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Wicked: Part I (2024)
Hard to review the movie without reviewing the musical
I have never seen the stage show on which this is based, so it's hard for me to review just the movie and not the musical as well.
I thought the movie was well done, with an outstanding performance by Cynthia Erivo as Elphaba, followed not far behind by Michelle Yeoh as Madame Morrible. I found Jeff Goldblum remarkably flat as the Wizard, but maybe that was the director's intent. I had problems heading some of what Ariana Grande sang or spoke sometimes, but that was probably the result of poor sound engineering rather than faulty diction or projection.
The graphics were certainly remarkable.
But for me there were far too many musical numbers because all of them, to me, were unmemorable. Harold Arlen's songs for the 1939 movie are ALL memorable, every last one of them, and several very striking. There is also a wide variety, from "We're off to see the Wizard" to "Somewhere over the rainbow." None of the numbers in this movie stuck with me. Not a one.
This movie covers only the first half of the musical, and it's already way too long, 2h40. It should have been severely cut - as, by the way, was the 1939 movie, which is 1h42 and flies by like lightening. Yes, the new musical tries to touch on several important social issues, but in most cases it just touches on them, and then suddenly all is well. None of them is explored with any depth.
Accepting difference is certainly the most obvious of these issues. We have severe problems with racism in this country not because Blacks look different than whites, but because white America has built up a whole mythology making Blacks both inferior and dangerous. It is a different, and far more pernicious, man-made "difference" than lack of acceptance for overweight people, for example, as a result.
The fact that there were stereotypically nasty characters who were effeminate male and overweight female didn't help matters any.
Fans of the musical may like this movie. Those around me in the packed movie theater did last night. But those who don't care about the stage show may wonder what all the hype is about.
Emily in Paris (2020)
The amoral world of Emily
I decided to watch this series after several friends told me I should, and I had some evenings with nothing better to do. (Yes, I should have watched something on PBS instead, but that wasn't what I was in the mood for.)
So I watched the first four seasons of EIP.
I found it sort of addictive, but I can't understand why.
It makes Paris look very pretty, yes, prettier than it sometimes is in reality. (I lived there for a year, so I know what it looks like at different times of day in different seasons.) But there are also garbage strikes, traffic jams, etc. In the real Paris. All the series shows you is the Paris of postcards.
More objectionable, to me, were most of the female characters, starting with Emily herself. She is completely amoral. Not because she bed-hops. What's good for the goose is good for the gander. But because she simply forgets about whom she might hurt, even her supposed "friends," when she jumps into bed with whoever happens to strike her fancy at the moment. And then she gets upset when he isn't ready to commit to her totally, even though she seems to be incapable of commitment herself.
Case in point: After several sleepovers with Alfie, her English boyfriend, she gets upset with him because he isn't ready yet to tell his family about her. He explains, very clearly, that he has been burned in the past by women who wanted a declaration of total commitment but then dropped him. That doesn't satisfy Emily. Yet a few episodes later she's sleeping with some other guy, and never apologizes for almost having caused Alfie embarrassment with his family.
This sort of moral detachment occurs over and over. She has what I guess some might find a pixieish smile, but behind that there is no moral sense. She just does what feels good at the moment, without caring whom she might hurt.
Every now and then, in between the relationships, there is a little business talk. Emily can't detach herself from her cellphone - think The Devil Wears Prada with inferior dialogue and acting. She steps on her colleagues at work to add her own touch to business proposals, showing no moral sense there either.
I thought the women's fashions were usually terrible, but I may be too old and uninterested in modern fashion to be able to see them as a young man would. Or a young woman. Sexuality in this world is fluid. That didn't bother me, except that it meant some of the characters could be nasty and uncaring to both men and women.
The men were generally very handsome. The women, to my eyes, not often very attractive.
And so there you have my evaluation. Form your own.
Here (2024)
Technically clever, but with weak characters and story
The most intriguing part of this movie, to me, was the clever use of technology to jump back and forth in time - but not space - to show what had happened at one unremarkable place in the area now occupied by New England from the age of the dinosaurs to today. Transitions are often effected by adding picture-in-picture windows on top of the one central video and then jumping to a different time in some of the smaller windows before the whole screen changes to that era as well. I'll confess that that gimmick did grow old after a while, but I still found it at least sometimes clever.
There were, however, problems for me, which some of the previous fourteen reviewers have already pointed out.
The main story - that of the Young family, through its three generations - is not particularly interesting. But the other, minor stories, that are woven in and out of it are really of no interest at all. Why should we care about one of Ben Franklin's sons? Or the Indian/Native American young woman and her young lover? Or even the man who invents the Lazy Boy recliner? Nothing is done to link those stories to the main one, and they are of no interest by themselves.
That was particularly true of the short time we spent with a young African-American couple who live in the house for some unspecified time in our modern era. (They have COVID masks.) All we see of them, really, is that the woman gets along well with her Latina housekeeper. And that the father at one point gives his son what we white folk are told is 'the talk," in which the father tells the son how to behave when stopped by a white police officer so that he doesn't get killed by same. That's pretty much of a cliché, and none of my Black friends ever had such a talk with their parents.
Nothing really holds these various stories together. Since they are not of themselves interesting, and don't reinforce the main one, that's a problem.
I wasn't bored. I could even see watching this movie again on tv, where I could pause it for a break now and then. But once in the theater, while not boring, was enough for me.
The Apprentice (2024)
A good but not great movie led by two strong performances
This is definitely a case of the sum being less than the parts.
Jeremy Strong gives a remarkable performance as Roy Cohn, the megalomaniac power broker who must have hated parts of himself as much as he was in awe of other parts. (He actually refers to another Jewish character in the story as a k*ke, and repeatedly refers to gay men as fairies, etc., even though he was a gay Jewish man himself.)
Not far behind him is Sebastian Stan, who does a lot more than just mimic Trump's gestures and mannerisms. You can actually see the monster he has become today develop through the first part of the movie.
