the dude-3 Reviews

Lawrence of Arabia (1962)

Lawrence who?

[10/10 · 23 June 2000]

After finishing this almost 4-hour epic, I wasn't quite sure what I thought of it. The fact that the main character was never truly fleshed out to a distinct individual bothered me; that many of the things he did weren't really explained. This faded quickly though as I realized he was more fleshed out than any other character I'd seen before. He had self-doubts and flaws and was stoic at times and weak at others, hated and loved at times he couldn't explain, just like a normal human being. My questions of why this is said to be one of the best movies of all time were soon extinguished. T. E. Lawrence was one of the most defined characters ever brought to film simply because he was also one of the most undefined.

Paths of Glory (1957)

A genre unto himself.

[10/10 · 26 April 2000]

I was originally going to say that a third of Stanley Kubrick's films were about war, but that wouldn't be accurate. A third of Stanley Kubrick's body of work were anti-war films. Considering he only made 12 major films (not counting the five theatrically un-released) this is pretty significant. He practically invented the anti-war genre with this film or at least made the first nationally recognized anti-war film. His four major anti-war films could even fit the traditional genre cycle model. "Paths of Glory" being his first anti-war film established the genre and thus was its novelty period. His next anti-war film was "Spartacus" and this could be the classic period of the genre. Next was "Dr Strangelove or: how I learned to stop worrying and love the bomb" and this could be the revisionist period of the genre in which it takes a comedic turn. Lastly was "Full Metal Jacket" which could fulfill the parodic period of the genre as it makes fun of itself. These 4 films might have better fit the genre cycle if "Dr. Strangelove" was made after "Full Metal Jacket" but I'm not sure. Anyway, it's a very interesting view of the four movies if you compare them.

One thing that struck me in "Paths of Glory" was the German woman who sings at the end. I may be wrong, but she is the only woman in the whole film, and I may again be wrong, but as I recall there was only one woman in "Dr. Strangelove" and one woman who was a main character in "Full Metal Jacket" (actually two, the Vietnamese prostitute and the assassin, but they could be considered the same woman). This is very peculiar and thus very relevant in interpreting some of these films' meanings. Most importantly, in all three of these films, the woman is something of the "enemy"(somewhat of a stretch for the woman in "Dr. Strangelove" but she could be seen as an enemy as she keeps General Turgidson from doing his job and trades information between military officers.) Also very important in two of the films is that they are the only enemy to be seen close-up. In "Paths of Glory" the German singer at the end is the only time in the film the "enemy" is actually seen and this proves quite effective is demonstrating the absurdity of claiming she's essentially any different than the "good guys." Also, in "Full Metal Jacket" the only enemy seen close up that's not dead is the assassin at the end who is not only female but a child and this is Kubrick's most wicked ploy as how could this young girl possibly be the enemy?

Vertigo (1958)

If Shakespeare had made films

[17 April 2000]

(Caution: Spoilers for idiots who've never seen this masterpiece)

"Vertigo" more than any other film by Hitchcock reminds me of a Shakespearean play. Like Shakespeare, Hitchcock organized his films into a form of acts, and it's most notable in this film. There's the opening scene like Shakespearean prologues in which a single act sets forth all that is to follow. In the first act the hero becomes part of a sinister plot unwittingly. He meets a girl, falls in love with her, despite her husband, and vows to always protect her. In the second act, the plot is acted out at the expense of the hero. He comes close to finally solving his love's trouble but loses her as she plummets to her death from all things, a bell tower at a cathedral. In the third act, the secrets behind the crime are revealed and the hero begins to descend toward his final destruction. It wasn't his love who fell to her death, but the wife of the man who hired him in an elaborate plot to inherit her fortunes. He finds the woman who he thought was the wife and begins to remake her into what she originally looked like and who he fell in love with. He, of course, at this point is quite insane. In the final act everything falls apart for the hero as he finally realizes he was a pawn in the vile scheme. He leads his love to the place where she first appeared to have died and this time she actually does. Another lovely element Hitchcock utilizes is the presence of mirrors throughout both to forebode and remind us that Madeleine Elster and Judy Barton are the same woman and will suffer the same fate. Also, the use of the color green as a connection between Stewart and Novak, which disappears as Stewart's love for her becomes unhealthy obsession.

Jimmy Stewart's John Ferguson is reminiscent of Shakespeare's "Hamlet" and "Othello." Kim Novak's a modern Ophelia or even Juliet. Barbara Bel Geddes as the hopelessly tragic Midge Wood is like the countless best friends of the lead characters who are sacrificed. And lastly Tom Helmore as Gavin Elster reeks of Iago as he has everything planned out for his benefit.

