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Head On (1980)
"He's not coming - he thinks it's a game!"
When I read the 3 reviews of this film - I was wondering whether I had viewed the same film as them.
I found it to be a riveting Psychological Thriller.
Maybe people found it hard to deal with because of its non-mainstream elements and its lack of type - casting
In particular Sally Kellerman and Steven Lack are brilliant.
The intensity of the games increases through the film and reaches a horrifying and ironic crescendo at the finale.
Because of its non-mainstream element it has a surprising level of naturalness and to that effect I found that it realistically mimicked the normal reactions one would have expected from people.
John Cusack was an intriguing addition to the movie.
I have observed this type of game-playing socially and in that sense found the film totally believable - Possibly the crux of the film being when Kellerman waits for Lack to arrive when they are about to marry and when he doesn't show says 'He's not coming - he thinks it's a game!"
The film demonstrated succinctly that people who play these games confuse reality with the game.
What a pity that it was never released to DVD.
Laura (1944)
The Corpse of true love never did run smooth
Author Margaret Reines: How can one ignore a film that begins with "I shall never forget the weekend that Laura died." and intriguingly we have a heroine who is dead for the first half of the film.
This film has to rank up there with 'The Maltese Falcoln ' and 'Double Indemnity.' for a 40's noir film. The characters are supreme: Gene Tierney - at her most beguiling. Dana Andrews, Vincent Price and Judith Anderson. Each and everyone of them adds something to the film - and together they are a 'tour de force.' The sex - as appropriate for that era - is handled subtly (something today's filmmakers might want to look at): Waldo in the bath when Mark Mcpherson arrives, Laura's very clinging gowns etc - but that is all blown apart when Mark (Dana Andrews) spends some time at her apartment looking at Laura's Picture.
Mark's character - usually so controlled - appears to gradually 'come apart' as he looks at Laura's clothes - smells her perfume, reads her letters and looks at her portrait. The camera never leaves Mark for an instant in that scene, and the Laura theme swells and comes to the fore - as if to take over.
Ater Mark falls asleep Laura reappears and he gets to know her 'in the flesh.' There are several signals which show that Mark is infatuated with her: The almost imperceptible grin when Laura tells Mark that she is not going to marry Shelby, body language, and later at the station - he leans over her in a peculiar up-close angle when questioning her. and it does seem that Laura responds to Mark. The other main characters are a joy to behold and listen to:Waldo (Clifton Webb - with his acerbic, condescending comments.) When Mark plays with a kids' baseball game he retorts "Confiscated in a raid on a kindergarten?" and when he realizes that Mark and Laura are going to be together - and she is leaving him -he retorts that it will be a "disgustingly earthy relationship." Mark is Dana Andrews at his best - and I believe that it was this film which catapulted him to further stardom. He is handsome, well-groomed, dour, sarcastic: (" A doll in Washington Heights once got a fox fur out of me"). When Shelby and Waldo look set for a fight - Mark steps between them with "I wouldn't" - playing with the game and chewing gum - never missing a beat. He is also amenable to all stratum of society - when Bessie the maid says - "I was taught to spit on cops when I saw them" he says - "Okay spit' wherein she realizes that he will listen to her and softens her approach.
The Film reminded me of "Rebecca" - wherein - although Rebecca is dead - she informs the entire film - only in 'Laura' the main character is absent for the first half of the film. Judith Anderson was also the housekeeper in 'Rebecca' and it is testament to Judith that she can tackle such a different role to that of Mrs Danvers and so successfully - as Ann Teadwell.
'Laura' is full of unrequited love and sexuality. Walso is attracted to Laura but there is not a hint of heterosexuality in him. Shelby loves Laura- Ann loves Shelby - but he doesn't know it. Laura seems a bit distant - in the love department - but we hope she will make it up with Dana off-screen. When he is taking her away for questioning- there is a beautiful shadow of light on her face - making her almost ghost-like in appearance.
I believe that part of the success of 'Laura' is due to all this confusion - different loves popping up all over the place, fast dialogue, a detective who is always calling different people to be questioned - and then never charging them . This - along with the stunning score - draws us into the film - and perhaps the confusion - so that the film remains eternal for each viewing.