Maria Bakalova succeeds in making Ivana Trump sympathetic, even though she still comes off as largely shallow.
I found the movie engaging, though I never mistook it for an historical documentary.
Where I would fault it is its failure to explain some of the characters in the movie, or at least named in the movie, starting with Cohn, who is probably unknown to most Americans under 50. Yes, we learn that Cohn worked for Joe McCarthy and brought down the Rosenbergs, but how many members of today's regular movie-going audience know who they were? All that could have been handled in a few carefully written lines of dialogue, so as not to appear to be a high school history lesson.
In the same respect, a few sentences could have explained how Trump was able to build all those high-end hotels and casinos by leveraging holdings whose value he had inflated. As it is, it seems as if he's found a way to mint his own money.
I don't know that this movie will change any votes in the upcoming presidential election. Probably not. But for those who have already decided that they do not want Trump, they may get some insight into the origins of the way he operates as he does, completely without morals or shame or guilt.
Henry Goes Arizona (1939)
The Wizard of Oz Goes Arizona
This is one strange movie, if you know the Wizard's lines by heart in The Wizard of Oz, which many of us who grew up with it every spring on tv do. Here we get to see Frank Morgan, the Wizard in that classic, deliver lines that keep sounding like the Wizard's, even though he's not in Oz, or even Kansas.
The why is pretty simple. The movies were made at the same time by the same studio and shared a script writer, Florence Ryerson. Morgan even delivers the lines the same way in both movies.
Why? I have no idea. It could be that this one, which was probably a B movie made to run in alternation with A pics like TWOO, was intended to remind audiences of that other movie. It could just be that things were so rushed on this that no one made an effort to remain original.
Whatever the reason, it's fun to watch Frank Morgan sounding JUST like the Wizard when, in fact, he's nowhere near Kansas or Oz and the plots are not the same.
Lifeboat (1944)
Why does Joe play Wagner on his flute?
Some of the previous 191 reviewers complain that this movie isn't scary. I assume the Hitchcock they know and love is The Birds, Psycho, and the tv show Alfred Hitchcock Presents from the end of his career.
Lifeboat dates from almost 20 years before, near the beginning of his American career, and like his other early American masterpieces - for this is indeed a masterpiece - it does not deal with horror, or even much suspense, but very definitely a feeling of danger. It is a real, honest-to-goodness thriller.
It is also, unlike some of those pictures, very stagy - which may be why Bankhead is so perfect for and in it. She was, after all, primarily a stage actress, and evidently a very fine one.
Lots of others have provided very good reviews here, so I won't bother to review the whole picture.
Just two points:
1) as much as I deeply admire most of this picture, I too could have done without a few of the scenes that are mostly political debate, in particular the one between C. J. Rittenhouse and the shirtless John Hodiak. The political debates are very commendable, certainly, but they're rather pat and obvious. Yes, we needed to beware the Germans in 1944, I understand that. But did we need to deal with arguments between industrialists and the working man in a picture that didn't otherwise deal with labor issues? Especially in a movie in which Joe, the Black sailor, is assigned to the galley (commissary) as Black sailors were in the American Navy during the war, and is depicted in largely stereotyical terms (he is the one man who trusts in God, makes his entrance by saving the life of white people, etc, but still gets called - repeatedly - Charcoal by Bankhead's character), couldn't that time and effort have been spent instead on, say, unjust race relations in the U. S.?
It's important, though it happens very fast, to notice that it is Joe who saves the crew when the enemy pulls a gun on them later.
2) speaking of Joe, why does he repeatedly play "The Prize Song" from Richard Wagner's opera Die Meistersinger on his flute? No detail is here just by chance. Why did HItchcock have him play music by the composer HItler most admired and promoted? I have no answer.
The last scene of the movie also bothered some of the previous reviewers. I don't know why. The Americans on board had learned not to trust Germans with Walter Slezak's character. Now that lesson was put to the test, and they acted as they needed to act, united, when confronted again by our enemy.
Rather, it's the final questions, asked by Bankhead's character, that bear paying attention to. What evil lurks in the heart of some men that they can so betray human kindness? That's the question with which we are left.
June Bride (1948)
Don't dismiss it because of the last scene
Simple-minded feminists - which is not all feminists, of course - will dismiss this movie with a knee-jerk reaction because of the last scene, which they will not understand.
They will also miss that this movie is a clever reworking of two feminist masterpieces, Woman of the Year (1942), with Kathryn Hepburn - and Faye Bainter, here playing pretty much the same role to highlight the parallels - and The Man who came to Dinner (1941), also with Mary Wickes, in case the audience failed to see that parallel.
Like The Man who came to Dinner, this movie rights a wrong by allowing two young people in love in small-town America to get married. Like Woman of the Year, this movie teaches "the new woman" that she can be new and independent without excluding men entirely from their lives.
Like both of its predecessors, though not as well, it survives by the brilliance of its dialogue, though here it doesn't rise to the level of Kaufman and Hart.
Nor does it have the support of Ann Sheridan and Reginald Gardner in their most brilliant performances.
Still, for what it is, it's pretty good.
And OF COURSE Bette Davis' character is not about to sacrifice her independence to marry Robert Montgomery. She's just play-acting. Just as she does with Burt Jefferson in TMWCTD and Hepburn does in her satire of Mrs. Roosevelt and Pearl Buck, WOTY. Wake up, ladies, and smell that over-flowing coffee.
Crooklyn (1994)
A remarkable movie
This is what they used to call an ensemble movie. Yes, there are technically two leads, Alfie Woodard and Delroy Lindo, both of whom do superlative jobs as the parents of the Carmichael family. But there are so many other well-acted characters, some with real three-dimensional development. It's like watching a well-written play about a family, the sort of play Eugene O'Neil used to write.
The script is also first-rate, made up of a million little details every one of which makes you go "Oh yes, I remember that from those days. I'd forgotten all about that. But we did/used that too." Spike Lee makes the Carmichael family very sympathetic, because we recognize so much of our own childhoods from that era in them.