If Shakespeare were a filmmaker he couldn't do better than this. He and Hitchcock were truly two of the best artists to ever emerge from England.

Se7en (1995)

An Overblown Sermon

[7/10 · 10 April 2000]

If ever a movie was completely represented in one of its characters, "Se7en" was it. (possible spoilers) The two preachers of the film are John Doe, the character portrayed by Kevin Spacey, and the director, David Fincher. Fincher's film has a purpose just like that of John Doe's murders, to shock American into recognition of its major faults: its sins. Unfortunately Fincher's point is lost in his bombastic and brazen style which dominates all of his films. Fincher seems to be quite the cynic in his view of the world. In "Se7en" there's not a person in the world, or at least NYC, that's not a sinner, and we're living on a veritable hell on earth. "The Game" presents a paranoid world where no one's life and security are concrete and "Fight Club" shows us just how superficial of a culture we are. Unfortunately, Fincher also seems to be an optimist at heart, and this is where his films lose their potency. At the end of each film he tries to give some glimpse of hope. At the end of "Se7en" Morgan Freeman quotes Hemingway, saying "'The world is a fine place and worth fighting for.' I agree with the second part." At the end of "The Game" it turns out the paranoia was only part of an intricate joke and "Fight Club" falls apart on itself when(among other things) it tries to present some sort of solution, which was, best as I could tell, love. If only Fincher didn't try to provide some sort of happy ending(albeit minimal as in this film) his films could be much more powerful(like Neil Labute's "In the Company of Men" and "Your Friends and Neighbors".) He makes his point and then unfortunately loses it in an overblown style and ludicrous attempts at happy endings. Compared to the rest of his work though, "Se7en" is his most effective film to date with fine performances by Freeman and Spacey.

Marty (1955)

Bittersweet slice of life

[10/10 · 20 March 2000]

While recently checking out "The Wild Bunch" DVD I noticed Ernest Borgnine won an academy award for some film called "Marty" which as it goes, also won the academy award for Best Picture. Now I'd seen Borgnine do comedy("McHale's Navy") and I'd seen him do action("The Wild Bunch," "The Dirty Dozen"), but serious drama wasn't something I could really picture him doing. However, to my delightful surprise, not only was he good at doing drama, but he was great at it(which winning an academy award doesn't necessarily always mean).

"Marty" is one of the most endearing films I've ever seen, which great performances all around. It even triumphs despite some obvious stereotypes. I can't say the movie is ever truly happy though because even when Marty finds someone who he can love and have his love returned, lots of things stand in his way. First of all, his mother and his manipulative aunt, who fear they'll ultimately be left alone and forgotten. Also, his best friend fears losing him as well, because who else can he sit with every saturday night asking "What do you want to do tonight?" only to the reply of "I don't know. What do you want to do tonight?"

The Saddest thing of all though comes in the end. After Marty has found his happiness and made his decision to pursue it despite his mother, aunt, and best friend's protest, his final few lines as he calls up his girl are the exact words that antagonized him for so long, as he says to his friend, "How old are you? 34, and not married. You should be ashamed of yourself. You really should be ashamed of yourself." At this point I'm no longer sure whether to be happy for Marty's fortune or mad for him turning into someone who pained him for so long. It's truly a bittersweet ending.

The Wild Bunch (1969)

The end of an era

[10/10 · 16 March 2000]

The western that ended all westerns or at least dramatically changed them. After a long period of great westerns by true masters of cinema like Ford, Hawks, and Griffith came the film that broke the mold which could never be returned to its original glory. Cowboys like John Wayne had outlived their time and had to face a new west with emerging industrialized cities. The Wild Bunch were the last remnants of men who could settle matters with a gun and take what they want before the law and the railroad took over.

What makes this film so lasting and great is that the phenomenal ending doesn't overshadow the rest of the film. A feat which even emerging classics like "Barton Fink" and "Magnolia" can't pull-off as I find myself waiting for the one outstanding scene in each of them. But with "The Wild Bunch" there's not a single scene I don't enjoy watching. It opens with one bloody episode and ends with another. One act of appalling sin and another of beautiful redemption. Never have four words evoked such a variety of emotions in me as "Let's go," "Why not?" accompanied by the delighted smile on Borgnine's face.

This film has it all, great actors, great director, great writing with real character development, symbolism all wrapped into a nice package that delivers. There's not a thing I'd change about this film. It's truly one of the greatest films of all time.

