The Inner Life of Martin Frost, Paul Auster, 2007
Medium Cool, Haskell Wexler, 1969
Blue in the Face, Paul Auster and Wayne Wang, 1995
In the Heat of the Night, Norman Jewison, 1967
Margot at the Wedding, Noah Baumbach, 2007
Night of the Living Dead, George Romero, 1968
I saw this while vacationing in
Night of the Living Dead is really the quintessential zombie movie, the one that all others must live up to. The classic black and white image of the little girl eating her father’s brains is just as creepy today as it was 40 years ago. The other point that comes to mind is the fact that the hero of the film was portrayed by a black actor, something that was considered controversial at the time. The ending—I won’t ruin it—has been construed by many as a social commentary on racism. While Romero says that’s absolutely not the case, and that the ending had been written before casting Duane Jones in the role—because he “simply gave the best audition,” which, I might add, is an even better and more democratic reason than trying to commit an act of social significance—I can’t help but think about the implications when viewing that scene. And thus I’d say it inadvertently conveys that message, whether intentional or not.
Lastly, has anyone seen Night of the Day of the Dawn of the Son of the Bride of the Return of the Revenge of the Terror of the Attack of the Evil, Mutant, Alien, Flesh Eating, Hellbound, Zombified Living Dead Part 2: In Shocking 2-D? It’s a hilariously redubbed version of Night of the Living Dead peppered with random interruptions like fireworks, moments in history, and footage of a dancing lady. This 1991 spoof was distributed to 500 video stores nationwide, including one in suburban
Strange Culture, Lynn Hershman-Leeson, 2007
Crazy Love, Dan Klores and Fisher Stevens, 2007
I was worried that, like most of the “personal documentaries” I’ve seen, this might be a bit boring, failing to interest anyone besides the filmmaker. But I was quickly drawn in by the dark story—the obsessive creep lurking in the shadows, the poor, lonely lady in the dark glasses, the media frenzy that unfolded around the case (as Jimmy Breslin says, “It’s great, it sells your papers”).
The abbreviated story is as follows: in 1959, a beautiful young woman named Linda begins dating an older man named Burt. She discovers that he’s married and leaves him. He hires thugs to throw lye in her face, permanently blinding her. He goes to prison for 30 years (“I thought it wasn’t long enough,” says Linda) but gets out much earlier on parole. He’s not allowed to contact her, but that does not stop him from doing so and professing his undying love to her. And, despite all expectations, she agrees to meet him and the two eventually marry.
The fact that a woman would marry the man who intentionally blinded her might seem completely insane, but consider the facts. After the incident, Linda was still a beautiful, lively woman, striving to remain independent. She tried going on dates but as soon as men saw beneath the dark glasses, they were scared away. By the time Burt got out of prison, she was feeling lonely and desperate—so she gave in and agreed to meet him. On this particular day she wore her clear glasses, revealing herself to him. When he told her he still thought she was beautiful, that was enough for her. In a way it’s a marriage of convenience, providing financial security, safety, a pair of eyes, and a little company. According to Linda, “he’s a good husband…I probably do love him, but I find it hard to use that word.”
They seem happily married—we see them arm in arm, slow dancing, going on cruises. “It’s Burt and I against the world,” Linda professes. As ever, she remains a strong character, never appearing frail or crippled, constantly nagging Burt (“Where’s my coffee?”), staying as active as she can—and for a blind lady she’s a pretty good painter. But one cannot help but remember that Burt made her who she is today, which begs the question: are they soulmates, or did Burt force her into the marriage, making sure that no one else would want her, taking away all other options? Regardless of one’s views on the matter, no one can deny that theirs is a very complex relationship. None of their friends or family approves, but then, no one but Burt and Linda can truly know the whole story.
As for the film, there’s nothing very innovative about the style. One technique worth mentioning is that Burt and Linda are interviewed separately until the film comes to the point in the story when they get married, communicating a feeling of separation and then coming together. But essentially this is a straight up, meat and potatoes documentary that’s carried by the story—thankfully, a particularly engrossing story.