The only problem I had with this movie in the theater where I saw it the other day was that I often had problems hearing the dialogue over the background noise, of which there is a lot. This is partly a problem I have with my hearing. It may also have had something to do with the sound system in the tiny movie theater where I saw it. But it also has something to do with the way Spike Lee mixes the audio in his movies, because I've had the same problem in several of them. For whatever reason, he likes the background sound to be very loud.
As in the past with other of his movies, I solved the problem today by watching the movie again at home with captions. This time I had no problems catching all the dialogue, and got a lot more out of the movie.
At times early in the movie it seems as if it is going to turn into a better-made Tylor Perry movie. Don't worry. It doesn't. It deals with issues in a far more complex fashion, and merits your watching.
Erased: World War 2's Heroes of Color: Dunkirk (2024)
Evidently the story at the origin of this miniserie
In the introduction to each of the four episodes in this miniseries, narrator Idris Elba explains that his discovery that one of his ancestors had played a role in World War II, a role about which he had known nothing, inspired him to develop this project. His parents were from two former British African colonies, Sierra Leone and Ghana. He himself was born in England. The third installment in this miniseries, mistakenly entitled Dunkirk, deals with four soldiers from the former British colony of India, and is the only non-United States-centered episode of the four. So maybe the miniseries started with this episode, which is something of an outlier.
First, let's get rid of the title. Another part of the general introduction at the start of each episode says that the series centers on four of the great battles of the War. Dunkirk was certainly an important World War II battle. But less than 5 minutes of this episode takes place at Dunkirk. As explained above, it recounts the stories of four Indian soldiers who, along with their Indian troops, are ordered to make for Dunkirk, on the English Channel, so they can be shipped back to England once the British realize that the Germans are about to overrun France. (There is NO MENTION of the over 100,000 French troops on the beach at Dunkirk who were left there by the British as they evacuated their own troops. The French troops where therefore captured by the Germans and spent at least four years in German POW camps.)
For various reasons, those four Indian soldiers and their Indian fellows can't make it to Dunkirk as ordered. Two head south to Switzerland and never see Dunkirk. The other two, after playing a lot of hide and seek with the Germans across Northern France, do finally get there. But they are there for only a very few minutes of this film before they are shipped off to England.
So Dunkirk is a completely misleading title for this episode. If you want to learn about that battle, there are lots of good books you can read. And, of course, there is Christopher Nolan's film.
What we learn about those four Indian soldiers, through their own writings and the recollections of their families, is indeed interesting. Whether it was unknown in England and/or India as this episode asserts I have no way of knowing, because I don't study the British involvement in the war. The fact that the narration says so doesn't mean anything to me. The narration also said that Dorie Miller's heroic contributions during the attack on Pearl Harbor were unknown until discovered by the producers of this series, and that is hogwash, as I explained in my review of the Pearl Harbor episode.
So, this episode can be of interest to American viewers. But whether it is any more revelatory than the two previous episodes I have no way of telling, and no reason to believe.
I'm looking forward to the last installment, The Battle of the Bulge, which I assume will take us back to American contributions to the war and the role of African Americans.
The Jolson Story (1946)
Yes, the blackface is reprehensible, and yes, it's far from accurate, but...
Many of the previous 60 reviewers have gone over the obvious pluses and minuses of this highly problematic but very enjoyable movie.
On the plus side, hearing Jolson sing his greatest hits is thrilling; Larry Parks is a wonder at making Jolson come alive visually. (He was a lot better looking than Jolson himself, but who cares? This is fantasy, folks.)
On the negative, there are a lot of songs done in blackface. No, they aren't caricatural, as many were. But they're still in blackface. I'm not going to try to whitewash that. (Yes, I see the bad pun.) The movie also strays far from the reality of Jolson's actual life.
But it's the issue of race and racial discrimination, which is always just offstage and never mentioned, that makes this picture interesting.
Jolson spends much of the first half of the movie introducing some of the theatrical innovations that would change theater: turning up the lights so that the performer can see the audience, etc. One of them is that Jolson starts to ask to sing his own songs, songs that let him express himself. When he finally gets that chance, at the Wintergarden theater, he goes looking for new material. While he's in New Orleans, he wanders through the Black section of the city and becomes part of a jazz jam session. Back at the theater, he tells the director that he wants to adapt what he heard in that speakeasy into songs that he could sing for audiences there (read: white audiences). The first number we see him sing in his jazz era is the most caricatural of his blackface numbers, Mammy. But there it is, for neither the first nor the last time in American cinema: a clear statement that the most important part of American popular music has its inspiration in Black culture.
This scene had appeared in various movies, from the first talkie Showboat (1936), with Irene Dunne, Paul Robeson, and Hattie McDaniel, to the recent Elvis (2022), with Austin Butler and Kelvin Harrison as B. B. King, Yola as Sister Rosetta Tharpe, Alton Mason as Little Richard, and Shonka Dukureh as Big Mama Thornton. What's interesting, at least to me, is how each of these movies presents the subject.
In The Jolson Story, race and racism is never mentioned. It isn't mentioned when we see Jolson's childhood, though of course the Jolsons would have experienced it in then very Jim Crow Washington D. C., or when Jolson meets and marries "Julie Benson," the stand-in role for Ruby Keelor, the real Jolson's real first, gentile wife. And it isn't mentioned when Jolson wants to introduce Black music, at least in a modified form, into American popular music. Almost 80 years later, in Elvis, it still isn't discussed much, though more than in The Jolson Story, that's for sure.
And racism isn't discussed as this movie presents Jolson as the Great American Entertainer. In this, it very much followed in the footsteps of a very similar movie, Rhapsody in Blue, which Warner Brothers had brought out just the year before and which TJS resembles in many ways. (No surprise. The main script writer for both was the same, Harry Chandlee.) After presenting James M. Cohan as the essence of the American spirit in the runaway success Yankee Doodle Dandy in 1942, Jack Warner had decided to give the Jewish Gershwin the same treatment in 1945, thereby arguing that a Jewish artist could be as much the voice of America as an Irish one. (Jack Warner, the head of Warner Brothers, was of course Jewish himself.)
