Pierrot Le Fou (1965)

Posted on February 28, 2014 by 4 Star Films

Directed by Jean-Luc Godard and starring Jean Paul Belmondo and Anna Karina, this film is chock full of poetic musings, literary allusions, pop culture images, and so on. Belmondo is a Frenchman who is unhappy with his life and marriage. When a young woman he is already acquainted with comes to watch his child, they eventually elope together. Ferdinand goes with Marianne to her apartment only to find a corpse and they must flee the scene from two gangsters. Now on the run, the two lovebirds are intent on living life and making their own Hollywood inspired movie that they can both star in. Their aspirations lead them to live a wild life on the move, but finally they settle down for a awhile in the French Riviera. Ferdinand is content with a quiet life of philosophizing but Marianne is discontent with this life right out of a Robert Louis Stevenson novel. They finally move on and stop at a night club where they face one of their pursuers. After some mishaps Ferdinand and his girl get separated. Finally they are reunited only to have Marianne turn on “Pierrot” for her real boyfriend. The final moments are filled with gunfire, a suitcase full of money, blue paint, and dynamite. You could say that everything blew up in Ferdinand’s face, and you would be quite correct.

4/5 Stars

Band of Outsiders (1964)

Posted on February 27, 2014 by 4 Star Films

Directed by Jean-Luc Godard, this film follows a young woman who meets two crooks in an English language class. Through narration we learn that she told them about a cache of money she knows of and so they get her to help them swipe it. They both fight for her affection and ultimately the thug Arthur wins out. Despite Odile’s apprehension at taking the money from her aunt’s home, they continue to get the plan ready. Arthur’s uncle now wants in and then the plan changes again because the owner of the money is gone a day earlier. From this point everything begins to go wrong and after a horrible botched attempt the three culprits flee the scene with little to show for their caper. Arthur makes up an excuse to return and Odile and Franz drive off but they return when trouble seems imminent. Back at the house Arthur is confronted by his uncle and there is more bloodshed. Afterwards Odile and Franz again flee heading to South America while the narrator promises a sequel in the near future. This film unabashedly proclaims to be Nouvelle wave even going so far as having it printed on a store banner. Again, Godard combines his love of American pulp fiction and artistic experimentation to create yet another tragic tale. The film gives a nod to Hollywood crime films and also features several famous sequences. Some high points include the moment of silence, the spontaneous dance in the café, and of course the run through the Louvre. In my mind, Pulp Fiction owes at least something to Godard right here.

4/5 Stars

Breathless (1960)

Posted on February 24, 2014 by 4 Star Films

The debut of Jean-Luc Godard and starring Jean-Paul Belmondo with Jean Seberg, this film was influential in helping to jump start the French New Wave. The story begins with a small-time thief named Michel stealing a car and then killing a policeman Quickly, he becomes a fugitive in need of money. This brings him in contact with an American journalism student he had met before. They spend time together with Michel professing his love and Patricia still feeling unsure whether or not she truly loves him back. In a final act of reassurance Patricia betrays Michel and he is chased down by the authorities. He is a far cry from the American movie stars and crime films he idolizes. With its jazzy score, bilingual dialogue, jump cuts, and Parisian scenery, this film is chic and cool. It paid homage to Hollywood but it also paved the way for a new era of films starting in the 60s. The film is perhaps not as impressive to today’s audiences but it certainly has a look that you have to appreciate. Godard was ahead of his time because he went against all conventions that had been set up for cinema and he thereby revolutionized the film world.

4.5/5 Stars

Cool Hand Luke (1967)

Posted on February 21, 2014 by 4 Star Films

In one of his most memorable performances, Paul Newman is Luke Jackson a man put on a chain gang for cutting the heads off parking meters while drunk. Despite the weary and monotonous regiment, Luke will not be cowed and he always keeps his positive demeanor.

Originally the newcomer, Luke quickly earns the respect of everyone including Dragline (George Kennedy), whether he is boxing, eating 50 hard-boiled eggs, or bluffing his way through a card game. Even though he is never quite successful, Luke never stops trying to escape either. His numerous clever attempts lead the Captain (Strother Martin) to utter his famous words about their “failure to communicate.” After multiple escape attempts Luke gets beaten, berated, and tortured.

However, he proves that you can never destroy his spirit no matter how hard yo try and so the ending is inconsequential. So ultimately “Cool Hand Luke” is a winner and a likable one at that.

It is necessary to acknowledge this solid ensemble cast including the likes of Dennis Hopper, Wayne Rogers, Ralph Waite, and of course Joan Van Fleet. Furthermore, there is seemingly no film that better depicts the dirt, grime, heat, and humidity that comes from working in a southern chain gang. The cinematography makes even the audience uncomfortable and a shower seems all but necessary.

Although the focus is often on the indefatigable character of Luke it became evident that this is often a taxing and difficult film to watch especially in the second half. In many ways Luke is the savior of these men in the chain gang and he sacrifices a lot of himself so that they might have some hope. Thus, this film is not just about the highs but the lows as well and Paul Newman plays every moment adeptly with the coolness that Luke Jackson embodies.

5/5 Stars

Le Cercle Rouge (1970)

Posted on January 29, 2014 by 4 Star Films

Directed by Jean-Pierre Melville and starring a cast including Alain Delon and Yves Montand, this crime film hearkens back to heist films such as The Asphalt Jungle, back in the 1950s.

