It took 13 years for Sergio Leone to get this, his last film, onto the big screen. For the most part the time away served him well, as this superlative exercise in gangster cinema, dramatically heightened to the max with the same dreamy romantic sensabilities of his Spaghetti Westerns, comes close to being the final word in prohibition-era crime films.
Thursday, 26 February 2015
By 1981, Brian De Palma was well into his ’Hitchcock period’, a string of films in the late 70s going back to 1973’s Sisters, but really starting with 1976’s Obsession, followed by Carrie that same year and then The Fury (1978) and Dressed to Kill (1980), which mashed together Alfred Hitchcock‘s most famous suspense set pieces with a tone of sleazy exploitation and dreamy cinematic bravura. The success of Carrie notwithstanding, Blow Out was arguably De Palma's most accomplished of these films.
Monday, 23 February 2015
The iconic shot of the athletes wearing Wimbledon white, running through the beach, splashing water in slow motion set to the synthesized grandeur of Vangelis's score buoys most of this picture. Looking back, the story of a group of British track and field athletes and their collective journeys to the 1924 Olympics in Paris, fighting for King and Country, is as stuffy and stodgy as British period films come, and is arguably one of the least memorable Best Picture Oscar winners.
Friday, 20 February 2015
Perhaps the ultimate film about the male bravado, four city men, in the outback of Appalachia, out to conquer nature and canoe down the rapids of an untamed river wild, become hunted by a group of hillbilly locals. While some of the character conflict and thematic pronunciations hit the nail on the head, looking back 40 years later, Deliverance is still a riveting adventure film equalled by deep connections of man, nature, class and gender.
Thursday, 19 February 2015
As an exercise in research, I read some of the original reviews for A Streetcar Named Desire, both the 1951 film and the original Broadway play. Surprisingly, very little was made of Marlon Brando, then brand new to both Broadway and Hollywood. Brando's role as Stanley Kowalski, of course, is now almost universally recognized as ground zero for the dramatic shift away from the classical Hollywood studio form of acting to the immersive method style. And yet the original Variety review is surprisingly understated in their praise, writing, "Marlon Brando, at times, captures strongly the brutality of the young Pole, but occasionally he performs unevenly in a portrayal marked by frequent garbling of his dialog." And in the original New York Times stage review, Brando barely gets a mention, "…the rest of the acting is also of very high quality indeed. Marlon Brando as the quick-tempered, scornful, violent mechanic." These statements, with today's eyes, read as hilariously gross understatements.
Tuesday, 17 February 2015
Paddy Considine's Tyrannosaur, Shane Meadows' This is England and Andrea Arnold's Fish Tank have, of late, carried on the tradition of the British kitchen sink genre, but as a vivid portrayal of lower class industrial squalor, Clio Barnard's picture resonates even more strongly. It's tragic and haunting, yet beautiful and tender in equal measure.
Friday, 13 February 2015
One of the most valued treasures of the Scorsese canon, 'Mean Streets' birthed Scorsese's distinct cinematic vision of the world: street-wise, working class hoods with foul mouths and hair-trigger tempers seen through the lens of a dynamic camera with bursts of slo-motion and jumpy editing, set to a soundtrack of '60s vinyl and Italian crooning classics.