The Wild World of Hasil Adkins, Julien Nitzberg, 1993
Soylent Green, Richard Fleischer, 1973
Pineapple Express, David Gordon Green, 2008
Like Superbad, this Seth Rogen and Evan Goldberg penned script is totally over-the-top, precariously toeing the line between funny and ridiculous (but managing to stay on the funny side). Part buddy movie, part stoner comedy, part spoof on action films, one of the things that sets it apart from previous efforts is the degree of bloody, exaggerated violence: an ear is shot off (hello Reservoir Dogs), a character is shot seven times and lives (“Am I seeing shit because I’m stoned or because I have no blood left in my body?”), lots of shit gets blown up. That and it’s directed by David Gordon Green, whose previous works—Snow Angels, All the Real Girls, George Washington, etc—are dramatic, poetic, and serious. Pineapple Express marks a pretty major departure for Green, and he seems to revel in the gloriously brutal comedy. I hope he makes more films in the vein of his earlier oeuvre, but I certainly enjoyed this change—maybe not the greatest comedy I’ve ever seen, but I’m definitely glad I saw it.
Bonnie and
The Parallax View, Alan J. Pakula, 1974
El Mariachi, Robert Rodriguez, 1992
Man on Wire, James Marsh, 2008
On August 7, 1974, French high wire artist Philippe Petit illegally walked a tight rope between the then recently built towers of the
Part documentary biopic, part thriller, Man on Wire is comprised of both archival footage and dramatic reenactments, switching between the hours leading up to that infamous day and a more chronological portrayal of Petit’s life. According to him, the inspiration for his most notorious feat came to him while flipping through magazines in a dentist’s office. He came upon a picture of the proposed design for the
Completing this mission proved quite difficult. As Petit says in the film, “It’s impossible, that’s sure. So let’s start working”—an apt representative statement for this story. After two practice runs at the Notre Dame de Paris and the Sydney Harbour Bridge, he began to tackle his prime objective in a manner not unlike one might see in a bank heist movie—scouting the area, acquiring fake IDs, and assembling a crew, including a “man inside” who worked in an office in one of the towers. Though we already know the outcome, that he did indeed accomplish his goal, it’s nonetheless thrilling to watch the drama and tension unfold.
Some might wonder what the point of all this might be. The term “senseless acts of beauty” is what continues to come to my mind—in other words, there is no point other than to do something wondrous and incredible, to create beauty in the everyday. Petit strikes me as the type of person who exudes joy and creativity; throughout the movie he is constantly animated, almost frenziedly elated, as he tells his story. Ultimately, it’s a demonstration of the will of humanity to commit the impossible, to do whatever it takes to realize a vision.
Planet of the Apes, Franklin J. Schaffner, 1968
Planet of the Apes, Tim Burton, 2001
Late one night while checking my email I discovered that the Walter Reade Theater was hosting a series of Charlton Heston movies. In celebration they were also conducting a trivia contest, the winner of which would receive two complimentary tickets to a screening of their choice. Instead of going to bed as I should have, I decided to try my hand at the quiz. I’m not exactly a Charlton Heston buff, but with the Internet you can find out just about anything. (Is that bad? Did I cheat?) The bonus question, “Six Degrees of Charlton Heston,” required that one provide a chain of actors linking Heston to Steven Spielberg. With a little strategy and help from IMDB I was able to come up with the answer fairly quickly (for those interested: Charlton Heston :: Burt Lancaster :: Kevin Costner :: Tim Robbins :: Tom Cruise :: Steven Spielberg). So, feeling proud of my nerdy Internet sleuthing skills, I emailed the New York Film Society people, and the next day found that I had won. (I’d be curious to know how many other people responded to the quiz—am I the only one with nothing better to do?)
Just before the movie started, the series curator gave a little introductory speech, at one point announcing there was a special guest in the audience that night. For an instant a feeling of horror and embarrassment came over me—until I realized he was talking about Norma Jacobs, an actress who played a chimpanzee in the movie. (This provided for a rather comic moment, when an elderly man sitting a few rows behind her got her attention and proceeded to beat his chest while making ape noises.)
As for the movie itself, while campily amusing, there were a few moments where I had to struggle to stifle my laughter, whether at cheesy dialogue or Heston’s over the top cackling. (Hey, I felt bad laughing at this poor lady’s movie, even though she only played a bit part in it.) I have to wonder if it would have been more effective had I not known the ending already (the same goes for Soylent Green—is there anyone out there who doesn’t know what soylent green is made of?) Would it have been that much more powerful?
What I do know is that I’m pretty disappointed with Tim Burton. Apparently his remake was more faithful to the book, which I’m guessing is just a pulpy sci-fi paperback that no one would remember if it hadn’t been made into a classic movie. (I do love my 60s paperbacks although I tend to buy them for their great covers, not the amazing storytelling contained within.) Sometimes being faithful to the source material is not the best move, which is unfortunately the case here.