It should not be surprising, then, that Harry Cohn, the head of Columbia, which made The Jolson Story, should decide to do something of the same thing the next year with another major Jewish artist, Jolson. Though he does not really attempt to portray him as the expression of the American soul.
So I recommend this movie for Jolson's songs and Larry Parks' impersonation of him singing them. You'll have to deal with the discomfort of the blackface as best you can.
Erased: World War 2's Heroes of Color: D-Day (2024)
Better than Episode One
This second episode, D-Day, still had some of the negatives I pointed out in Episode One, but more things that I liked.
The negatives, quickly: money spent/wasted on having re-enactors act out several of the scenes. This was a real waste here, because we have photos and even film of the D-Day and subsequent landings on the five Normandy beaches. It's also aggravating, because in an attempt to make the re-enactments look real, they leave the audience wondering, sometimes, what was actually filmed in 1944 and what is "just acting." That's important here, because much is made of the very real fact that the Army didn't want the efforts of our Black soldiers filmed or photoed for reproduction in the American press and newsreels. It's confusing to hear that, and then to see what appears to be film footage of Black GIs on the Normandy beaches. There is also no coverage of how the Black press here in this country reacted to being almost shut out of covering the war in Europe. That's all been documented in readily available books that someone should have read. See for example Patrick Washburn's A Question of Sedition: The Federal Government's Investigation of the Black Press During World War II
Also negative: again, though not as much in the Pearl Harbor episode, too much time is spent recounting the general history of the war at that point, whereas specifics having to do with the few Black soldiers there are not followed up on. For example: at one point, the family of one of the three Black GIs covered in this episode-all members of the 320th Barrage Balloon Battalion-says something about his ancestor's "photos from France." What photos? From where? What do they depict? When, as the episode rightly announces, we have so little visual reporting of the contributions of Black GIs to the Normandy invasion, the producers should have spent time tracking down whatever little might exist. Less acting, less re-enactment of scenes we already know well. More time devoted to the specifics of Black GIs there in Normandy in 1944.
There is, for example, Alice Mills's wonderful "Black GIs: Normandy 1944," which focuses specifically on meetings between Black GIs and French civilians in Normandy at that time period. NO MENTION of that crucial book here, much less interview footage with her. She's quite alive, and speaks fine English. I just interviewed her myself a few weeks ago for a forthcoming documentary. Ägain, lots of money for CGI, but nothing for good research.
And so on.
But there are real positives here as well, moreso than in the first episode. Because this episode limits itself-more or less-to the Black presence on that one day, June 6th, it does a better job of focusing on its three cases, three Black GIs who came over as part of the 320th Barrage Balloon Battalion. It has first-person recollections from at least two of them. It is very moving to hear them speak. Again, as in the first episode, more time should have been devoted to that. They are an essential link to the Black experience there that day, and radically more important than the unsubstantiated generalizations of the purple-dressed journalist who is given far too much screen time instead.
But screen time is also given to two very qualified historians. Matthew Delmont, whose Half-American is the best book I have read on the Black experience, both for our fighting men and for those here on the home front, gets real screen time here, and never wastes a moment of it with generalizations. Ditto for Linda Herveux (sp?), whose Forgotten is THE book on the 320th. I believe that such documentaries should center on witnesses' recollections. But if you want academic commentary as well, they both do a highly qualified job.
As do the descendants of the three soldiers under study here. They're intelligent, and they have some very pointed remarks to make. They are another real plus this time.
But I wouldn't want to forget one of the more striking moments in this documentary: while the Black GIs are in England waiting to be shipped to France, the English do take pictures and even films of them. (On their time in England, see Graham Smith's When Jim Crow Met John Bull: Black American Soldiers in World War II Britain.) At one moment, we get to see a unit of Black GIs march through the streets of a small time. These men do not just march. They parade. And it is a performance not to be missed!
Finally, I would say that the script writers, since they filled this with unnecessary filler anyway, should instead have gone beyond D-Day in France to cover Black GIs in France at least through the end of August. This mini-series' focus on certain days is not a good framework, and I imagine they will have to abandon it anyway when they get to the Battle of the Bulge. There were other Black GIs in Normandy who arrived in the days that followed, and they played important roles. It's all well and good to honor the 320th, but it shouldn't be at the expense of those Black soldiers who arrived in the days immediately following D-Day.
Erased: World War 2's Heroes of Color (2024)
Disappointing
After viewing the first of the four episodes, Pearl Harbor, my reactions are mixed.
First, you know there's a problem when you can't find the names of the author/s of the historical narration that Idris Elba reads in his wonderful voice. It certainly wasn't written by the few historians we see in Episode One: they all know better than to have written some of the most egregious passages, such as the repeated affirmations that only now are the stories of these three Black sailors being brought to light. As we see briefly at the end of the episode, the Black press, in particular the Pittsburgh Courier, began to fight for recognition for one of them, Doris Miller, within weeks after the bombing of Pearl Harbor. The Navy most certainly dragged their feet, but the Courrier, backed by former presidential candidate Wendell L. Willkie, kept pushing, until Secretary of War Stimson finally released his name. (The Courier had to go to Miller's mother to get a picture of him.) In the years that followed, the Navy did finally name a ship after him, there was a postage stamp, etc. In 2018 a biography was published about him, Dante Brizill's Dorie Miller : greatness under fire. Miller is even played, briefly, by Cuba Gooding Jr. In Pearl Harbor, which should have been sunk before it was released.
So, in short, this first episode, far from telling these men's story "for the first time" after years of neglect, really doesn't tell anyone with an interest in World War II history anything we don't already know.
I had other problems with it as well. We do have surviving recollections of the Pearl Harbor attack by the other two Navy men covered here. We are only given small bits and pieces of it however. I would have liked to have heard a LOT more from them, the only real first-person witnesses involved.