The dialogue is absolutely stunning - thanks in the main to Waldo (Clifton) and reminds me to a degree of "All about Eve" in that department - although AAE was double Laura's Length - with more character development.
One could say that there is not an extraneous word in 'Laura' - it is quick, and pointed - the film thus needing several viewings for aficionados to absorb. Like all great movies - the fabulous score - written by Riskin after his wife sent him a 'Dear John' letter - elevates the movie to something greater than its parts. Learning about Gene Tierney's life added a touch of poignancy for me . At the start of this review - I mentioned a few noir movies that 'Laura' should stand with but really - 'Laura' stands alone in its greatness .
Trivia: Waldo comments twice about Mark's silver shinbone - (sustained in a fight with a gangster) possibly because USA was at war in 1944, and it would have been appropriate for Mark to be 'in service' at that time (if not in the movies!).
Crazy Love (2007)
Margaret Reines: The Eye of The Beholder
A truly riveting doco/film - Crazy Love is a no-holds barred expose of the lives of Burt and Linda. At the beginning - Linda is truly an exceptionally attractive woman - whose life stands before her. Whether the relationship is a burden or gift is something only they know - probably a bit of both.
Many reviews have alluded to Burt verging on the 'psychotic' - but I believe that the quote on 'obsession' at the film's start - is more realistically pertaining to Burt and his character and possibly near the end - to Linda.
I am pondering on the old Jewish 'matchmaking' system in the European villages - through which this would be a 'non-story' because the Burt/Linda story never would have been allowed to happen. Does having 'choice' mean that it allows the obsession which Burt had for Linda - to flourish - with the direst of consequences?
I could relate through this film to the way my dad thought about my mother - and he would have probably collapsed if anything had happened to her. Although of course violence was never in question. I was struck by Burt mentioning - at the end when Linda was married to him - that he 'still had dreams that Linda was lost and he couldn't find her'. That truly was an obsession. He was prepared to go to gaol - be attacked and injured - and lose so much for her. It was as though he knew that once she was blinded - it would potentially drive away all suitors - and reduce her life to dysfunctional - so that she would be dependent on him. In short he was prepared to suffer to the nth degree to finally marry her. THAT is true obsession/devotion. Not that throwing acid in someone's eyes is recommended!
I also noticed the statements about how beautiful Burt thought Linda was even after the disfigurement.
However - he may still be getting his comeuppance. (eg Listen to Linda's demands : "Get is the car - It's too hot. Have you watered the plants? Is my coffee ready etc?"?)
I Like that New York directness. Living in Australia - it's something one doesn't hear - (Not since my dad and grandmother died. )
A very interesting compelling/captivating story on so many levels.
Nine 1/2 Weeks (1986)
Mickey and Kim Dazzle
This film is worth watching just for the 2 stunning main characters - Basinger and Rourke - Basinger for her incredible figure (she never looked better in her suits/high heels) and John for his chisseled features. Of course Basinger's acting is also impeccable, although I believe that Rourke does brooding /introspective better than he does happy. I have to say that the sexual games do seem to come across as a little one-sided - always Rourke directing a game for Basinger - and not the other way. It would have been interesting to see a role reversal on occasion.
This film has been compared to 'Last Tango' and the obvious similarity is that Brando and Rourke only open up about their personal lives at the end - and ONLY when Maria and Kim - DON'T want to know ,are not interested and are in fact ready to leave.
Very interesting that Rourke says 'I love you' AFTER Basinger has left and the door is closed.
(I have also seen Rourke in 'The Wrestler' and was wondering why he did not get an Oscar for that film and '9 1/2'. Probably due to him being not mainstream enough for Hollywood.) Margaret Reines.
