilson's War (2007), Doubt (2008) and The Master (2012). His turns in indie films The Savages (2007) and Synecdoche, New York (2008) also earned critical acclaim. He was last seen in The Hunger Games: Catching Fire(2013); two independent films, A Most Wanted Man and God's Pocket (both 2014), await release. He also tried his hand at directing with Jack Goes Boating (2010).

Hoffman admitted to struggles with heroin addiction and drinking in his youth, hoping to have kicked the habit. In 2013 he reentered rehab after relapsing; early news reports indicate Hoffman was found with a needle in his arm. He leaves behind longtime partner Mimi O'Donnell and three children. And, needless to say, an impressive body of work.

RIP Mr. Hoffman. The world's a lesser place without you.
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