I would have liked to see a lot LESS of the actors who were assigned to play these historical figures, however. Dorie Miller was a heavyweight boxing champion. From the few pictures we have, we see that he had a very powerful build. The young actor assigned to play him in the boxing scenes had no such figure, and made no impression. He also conveys his fear, when the ship is hit, with big bug eyes that are perilously close to the sort of thing Stepin Fetchit and Willie Best are now derided for.
Nor did we get to see Miller during his bond-drive speaking tour back in the States. That could have been interesting.
Instead, we spend a lot of time listening to descendants of these three sailors, many of whom never even met them. (Miller evidently has no direct descendants.) Their emotion was certainly very real, but too far removed from the subjects, at least for me.
In short, the research element seems to have been shortchanged, and the money put into CGI technology for an umpteenth "recreation" of the Pearl Harbor attack. We never hear what Miller's father thought of all this, for example, perhaps because the script writers never found Brizill's book.
If you want to learn about life for Black servicemen in the Navy in World War II read Matthew Delmont's highly readable Half-American. If you want feel-good narration - albeit beautifully read - and second-rate reconstructions of the Pearl Harbor attack, watch this.
And be prepared for some very jarring commercial breaks for Live Nation's upcoming tour by some girls' group, which do everything possible to undercut the seriousness of the subject at hand.
The Kid from Left Field (1953)
A wonderful movie
No, this is not a masterpiece of cinematic art. And, if you have no interest in an knowledge of baseball, it's probably slow. (Which is nt to say that the real subject of the movie is baseball. Not at all. It's about a father overcoming his shortcomings so that his son can be proud of him. One of the great universal themes.)
But it is, nevertheless, a movie you can watch over and over for all sorts of reasons.
Tonight, when I watched it, I marveled at the fact that it never talks down to its presumably baseball-savvy audience. When the nine year old boy manages the Bisons in their pennant-winning game, the strategy gets fairly complicated and is explained - by a nine year old to two other nine year olds - in all its glorious detail. I find it impossible to believe that today a major studio would be willing to make a movie for such a very specific audience.
In all fairness, though, I suspect that the number of Americans with that sort of detailed interest in and knowledge of baseball has shrunk considerably.
The twelve previous reviewers seem to buy the argument that Billy gets all his insight into getting the best out of players from his father. Yet it is very clear, over and over, that he comes up with much of his advice when he is nowhere near his father. He is just one very perceptive young boy. Maybe with a little help from the same angels who made the contemporaneous movie *Angels in the Outfield* such a joy. Baseball fans obviously believe in magic, or they would not go on rooting for losing teams year after year. (See: *Damn Yankees*)
If you like baseball in the summer, you'll probably like this movie. If you don't, you probably won't.
Sayonara (1957)
There's a lot of very good in this movie
Yes, 67 years after it was released, it's easy to take all sorts of pc pot-shots at this movie. But it's a product of a James Michener book, like South Pacific, and it does really try - and sometimes succeed - in doing good things.
Mostly about condemning American - and in particular the American army's - racist views of the era. Brando's character, a war hero, moves from being terribly anti-Japanese to being able to see past all that. And the script is written in a way that he takes us on that journey, so that we arrive at the same conclusion.
Which it accomplishes largely by developing Hanna Ogi's character well past that of an Asian stereotype. That's somethi8ng that even South Pacific never did.
What I also found interesting here was the music. It is co clearly inspired by Puccini's opera Madama Butterfly, particularly in its use of strings and humming choruses.
I strongly recommend this movie.
Civil War (2024)
A very different sort of road movie
Trailers notwithstanding, this is much less a movie about a civil war than a road trip movie in which we watch four not well developed characters come to terms with various difficult situations along their journey.
There is good and bad.
The best thing about this movie, to me, was the often striking cinematography. Contrasts between clear close focus and blurry distant objects that movie into the clear closer focus range abound, often very effectively. The music is also very effective at times.
The worst thing about this movie, other than an occasionally cliched line of dialogue, was the fact that we spend almost the entire movie with four characters but never learn much of anything about them. They remain largely stereotypes, some sympathetic, others annoying. (The young, self-centered woman really aggravated me.)
Warning: this is not at all the movie you might imagine it to be. It is very definitely not - at least to any extent - a parable about some battle between a Trumpian far-right anti-democracy crowd and a "good" pro-democracy crowd. That is made clear from the very start when we learn that the forces attacking the central government come primarily from Texas (conservative, Trump red) and California (liberal). We never find out why/how the president managed a third term.
Instead, this movie is about four war photo-journalists and their efforts to get to D. C. to cover the last moments of that president's power.
In the process, a LOT of photos are taken. But we never once see where these photos and others taken by photojournalists covering the war appear. Where is Reuters publishing them? Online? Are there still newspapers in this dystopia?
The movie runs less than two hours, and almost always held my attention. I'd recommend viewing it - but leave your political presuppositions at home. That's not what this movie is about.
Origin (2023)
If you can separate Wilkerson's thesis from the quality of this film...
Reviewing - which, let's be honest, means passing judgment on - this film is particularly difficult. It tells the story of how Isabel Wilkerson developed her controversial thesis that what we see as racism at the base of some white Americans' hatred of Blacks is not, in fact, a result of racism at all but rather yet another version of a willfully developed caste system, similar to what the Nazis developed in their vilification of the Jews. I find holes in parts of that argument, myself, but I don't think the validity of Wilkerson's thesis should deter anyone from seeing this movie, or appreciating the very real talent of its director, Ava Du Vernay.
If you've seen her movie Selma, you don't need me to convince you that she is a first-rate director. This movie has scene after scene that show us once again how very gifted she is. And it is because there are so many such scenes that I ranked this movie as highly as I did.
As is evident by now - March 15, 2024 - the movie had no box office appeal. I can understand that. It's almost two and a half hours long, with no "action," almost no love story, and a lot of dialogue that sounds like a well-written sociology lecture. This would be a difficult sit for most people in a movie theater, where you can't take a break without missing part of it. And there really are no "throw-away scenes." You have to pay attention to everything that is said. I just watched it at home on Amazon Prime, where I could take a few breaks, and I think that made it - at least for me - a more comfortable experience.