The Honeymoon Killers (1970)
In The Eye of the Beholder
I have found this film to be a true 'cult' movie, and have been bemused by the number of reviewers who have said that the chemistry between Stoler and Fernandez was 'not explained'. It is a no-brainer that the chemistry between any 2 people is unique to them - and other people are not a privy to that chemistry. Yes Stoler is overweight and sullen and Fernandez is thuggish - but I can see how he would be attractive to some women. The direction is superb - with a feeling of claustrophobia emanating from the constant presence of Stoler's large body in the frame- and the black and white photography gives a 'noirish' presence. And if not in the frame she is always around - scheming.
I had to disagree with 1 reviewer who criticised Stoler's acting as having only 2 expressions - I found her acting incredible - in particular watch her near the end when she is about to report Fernandez to the police.
I also felt that some reviewers found the conning of the women inexplicable - they need to watch 'A Current affair' or its overseas equivalent- to observe how many people are conned when there is a whiff of romance in the air.
I was shocked at Stoler's comment about how 'Hitler was right about you people' when as a nurse she is fired by a foreign-sounding doctor. How did THAT one get past the censors? Maybe the reason why Pauline Kael hated the film and Kastle never directed again?
Trivia: When they were in Sing Sing Martha offered to donate her body to science in order to save Ray - an offer which was declined. Margaret Reines
Dressed to Kill (1980)
Sexy older woman
'Dressed to Kill' is a fascinating and entertaining film. It has to stand alone for having one of the sexiest scenes in cinema history - the taxi scene - where hardly any flesh is shown and all is imagined- unlike her 'wham-bam' dawn-breaker with her husband. Angie was nearly 50 years when she made DTK and it is testament to Brian de Palma that she wasn't thrown over for a younger model( esp. in 1980). The 'cat and mouse ' museum scene is riveting and interesting that her 'pick-ip' doesn't speak a word in the film - which seems to make him more alluring/desirable.
The film has been alluded to having a Hitchcockian influence and the knife /wig are testament to that. But I would posit that the film has an Italianate influence ie agony and ecstasy intertwining. (comparable to the latter is 'Last Tango in Paris.')
Examples are the early shower scene wherein Angie is blissfully soaping herself when an unknown man savagely takes her from behind. Note also in the murder/lift scene Angie's dress provocatively showing her legs when she is dying.
The sub- plots of the son's scientific interests (pertinent to the film) and the call-girl's activities (Nancy Allen seems so believable that she could pass for the 'girl next door.') maintain the interest/momentum.
I love the humorous asides eg Dtv. Marino:"What sort of a building is this? everyone getting laid after lunch!"
Margaret Reines
Funny Games (2007)
Read Below the Surface
It seems to me that the only reviewer who 'got' "Funny Games" was stephen7272 under the heading 'You Don't Understand What This Movie is About'.
Yes it seems that many reviewers were not egg-static about the latest version with Naomi Watts and Tim Roth. I personally thought that both of the former gave excellent performances within the limits of the material they were given.
I did see the German version - and recall that the later version was a shot -by -shot remake of the former.
I believe that the latest version (as Stephen alluded to)was not about acting/scenery/length of shots etc. It was about not letting dangerous people thru the front door of your house in the first place.
It was interesting to see the 'domestic dispute' between Roth and Watts - at the beginning - where Roth asserts that 'they are just 2 nice guys' because he hasn't been a party to the whole scenario - and it is interesting to understand how many people have been trapped - as in this case - AFTER people have been let in and it is too late then to do anything but be destroyed. In psychological terms your house is your body - and an aspect of the film is that ONCE these lowlifes were in the front door they had access to the owners' bodies - in order to destroy them.
I thought that the device of 'speaking to the audience ' was effective in the sense that it drew the audience more into the film - increasing the terror by persuading them that they were part of the action.
The rewinding device was also effective in that it demonstrated that we only get ONE chance at life - and have to value it and protect it at all costs - that device was about timing/chance and opportunity. Very unusual to see a child killed off in a movie in that way - which was also a device to persuade the audience once again that the results of 'letting people in' can be so dire,
Margaret Reines.
The Plumber (1979)
Margaret Reines : You have to watch the quiet ones.
'The Plumber' is an excellent movie.