3:10 to
Morgan: A Suitable Case For Treatment, Karel Reisz, 1966
Desperado, Robert Rodriguez, 1995
Burn After
Who Are You Polly Magoo, William Klein, 1966
Once Upon a Time in
Night on Earth, Jim Jarmusch, 1991
The Haunting, Robert Wise, 1963
The Saddest Music in the World, Guy Maddin, 2003
The Innocents, Jack Clayton, 1961
Home Movie, Chris Smith, 2001
Vanishing Point, Richard C. Sarafian, 1971
Dr Strangelove, Stanley Kubrick, 1964
The Education of Shelby Knox, Marion Lipschutz and Rose Rosenblatt, 2005
The Man Who Laughs, Paul Leni, 1928
Based on a Victor Hugo novel, this 1928 silent film tells the story of Gwynplaine, the son of a 17th-century lord who betrays the king, who in retaliation has a smile permanently carved on the face of young Gwynplaine and leaves him for dead in the desolate winter tundra. Fortunately he’s taken in by a traveling carnival man, but forever haunted by his disturbing appearance.
My interest in the film stemmed from my discovery that the character of Gwynplaine was the main inspiration for the creation of Batman’s arch nemesis the Joker. And dare I say, he is quite the spitting image.
The Model Couple, William Klein, 1977
Synecdoche
Eternal Sunshine of the Spotless Mind, Michel Gondry, 2004
The Science of Sleep, Michel Gondry, 2006
Pitfall, Hiroshi Teshigahara, 1962
Annie Hall, Woody Allen, 1977
Jackie Brown, Quentin Tarantino, 1997
God's Angry Man, Werner Herzog, 1980
The Stranger, Orson Welles, 1946
Spoorloos, George Sluizer, 1988
The Face of Another, Hiroshi Teshigahara, 1966
Milk, Gus Van Sant, 2008
I’m not the biggest fan of Gus Van Sant’s movies. And so my take on Milk is that it’s good in spite of its director, that its subject transcends the movie-viewing experience and takes over from beyond the grave. You can’t help but love Harvey Milk, just as you can’t help but feel overcome with emotion, whether triumphant, joyful, or painful—and sometimes all of these at once.
There are some clichéd aspects: the obligatory slow motion death scene (isn’t there some other way to communicate drama?), scenes when Sean Penn starts Acting with a capital A, and my least favorite moment(s): at the beginning there is a scene in which Milk offhandedly comments to his boyfriend Scott that he won’t live to see his 50th birthday. Later on in the movie, Scott says “Looks like you’ll make it to fifty after all.” And then, after the fatal shot, the first scene replays in its entirety. The first time I thought the comment was a bit heavy-handed. Then when it was referenced again I thought, “Is that really necessary?” By the end I was on the verge of cringing. Filmmakers should assume that their audience has the ability to recall scenes they’ve witnessed only hours before, and not only that, to pick up on thematic points. There was absolutely no need to replay that scene, or even to reference it again—it would have been playing in the back of everyone’s minds throughout the film, a grim reminder of the climax it was heading toward. I firmly believe that any film would be better served by such lessons in subtlety.
The use of documentary footage is effective, particularly in the opening, which depicts men covering their faces in shame as they’re led out of gay bars by policemen, crammed into a paddy wagon until there’s no room left to move. Overall Milk demonstrates how far we’ve come since that time, yet, troublingly, how far we still have to go. Echoes of the recent passing of Proposition 8 are acutely perceived in the battles against Proposition 6 (I can only assume that the film was completed long before the election and that any resemblance to the present time is by disturbing coincidence). I suppose that, ultimately, mandatory firing of gay teachers and any public school employees who support gay rights is just a tad worse than banning same sex marriage. But that’s a pretty thin silver lining (maybe nonexistent); we’ve taken some relatively minuscule steps in the greater scheme of things.
National Lampoon’s Christmas Vacation, Jeremiah S. Chechik, 1989
The American Friend, Wim Wenders, 1977
Expelled, Nathan Frankowski, 2008
The Pool, Chris Smith, 2008
Good Morning, Yasujiro Ozu, 1959
Scrooged, Richard Donner, 1988
Nightmare Before Christmas, Henry Selick, 1993
A Christmas Story, Bob Clark, 1983
The Wrestler, Darren Aronofsky, 2008
Mars Attacks!, Tim Burton, 1996
Downtown 81,