If, of course, you can call a movie that deals with some of the true horrors in the history of mankind's mistreatment of members of mankind anything like comfortable. There are, indeed, very difficult scenes in this movie. But they also include some of the most remarkable in the movie. The lynching that we initially see as a family picnic in the countryside on a nice day is, in its way and without a word being said to that effect, a brilliant way of showing how "the banality of evil" operated - and, let's be honest, sometimes continues to operate - in Jim Crow America.
And though the movie is already long, and certainly not fast-paced, there is one element that I wish could have been developed just a little bit more: the thoughts of the plumber who eventually decides to get to the origin of and fix the flooding of Wilkerson's mother's basement. I'm sure images of his crew going to work on that basement at the end of the movie are not given that prominence by chance. But maybe just a word or two from him later that day when he goes home to his wife and children, and takes off his MAGA cap. Maybe.
Yes, I know it's long. Yes, I know it takes its time getting to the main subject of Wilkerson's work. But it's definitely worth watching, even if only in segments. There's a lot of great filmmaking here, being used to tackle a subject that certainly did not lend itself to being turned into a film. That deserves to be seen.
All the King's Men (1949)
A very well made movie
I decided to watch the opening of this tonight, thinking I would halt it to go to bed early. I couldn't. It was so well made - until the last five minutes - that I could not stop watching it.
Everything is done well. The script. The acting. The direction that holds our attention once the story gets going without letting up. (Yes, the first part of the movie, before we meet Willie Stark, could have been shortened. The narrator, Jack Burden, a reporter, is never really of any interest himself, so his problems never held me. He reminded me of the narrator in The Great Gatsby.)
The last few minutes, the death scenes, seemed cliched and unworthy of the great writing that had come before.
Now, of course, in the era of Trump, it's hard not to see Stark as a populist predecessor.
I strongly recommend this movie, There are shades of Citizen Kane and Keeper of the Flame, certainly, but this movie stands on its own as a great motion picture, produced by Hollywood moguls, most of them Jewish refugees, who were intent on warning American audiences that what they had fled in Germany, Italy, and elsewhere could happen here as well.
As indeed it can.
A Double Life (1947)
Coleman sometimes good, sometimes a disappointment
I first discovered Ronald Colman - or rather, more specifically, his voice and the wonderful ways that he used it - some six decades ago when I saw him as Sidney Carton in *A Tale of Two Cities*. Since then, I have enjoyed him - if not necessarily the movies he appeared in - often. (*Kismet*, for example, is a real disappointment, though he in it is not.)
So, I was eager to see him in this, his Academy Award-winning role. And to see how he would play scenes from *Othello*.
Better I should have gone to bed early.
Setting completely aside the issue of a white actor playing Othello in blackface - which I can do easily because I'm not Black - I confess that I was mostly disappointed in his performance on stage as Othello. The voice didn't have the force and presence I wanted, it was not commanding where Othello needs to be great.
This was especially true, for me, in the long excerpt from Act V that we see early in the movie, part of the opening night performance.
Later, sometimes, I found more of what I wanted.
The TCM host, Ben Mankiewiecz, said that the scenes from the play were filmed not in the order they appear in the movie, but rather in the order they appear in the play. That may be, but I hope it's not true, because I consoled myself with the idea that Colman - and no doubt the director, George Cukor - wanted to show a progression in Johns' acting as he did the play over and over through the production's 300+ nights. I found the last time we see Othello's death scene to be more powerful than the first time, much earlier in the picture.
As for the rest of the picture, I found it average at best. Its depiction of mental illness, though perhaps up to date for its time, was out of date and rather aggravating in 2024. I found NO chemistry between Colman and his leading lady, making it hard to believe the two characters still loved each other.
So I would pass on this movie, and see no reason to watch it again in the future.
The Great Caruso (1951)
My objections concern Dorothy KIrsten
The previous 30 reviews focus on Lanza's singing - glorious to my ears - and the historical inaccuracy of the script - yes, it's pure hokum, full of clichés that were old even in 1951.
Yes, Lanza is sometimes sloppy in the operatic arias. But even there - especially there, actually - his diction is crystal clear, and he clearly knew what he was singing about. In the popular songs - Because, Mattinata, etc. - he's a unadulterated joy to listen to. A big, full voice, with warmth and life.
My major problem with this movie - and I've seen it several times now, over the years - is the casting of Dorothy Kirsten in what is, despite the billing, the real female lead. She was an ok, by-the-books singer, but her voice sounds so pale next to Lanza's. And her acting is certainly nothing to write home about.
I wish, instead, that MGM had found another singer for that role. She really flattens every scene she appears in.
I understand MGM would have wanted someone with clear English. She should also have had something of Lanza's life and fire, totally lacking in Kirsten. Ideal but unavailable would have been someone like Rosa Ponselle, who had retired 15 years before, or Grace Moore, who had been killed in a plane crash just a few years before. Roberta Peters, lively and vivacious, might have worked, though some of the numbers would have to have been changed for her. No Aida, for example. Or perhaps Patrice Munsel, with the same caveat. Perhaps even an older American soprano who took a motherly interest in Caruso, since there is not supposed to be any romantic connection. Then perhaps Ponselle could have been coaxed out of retirement. She was only 54 in 1951.
But someone other than Kirsten.
The Holdovers (2023)
Enjoyable, but of course you know where it will end up from the begining
This is in many ways a traditional movie. No, not like *Goodbye Mr. Chips*, but still fairly traditional. From early on, when we see that the teacher, the cafeteria head, and the troubled student will be stuck together for Christmas break, we can guess that the rest of the movie will be about how each of them helps the other two deal with their personal problems.
And that's what happens for the remainder of the movie.
There are certainly unexpected twists and character reveals that are nicely done and not forced. That is what holds our attention with the two main characters. So it is a shame we don't learn more about the woman.