Carrie (1976)

Ode to Hitchcock falls short

[7/10 · 21 February 2000]

Brian De Palma's "Carrie" has been said to be his ode to Hitchcock. Unfortunately such a claim isn't justified. Brian De Palma imitates much of the master's style, specifically that in "Psycho" as he uses the same pitching music and a similar mother-offspring scenario. But, what starts off as a great movie dealing with powerfully emotional issues of social ostracization and physical and emotional maturity turns into a cheap blood and gore fest. Where Hitchcock triumphed with subtlety and masterful editing De Palma fails with explicit gore and split-screens and that awful jesus-christ pose Carrie's mother is in at the end was so stupid it was funny. Scariest moments occur in the first half of the film.

The Texas Chain Saw Massacre (1974)

A Masterpiece of Editing

[9/10 · 9 February 2000]

There's only one film this can really be compared to and that is the original version of the story of Ed Gein, Alfred Hitchcock's masterpiece "Psycho." Much like "Psycho," "The Texas Chain Saw Massacre" is edited to perfection, providing utmost horror and suspense with little gore and actual violence. The stories in both movies are amazingly similar, so much that Hooper's version could almost be considered a remake or at least retelling. Just like in "Psycho," characters travel one by one to a place they just shouldn't be. After one disappears, a few more go to find out what happened and disappear themselves. Like Norman Bates underwater automobile-graveyard, the deranged family in "Texas Chain Saw Massacre" have their own hidden yard full of vehicles that once belonged to their victims. Also like "Psycho" the quick-cut editing and use of music give the film much of its edge. The main difference between the two films lies in their intent. While "Psycho" shows the hidden horror behind an all-American, normal looking boy, "The Texas Chain Saw Massacre" deals with a disillusioned family, stuck in the middle of an America that has no use for them anymore and just want a piece of humanity(literally). Both movies are multi-layered with various interpretations. Tobe Hooper meant the film to be a commentary on the psycho-schizophrenic Watergate era. Most people have a hard time seeing it that way, myself included.

One parallel that for me is undeniable is that between Leatherface and Mrs. Bates. Most notably they are both men wearing women's clothes and makeup. Also, the first scene in "Psycho" where Mrs. Bates is seen in action as a private detective walks up the stairs towards her room and Leatherface's first onscreen appearance in "Texas Chain Saw Massacre" both gave me two of the biggest frights I've ever had, as the psycho in each film commits with cold, calculated precision an act of utter horror. This film is one of very few that can produce such a genuine chill, without the need for excess gore and blood.

Rashomon (1950)

A multi-level masterpiece

[10/10 · 3 February 2000]

I can't really say anything about this wonderful film that hasn't already been said. What I do want to comment on is the brilliance in construction of this film and most others by Akira Kurosawa. His movies can be watched foremostly on a purely entertaining level due mostly to the well-formulated characters, brilliantly portrayed by some of Kurosawa's stock actors and the man of a thousand expressions Toshiro Mifune, and also the gripping action scenes perfectly choreographed. Second, there's more to them just in the plots than what's written to entertain. I can't think of one of his films that has a straight and simple plot that's at all predictable. Finally, and most importantly, the proof a true cinematic genius, there's always underlying meanings and subtexts, things that could be easily ignored but would be blasphemous to do so.

The other thing I have to say about this film is that in many ways it's a horror film. Baring great resemblance to the style and makeup of many Hitchcock films. It deals with rape, infidelity, back-stabbing husbands and wives, channeling of ghosts, and the most horrible of all, human greed. And the scene in the beginning where Shimura's walking through the forest is extremely suspenseful, evident by how it's filmed and a lot like the plethora of forest scenes in horror films throughout the 70s and 80s. And that "medium" scene where the husband is channeled is genuinely creepy.

Let's Scare Jessica to Death (1971)

Genuinely Frightening

[9/10 · 26 January 2000]

As soon as the main characters take a metaphorical ferry ride across a river into hell, I knew this classic and underrated horror film was going to be interesting. Foremost it produces some genuine scares, without the aid of buckets of blood and special effects. Just some good old fashion suspense! A lot of substantial horror films (Halloween, etc.) made in the years following its release mirror many of the elements involved, specifically sound effects and cinematography. An interesting story about a woman just released from a mental institution who still hears voices as she and her hippie husband and friend travel to their newly purchased country home. They find living in their house a ghostly woman with red hair and pale white skin, and Jessica continues to hear voices in her head and sees a young girl dressed in white who mysteriously appears. The whole film represents the persecution of hippies, but can be related to many other types of persecution and has a whole slew of other themes involved.