There have been other films about outsiders encroaching on a household and attempting to take over - but none (as in 'The Plumber') where the other characters are so oblivious to what is actually happening: 'The Servant' 1963 - Dirk Bogarde - wherein a manservant takes over the house and 'Ring Once for Death' part of the 70's 'Thriller' Compendium - (created by Brian Clemens ) starring Nyree Dawn Porter - wherein her manservant tries to poison her and also take over . But 'The Plumber' eclipses both of these in its complexities and the various layers/elements to the film. There is the 'mystery' element: When Max enters the lift to go to Jill's apartment his hand hovers over several buttons in the lift before resting on the one which leads him to Jill's apartment and then calls her 'Jilly' without ever being introduced. There is also the mystery as to the plumber's intentions: "He's really very sweet" says friend Meg. "He's really very cunning " replies Jill. There is a disturbing sound of wind encircling the Uni. apartment block - whenever it is viewed - emitting an instantaneous sense of menace. No wonder that Peter Weir added the cheerful restaurant scene with the Italian music - as a foil to the 'evil' - towards the climax of the film.
There is the fact that the other characters in the film - no matter how close to 'Jilly' as the plumber calls her - don't seem to have an idea as to what is going on and how the plumber's presence/actions have affected Jill. In fact, Max - the plumber - seems to work at getting her husband / friend 'on side' by chatting to them or fixing their cars - perhaps to ingratiate himself because of what he sees as 'class' differences - very obvious when Jill - now exasperated - picks him up on misusing grammar.
There is the 'men vs women' aspect of the film - in addition to Max - the plumber's relationship with Jill - we have the man aggressively watching the women performing their yoga, and admonishing them that other people need to use the hall. Add to the plot the revolting story which Meg tells Jill about a woman entering someone's home to use the bathroom , and the lady finding that it is really a man in drag.
There is the subject matter about which Jill is writing her thesis - her experiences with the 'Bitu' man with whom Jill had interactions in New Guineu - and the intermittent sighting of the Bitu man during the movie via the artifacts and pictures in the flat.
A humorous sideline of the film - is the overseas visitors' dinner to sight her husband's nutritionist work - and how one of them - hilariously - gets trapped under the bathroom rubble. Brian (the husband) is doubtful about getting a post in Geneva - but after the dinner - is successful - which he irronically puts down to 'collapsing bathrooms and cognac.'
I believe that Jill gets rid of the plumber in the same way that she dispensed with the Bitu man - by use of cunning, and I believe that the ending - in which Jill is looking down at the plumber whilst he screams "You bitch- you set me up" - New Guinea drums ablazing- is near to perfect.
A wonderful little gem of a film which doesn't give you answers - but makes you think.
Night of Terror (1999)
Margaret Reines: - So Bad it's good
If there is a list for the above - this film would be on it. Basically - a passable story with some of the worst performances I have ever seen. I was rivetted just wondering how much worse it could get. Having said that I DID stay watching till the end - so it must have had something. Aside from that - a predictable story - bad acting, a robotic - type leading male, an 'Australian ' female lead that had trouble disguising her English accent. I sat there wondering how much dumber this couple could be: Having spent the entire night being terrorized and brutalized - they accepted an invitation into a stranger's house for coffee in the morning - to naturally discover that he's a psycho killer.
If there were suspense in the movie - it came from the time spent in the church - discovering that all the 'clergy' were replaced by more psychos - and having to outsmart them
Wake in Fright (1971)
Margaret Reines: "Her Beauty and her Terror"
'Wake in Fright' as many reviewers have alluded to - is a disturbing film.
For starters - I can attest to the fact that yes - it is not a fiction - there are places where people behave as they do in the film.
It is basically about how an educated man is drawn in to the horror of the world around him for the sake of conforming - and losing himself in the process.It is almost as if Australia itself is an alien entity - pulling/exerting this force on people who then become intertwined with the landscape - thus reflecting its barrenness/hardness. Dorothea McKellar wrote of the Australian landscape "its beauty and its terror".