The movie suggests, for awhile, the modern idea that families don't have to be biological, but can be constructed. I would have liked to have seen more of that.
Otherwise, the dialogue was good and the acting fine to very fine.
I'd certainly recommend seeing it, but I can't imagine seeing it a second time. It leaves me with no questions, and nothing to talk about, unlike, say, Oppenheimer or American Fiction.
The Zone of Interest (2023)
More the banality of indifference than of evil
I can't imagine going to any movie without knowing in advance what it was about. Movie tickets are too expensive, and there are too many types of movies I don't care for, for me to go at random. A fair number of the really negative previous reviews, however, seem to have been the result of people going and expecting something very different, or going without knowing what this movie does. I can understand that those people might have been disappointed, but the movie was not meant for them, and they did choose to go in ignorance.
As various previous reviewers have explained, this movie is a view of what life near a death camp might have been like for Germans who were indifferent to what was happening to the Jews (and other persecuted minorities) during the War. They simply went about their lives, trying as best they could to make something good of them despite growing shortages, occasional Allied bombings, etc. (This movie evidently takes place in 1942 or 43, so before the Allied bombings and the shortages really became severe.) The wife of the camp commander is so indifferent to what is starting to go on in the camp she can see just the other side of her garden wall that when her husband is transferred, she chooses to remain in their nice house, with its garden, rather than take advantage of that chance to leave. Her choice is not evil - it hurts no one, unlike the daily actions of her husband the camp commandant - but it is certainly a stellar example of indifference to human suffering.
There is never any discussion of the moral issues at hand. Near the end, Höss appears to vomit after leaving a meeting where the Final Solution is discussed, but we don't know why.
I didn't care for the end - which I will not recount so as not to spoil it - and would rather the movie had ended before the switch to modern times. Previous reviewers have discussed what that switch might have been intended to suggest, but to me it broke the effect of what had come before to no valid purpose.
As I thought about the movie during dinner after seeing it, I too, like some of the previous reviewers here, came to the conclusion that it had made its point fairly early on. After awhile I didn't see that it was adding anything as we continued to follow the family though their pleasant but uninteresting lives in the shadow of the death camp.
I also found the younger children's indifference to what was going on literally next door to be hard to accept. Not that everything else in this movie is realistic.
So, for me, an interesting idea that wore out its welcome before the movie had ended.
Cornbread, Earl and Me (1975)
Parts are painful to watch, but it's a very fine movie
I'm not going to summarize the story of this movie; you can find that above.
Rather, I'll just leave my comments on the experience of watching it.
The ;movie is well acted throughout. And that can, at times, make it difficult to watch. When one of the characters is killed, it is difficult to watch his mother's at first unbelieving reaction to the tragedy. You feel something of her grief just in watching the contorsions of her face and body. It's not easy to watch.
Later, watching the police dept intimidate witnesses to avoid a wrongful homicide verdict is also difficult to watch, but in a different sense. You see how powerless the people in this poor neighborhood are to fight back against such administrative corruption. (I also suppose it doesn't make a lot of sense. I would imagine, though I don't know this as a fact, that even in 1975 police depts would have been insured against such expenses.)
It's refreshing that it is a Black lawyer who wins this suit, and not some Great White Savior.
But at the end, you have no assurance that the same thing won't happen again. And again. And again. The shooting of the young Black man was not directly an act of racism - one of the policemen who shot at him was Black himself, and they had been told the rapist they were pursuing was Black. His death is, rather, the result of sloppy procedure and very bad coincidence.
But the intimidation of the potential witnesses by police dept reps suggests that the people in this neighborhood and other poor ones like it have little access to real justice.
Hold Your Man (1933)
Skip through the first part and go to the last 20 minutes or so.
Harlow and Gable made six movies together, all but the first as the leads. This is certainly not the best known, or the best, of them. The first part is them sparring as two hardened characters, something they would do better in subsequent films.
But I found the last part interesting, when the other women in Harlow's room at the reform school work together to help her marry Gable-and thereby make her yet-to-be-born child legitimate. (That may not be a big deal today, when movie and sports stars have children "out of wedlock," as they used to say, all the time, but back in 1933 it was indeed a big deal. The characters usually stop in mid-sentence rather than mention that Harlow's character is pregnant.) The several women are allowed to become individuals, not just prison-hardened clichés, and individuals with courage and a willingness to sacrifice what little they have for someone else's benefit.
In the same respect, the treatment of the Black preacher, which could have been played for comedy, gives him a certain dignity and likability, even though he had been presented earlier as very moralistic.
All this from a director, Sam Wood, who would later be known for his right-wing politics-but also some very good movies (Good-bye Mr. Chips, King's Row, For Whom the Bell Tolls, etc.)
These things don't make this a great movie. But they made the last part of it very interesting, at least for me.
American Fiction (2023)
Already very good. Thoughts about how it might be developed next time it's filmed
I went to see this movie for a second time today. In part because I enjoyed it so much the first time, in part because I had questions about it that required a second viewing.
Overall, I really think it's a wonderful movie, well-acted throughout.
But, as some previous viewers have remarked, it is almost two separate movies: the story of the Ellison family going through emotionally hard times, and Monk's decision to take on the "serious" fiction publishing establishment to show just how superficial they are when it comes to their publication of novels by and about Blacks.
There is a connection, yes: Monk convinces himself to publish a trash Blacksploitation novel in part by saying that he needs the money to take care of his mother, who is entering into dementia. But lots of great writers have written "easy" potboilers for money when their serious fiction wasn't making any. It would have been easy to assuage his conscience on that issue - as Sintara Golden evidently has - without developing the extensive family issues. Monk's agonizing about "selling out" is one of the least convincing parts of the movie, at least to me.
Those family issues are well developed, and often beautifully acted and filmed. But that does not mean they are really essential to what sets this movie apart as different and particularly interesting, at least as I see it.
So I would have cut back significantly on the family issues --perhaps even to the point of eliminating the sister Lisa's character, though she is well played by Tracee Ellis Ross -- so as to be able to develop the other aspect of the movie in two hours.