More (1998)

Pure Beauty

[10/10 · 25 January 2000]

One of the most beautiful and poignant animated shorts I've ever seen, if not the most. Unfortunately, I got to see it only once and didn't get a chance to fully take it in, and there was definitely a lot there to take in. Some beautiful animation and a beautiful story about what happiness really is. Full of symbolism and a look at a future which may not be far off. Shows that happiness doesn't come in a box or any other sort of artificial means. Something which most of the world doesn't and probably never will get.

Billy's Balloon (1998)

Satisfaction for the Sadistic Side

[10/10 · 25 January 2000]

Animation in all its glory! As an animation student myself, and having made quite a few short stick-figure deaths and such to amuse myself during class, I can fully appreciate the brilliance of "Billy's Balloon." Luckily, I hadn't read anything about what was going to happen and was pleasantly surprised as the mayhem of Billy's balloon started and every time I thought the joke was getting old, a whole other element was thrown in. A great short film which I will hopefully find again someday.

Blood Simple (1984)

The definition of dark comedy

[10/10 · 23 January 2000]

Warning: Spoiler!

There's one particular scene in this film that for me defines the term "dark comedy" and much of what the Coen brothers are. After the character played by John Getz has found a dead Dan Hedaya and assumed his lover Frances McDormand has committed the crime, he sloppily tries to cover it up. First he tries to mop up all the blood with a handtowel, making the process all the more slow. Then, he puts the body in his back seat, ignoring the fact that it's still heavily bloodied. While driving down a quiet country road, he suddenly hears moaning from the back seat and does the logical next step: slams on the brakes, opens the door and runs as far away from the car as he can. After waiting several minutes and catching his breath, he walks cautiously back to the car and looks inside, but the body's no longer in the back seat. He walks around to the opposite side, the door is open, and a bleeding and nearly dead Dan Hedaya is slowly crawling, quite futilely, down the dark road. Getz panics due to the morbid site, and figures he must finish him off. So, he gets out a shovel to hit him with, but no, that's too gruesome. So, he gets in his car and prepares to run him over, but can't do that either and to his despair, another car is coming down the road. So, he drags Hedaya out of the car's view and out into the desolate field, where he proceeds to dig a whole while Hedaya lies half-dead nearby. After the hole is dug, he puts Hedaya in, and begins to bury him, alive. Hedaya makes one last attempt to save himself and pulls a gun he had on him, but he doesn't have the strength to pull the trigger and is buried completely. Getz sits next to the grave and frustratedly hits the yet-moving pile of dirt.

Now, this shouldn't be at all funny, but it isn't just funny, it's hysterical. This to me proves the genius of the Coen Brothers team and defines the term "dark comedy"

The Chase (1994)

Worth it only slightly for the supporting cast

[3/10 · 22 January 2000]

Even if this movie was meant to mock or parody the whole chase-film genre, it's still a bad movie, with only minorly amusing scenes and characters. The characters Flea and Anthony Kiedis from The Red Hot Chili Peppers were funny in their stupidity and I'll enjoy them in any movie (especially Flea in "the Big Lebowski".) Some things like the cadavers on the highway and the idiotic step-father were also amusing, but can't make up for everything else which is so cheesy it exceeds the point of good cheesiness.

Open Your Eyes (1997)

Bombastic, boring, and unbelievable

[4/10 · 20 January 2000]

This film was recommended to me by someone who rejected practically every film released in the last several decades(not that I'm saying the majority of films released have been good), so I had to check it out for myself. On the whole, I was extremely disappointed. The story was fairly interesting, and true enough I had no idea exactly where it was going, but the characters were unbelievable, unappealing, and prompted no sympathy whatsoever except for Cesar's best "friend" who he runs over in pursuit of his own lusts. Cesar himself might have deserved some sympathy for his plight had he not merely wallowed in self-pity and remain self-centered throughout the film. Only redeeming qualities are the cinematography and inclusion of the beautiful Cruz in the cast. Compared to the films of David Lynch by some. Abre los ojos had the potential greatness of Lynch's one true masterpiece, "The Elephant Man," but instead goes the route of most all of Lynch's other movies in an absurd, pretentious, and unfulfilling means.