I would draw a correlation with this film and 'Picnic at Hanging Rock' - whereby - as the straightlaced girls from the boarding school ascend the mountain - discarding some of their clothes (perhaps a representation of them discarding their identities)they as they all but one disappear -the same forces are mirrorred at play as the girls discard their colonial sensibilities and mores - they climb - becoming absorbed into the landscape - never to be seen again (all but one).
These films reflect how the individual is usurped, and drawn into the 'pack mentality' no matter how bizarre that may be.
Sunset Blvd. (1950)
By: Margaret Reines: 'Billy Wilder Brilliance'
Some observations re the film:
The frequent imageries of death:
Rats in the pool; The dead chimp; the decaying mansion; Norma's fellow 'silent-film' card – players (referred to as the 'waxworks').
The mansion possibly being indicative of an old 'Hollywood' – and all its inhabitants – crumbling. The same argument could be afforded to the old car.
The derision conferred on Norma's age of '50′ years – as compared to today's women – and the accompanying notion of what she was capable of at '50′.
The novelty in 1950 of a women 'keeping' hack actor/writer Joe Gillis. (Note the smirk on the salesman's face when Norma is buying Joe clothes).
Possibly the best imitation-cameo of Charlie Chaplin ever. – by Norma for Joe's amusement. He looks more bemused than amused-this sort of 'aside' in the film presenting so well because of Waxman's flawless score.
The impossibility of classifying this picture in to one category – (horror, film noir, social commentary?) -It's really one of a kind – a savage expose of Hollywood -possibly not receiving as many awards as it would have for this very reason.
The Long Goodbye (1973)
Margaret Reines: It's so weird but clever
One of my favourite movies with definitely a cult following. Elliot Gould lights up (cigarette ) in every scene except the last.
Marlowe- Elliot Gould as the consummate mumbler-he surely out-mumbles anyone else in cinema history.
Some strange choices for roles: Nina Van Pallandt was a model. Un-titled bit part for Arnold Schwartznegger as (what else ) a gangster.
Terry - Jim Bouton - (chief protagonist) was a boxer. Chief gangster Mark Rydell (Marty Augustine) says "Harry – Your father was a mohel – Cut it." (of Marlowe).
Throw in to the mix for added humour/pathos Henry Gibson and in an iconic role Sterling Hayden. Not to mention the semi naked girls in Marlowe's adjacent apartment constantly practising their yoga. Harry(David Arkin )says -" I can remember when people just had jobs."
Watch out for the title tune ('The Long Goodbye.') It shows up in some weird places - and in a strange way acts as unifying agent for the film.
Thelma & Louise (1991)
Margaret Reines: Great Female road trip
The film struck a strong chord with (mainly) female audiences - I suspect. - possibly as a compensatory device for the many films which portray females as the recipients of action rather its perpetrators. Probably it has/had a cult following for this very reason. One can imagine the woman stuck in not-so-domestic bliss fantasizing about taking off on a road trip. I have done it myself - though not lately. I think the picture would certainly be not so appealing without a very interesting and compelling musical track wherein somehow the producers were able to 'match' songs with particular scenes. eg the section where they were going thru the mountain played the evocative 'Ballad of Lucy Jordan' departing from the full-on honky-tonk blue collar' feel of the film to a sensitive harmonious esoteric experience. Another point of interest is the co-dependence of Thelma and Lousie 'to get them thru the night' as it were. eg when one dithers - the other takes over - and they interchange roles by doing this (a sort of survival thing.)
Christopher McDonald was wonderful and added a lot of unintentional humour, eg in the first conversation with Hal Slocumbe, Harvey Keitel's laughing was genuine.
I loved the ending.
Piccadilly Incident (1946)
Margaret Reines: They don't make them like this anymore
I first saw this wonderful little film at 16 years of age and have never forgotten it.
Michael Wilding and Anna Neagle ( in particular) carry the film with an English understated romance atypically bubbling under the surface - although Neagle's warmth is palpable. It is a curious but clever mix of war, romance, adventure and ethics.
I think the stand-out and almost jolting point for me was the judiciary's comment - at the end - alluding to the fact that the child (of the second wife) would always be illegitimate.
They don't make them like this anymore.