And there is lots that could be developed there. For example:
Where does Monk get a knowledge of urban Black English -- or at least what middle-class Americans imagine to be such -- if he grew up in an upper-middle-class family with a beautiful home and attended Harvard? We get an inkling of what might have been when we see him in bed watching a Blacksploitation movie for a minute or two, but this could have been developed into a significant, and funny, part of the movie. How would an upper-middle-class Black academic with an upper-middle-class upbringing go about learning "the lingo" well enough to fake out not just over-educated middle-class white readers, but also intelligent Black readers like Coraline? There could even have been talk of his trying to find his "roots," which urban ghetto life was not, tied in with the the fact that Leslie Uggams had starred in that series.
I would also like to have seen Sintara Golden's character developed further. She's obviously an intelligent woman, and in her scene with Monk during the Literary Prize committee lunch break we see her admit that she wrote her "ghetto" work to appeal to liberal white readers. But was that compromise easy for her? She says she did a lot of research. What sort of research?
She also catches Monk off-guard when he talks to her about "the potential" of Black people, which she says shows that he doesn't really believe that they have achieved anything of true value yet. This could be tied into the sort of fiction he has been writing so far. There isn't much to go on there, but his agent refers to his most recent novel as "the Persians" and Coraline says she has read his book "The Frogs." Has he been adapting Classical models to tell modern stories, like Eugene O'Neill? (We learn from the novel *Erasure* that that was indeed the case.) Does part of his feeling of insufficiency stem from interiorized anti-Black racism? There's little to go on in the movie as it now stands, but that might be a theme to develop. Sintara is intelligent and attractive; he could be attracted to her for all sorts of reasons, see in her both someone he dislikes because she is willing to sell out -- but why is that such a bad thing, as his agent asks him with the Johnny Walker bottles? -- and someone who is more comfortable being Black -- whatever that means to her -- despite her elite education.
And then there is the issue of the movie script Monk finally gives to the superficial movie producer, Valdespino. Why was the latter willing to abandon Monk's trash novel, which was evidently about life in the ghetto, for a story that ends with a tuxedoed man receiving a literary award? Valdespino's choice of endings is deeply cynical, and not stupid. But why did he make the switch, and what to? (In *Erasure* this switch doesn't take place. But in fact the movie deal is much less important in the novel, and does not lead to the end of the story, one of the particularly brilliant innovations created by the movie screenwriters for *American Fiction*.)
There are also hints at potentially interesting things that are introduced but then abandoned. When Monk starts to write his trash novel, he is sitting in a room surrounded by prints of Gauguin paintings. The young thug he creates, with the eye patch and the dew rag, is named Van Go. Why all those references to late 19th century French post-impressionist art?
When Monk first returns to Boston and visits the family home, the house-keeper, Lorena, tells him that he's not overweight, and that "back in Arkansas he'd be a beauty queen." A strange thing to say about an apparently straight man. But then, when Cliff arrives near the end of the film with two young boyfriends, we see that Lorena is not bothered by homosexuality at all. What does Lorena know, or think she knows, about Monk's past?
Again, this is a very good movie just as it is, and well worth watching. I guess it's a tribute to it that it kept me thinking long after I left the theater, considering how the already very good in it could have been developed even further.
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I was sufficiently intrigued by this film to go out and read the novel, *Erasure*, on which it is based. I was convinced that the novel would focus more on the critique of racism in the American publishing establishment, and that the family drama that several reviewers found less interesting would be much less important.
I was very wrong. If anything, the movie develops the critique of the publishing world, and often very cleverly. The three-part ending of the movie is completely new with the film. So is what development we see of Sintara Gooden's character. We never really meet her in the novel, and there is no discussion at all between her and Ellison. She is not on the five-person literary award panel of judges. Putting her on it, and thereby giving us even what little discussion there is between her and Ellison, was another great script writer innovation.
There are many other major differences as well, which probably explains why the film was titled American Fiction and not Erasure.
So, if this movie can make so many changes in riffing off the novel original, I will hope that a short tv series -- with the same actors, who are uniformly good -- will pick up from here and go on to explore some of the issues raised by the book and the movie.
Biography of a Bachelor Girl (1935)
A movie that seems to change point of view halfway through
This for me very unsatisfying movie seemed to change viewpoints half-way through. Most of it is just tepid fluff, but on occasion in the first part the magazine editor, played by Montgomery, makes a few short speeches about bringing down vapid politicians like the would-be one played by E E Horton, and big money, like Horton's soon-to-be father-in-law, Kennicutt. In that sense he sounds like a humorless version of Clark Gable's newspaper reporter in "It Happened One Night", which had been released just the year before. Most Americans were suffering through the Depression by 1935, when this picture came out, so there was a ready market for criticism of the wealthy, who continued to enjoy life while the rest struggled to keep their heads above water.
But as the picture goes on, Montgomery's character sounds angrier and angrier about this. And our way of viewing his anger is changed by Harding's character, who tells him that, while she originally saw him as a crusader, she now sees him as wanting to persecute the wealthy.
From that point on, Montgomery's character is presented as some sort of closet Communist because his father was killed by strike-breakers during a coal miners' labor unrest. And Harding's character, who has lived among the wealthy, does not want anything to do with that. The very ambiguous final scene leaves us up in the air on whether she will accept him as she has grown to see him - and told us to see him.
But how many in the audience would care? There is absolutely NO chemistry between Harding and Montgomery, none whatsoever. It does not help that she is made up to look much older than he, whereas in fact Harding only had two years on her costar.
In the same respect, she comes off as so understated in this movie that we cannot believe she had torrid affairs with many famous men. She really seems almost sexless.
There are minor faults as well, such as the Tennessee accents. The leads, except for Montgomery, are all supposed to be from the Volunteer State, and on occasion each attempts a slight Southern accent. But then it vanishes completely.
I got nothing out of this movie other than the occasional pleasure of Harding's voice when she spoke softly. That was really very beautiful.
The rest just became aggravating.