Rosemary's Baby (1968)

Horror, horror everywhere and not a wink to sleep

[10/10 · 19 January 2000]

I don't think I've ever seen a more unsettling film. From start to startling finish, Roman Polanski's dark classic gives you that ill feeling in the pit of your stomach. Everything's off-kilter about the apartment building which unsuspecting Rosemary and her husband Guy rent, from the red wall-lights to the large chest a dying woman somehow managed to move all-by herself in front of a closet which contained only a vacuum cleaner and some sheets. There are so many elements to this film that Roman Polanski uses in presenting the eerie tale that whole books can be (and have been) written about it. One of the most appalling things is Polanski's realistic understanding of motherhood that produces the shocking final turn in Rosemary's trial. A very unpleasant film to watch, but undeniably great, completely redefining the horror genre and starting horror's reign in the box offices lasting up until the 80's.

One, Two, Three (1961)

Cagney, Cagney, uber alles!

[10/10 · 17 January 2000]

Fast, classy, and totally in control. That's James Cagney in "One, Two, Three," a biting comedy from the great Billy Wilder. Probably the greatest thing about Wilder comedies is that the viewer doesn't have to think about the content to enjoy them, though there is tons to think about. You don't have to realize that they're satirical social commentaries to like them. "One, Two, Three" can be enjoyed on a purely comedic level without even thinking about the proletariat/bourgeois and capitalist/socialist points presented. One can just sit back and enjoy the genius that was James Cagney. Is it any wonder this was his last on-screen performance for two decades with the amount of energy the man puts out? Techno music and fast-paced cinematography in such recent movies as "Run, Lola, Run" can't hold a match to Cagney's motor-mouth and stunning on-screen presence as he barks out orders "Eins, Zwei, Drei!" This one will leave your head spinning.

Boogie Nights (1997)

not quite "Exhausted"

[7/10 · 13 January 2000]

An interesting companion piece to true documentaries of John C. Holmes. Unfortunately, it doesn't deal with what ultimately killed Holmes, and it certainly could have benefited from doing so. Burt Reynolds and Mark Wahlberg got the most praise for this, but I felt the true stars were Julianne Moore as the cocaine-sniffing mother wannabe, Don Cheadle as a black man struggling with identity as pornstar/stereo-salesman in some wild getups and William H. Macy, who's wife is the ultimate slut. Not to mention a nearly unrecognizable Alfred Molina. Macy's new year's eve bash and Cheadle's chance for a better life after a donut shop robbery gone wildly wrong are probably the two best scenes in the movie, or at least the two best shot. What this movie does best is show how power can easily corrupt in its various forms. However, none of the characters apparently learn anything from their dark downward spiral as they all rebound and return to their normal lives.

Night of the Living Dead (1968)

Interesting.....

[10/10 · 10 January 2000]

I find it very interesting how you can take a film that's not only great in plot, acting, and direction, but also has a serious point and meaning and tack on a completely different meaning and confusing point. Why a religious angle? Where did this come from? Sounds to me like the producers felt they needed to address religion specifically and rather than coming up with something original, say another movie, they felt they should just take something easily marketable(I don't think any fan of the series and genre wasn't excited about new scenes) and insert their "point" there. It's hard to totally destroy this film, so I could never say it's awful, but the new ending and angle just cheapen the whole experience. So, next time I suggest just making another movie(which any Romero fan would LOVE to happen) if the producers wish to make a point instead of trying to pass it off on something already established as a great piece of film.

The Item (1999)

Best Film ever about a 40 lb. psychic worm

[9/10 · 7 January 2000]

I went to this expecting....well, I had no idea what to expect, but I imagined it'd be pointless gore with a badly written plot and idiotic dialogue. Yes, there was tons of pointless gore, but there's nothing wrong with that when properly used. But, to my surprise, it was funny, well-written, and the best damned movie I've ever seen about a 40 lb. psychic worm. It also definitely beats any other movie with such a ridiculous idea like floating brains and creeping hands, with some of the freakiest scenes I've ever sat through and one of the best scenes of girl-on-psychic worm action ever plausible, with a great ending. If only there were more psychic worms that reveal people's inner truths, this world would be a lot better place.

The Quiet Man (1952)

A rare gem

[10/10 · 4 January 2000]

I can't say I've ever seen a film of such beauty as The Quiet Man. It is whimsical from start to finish, literally never hitting a sour note. Presenting the Irish culture from the point of view of an Irish descendant reclaiming his heritage, this film was an obvious labor of love from director John Ford. It even pokes fun at wife-beating and the IRA with complete good taste. I can't give enough praise to this movie, but out of all the great films from the brilliant John Ford, it's definitely my favorite.