In a cold open, two storylines are introduced. One man, Vogel, is in custody and is handcuffed to a policeman as they board a train. At the same time, a man named Corey is let out of prison, on good behavior, and he is tipped off on a possible heist job. In both cases, we have little background information to go on. Then, Corey pops in unexpectedly on an old mob boss and forcibly “borrows” some money from the man, who has also stolen his girl. He buys a new car and throws off a couple of thugs who were sent after him. As the morning dawns, the captive on the train makes a daring escape and flees into the nearby forest. Soon roadblocks are set and the manhunt begins. He desperately gets into an open car trunk to hide, ironically it is the same car of the man, who was recently released.

However, he was noticed and Corey tells him to get out of his hiding place. Vogel is tense but his cool and collected acquaintance helps him sneak through a checkpoint noting that Paris is his best chance of escape. Corey is chased down once again by Rico’s henchmen, but Vogel sneaks out and comes to his aid. They head to Paris and find a sharpshooter to case the jewelry store and help them with their plan. The police detective is still searching for his quarry, and he tries to enlist the help of a crooked club owner. Meanwhile, the plans are made, and the heist is pulled off with great precision and efficiency. They get away with the jewels smoothly enough. However, the marksman settles to take no part of the plunder, and their initial buyer falls through. Relatively quickly there is a new person interested, so Corey takes the goods to him. Only too late Vogel comes to warn him, and just like that, they must flee the premises with police all around.

Much like Le Samourai, this film gives off an extremely cool vibe, and it makes it all the more enjoyable to watch. Alain Delon is such a smooth operator, and whether it is the way he dresses, talks, smokes, or pulls off the heist, it cannot be easily dismissed. However, the other main players give serious and nuanced performances of their own, which cannot be overlooked. Melville makes all of his scenes so interesting, through the setup and the fashion in which his characters go through the world of the film. His characters act in the mode of behavior that they believe is correct and most are rather taciturn and guarded. I cannot decide if I like Le Samourai or Le Cercle Rouge better, but it must be said they are in a special class of crime films.

4.5/5 Stars

Le Samourai (1967)

Posted on January 27, 2014 by 4 Star Films

Starring Alain Delon as the title character and with direction by Jean-Pierre Melville, this film pulls from the French New Wave as well as Hollywood Noir and Crime films making something entirely distinct in its own right. Jef Costello is Le Samourai, an expressionless and cold professional hit man who can be seen in his trench coat and hat with a cigarette. He executes a hit on a nightclub owner and he is seen leaving by the female piano player. His girlfriend gives him an alibi and the eyewitness accounts do not line up but the investigator still suspects Costello. The hit man is let off and goes to pick up his payment only to be shot instead. He gets away and fixes himself up only to return to the night club later. He returns to his room knowing something is up because the canary is agitated and he finds a bug. The police keep on his girlfriend as well but she will not retract her statement. Costello is confronted by his assailant from before only to be offered a new contract, but they struggle and Costello gets the name of the boss behind it all. Jef is on the move again and he says a goodbye to his girlfriend before going to Rey’s home to knock him off. One last time he returns to the night club piano player and in view of everyone he walks up to her a pulls out a gun. With all eyes on him he explains his new target is her, but before he can do it, Le Samourai is gunned down. The police are relieved to have got there in time, but then they realize Jef never meant to kill her.

Delon plays such a delightfully deadly killer with a moral code. In a sense he is a tragic hero we ultimately respect because he lives a life full of solitude and honor as is the code of the samurai. I must admit that I cannot wait to see more Melville or Delon for that matter.

5/5 Stars

American Hustle (2013)

Posted on January 18, 2014 by 4 Star Films

From the get-go, this film sets the tone when we are cheekily told that “some of this actually happened.” Not that it’s based on a true story or based on actual events, but some of this might be true and other parts might be livened up a bit. Then we are thrown into a story we do not quite understand as of yet. All we know is that it’s the 1970s, the hair is crazy, the clothes are tacky by today’s standards, and America’s “Horse With No Name” still sounds good even after all these years.

For me, if this film was all about the story it would be okay, but the reason to watch it is really for the characters. Each one is a caricature who we can hardly take seriously, and yet in many respects, they are going through some very serious stuff. Christian Bale is a con man with an epic comb-over, a pot belly to match, and a Bronx accident, wearing his ever-present shades. He is one of the smartest con men around, but he also has a family life since he married a widowed woman and adopted her young son.

Amy Adams is the stylishly smart dame he meets at a party, and the two of them start a lucrative partnership upping the profitability of his conning enterprise. Adams character hustles everyone with her fake English accent and identity, that over time it seems like she even seems to believe it herself until it is too late.

They are flying high and the two of them are drawn to the confidence and smarts they see in each other. However, in one instance they are not quite careful enough, and they have the Feds giving them heat. Namely, Bradley Cooper’s character who is out to make a name for himself. He is a man will a lot of attitude and a primped hairstyle, yet he seemingly knows very little. He forces Bale and Adams to work under him in order to trap others and of course they do.

But his plan becomes so big that the con becomes extremely volatile. It involves an Atlantic City mayor played by Jeremy Renner, the Mob, some congressmen, and even a senator, who have all unwittingly gotten themselves into something illegal.

Bale and Adams are trapped living lies that they must stop at some point because he has formed a bond with Renner and she is still masquerading as Lady Edith Greensley.

The final act ends with one final con, and I must admit that I was satisfied with the ending because as a member of the audience I expected a twist to come and, sure enough, it came. But I would have never have guessed it. It ultimately lived up to its name American Hustle.

I think what makes the performances good in this film are not the fact that they are lifelike or even realistic, but they are, in fact, larger than life. Sure, people like Irving, Richie Dimaso, Sydney Prosser, and Rosalyn probably did walk this earth, but the film highlights all their quirks and idiosyncrasies. Whether it is how they talk, dress, or even how they do their hair. Furthermore, they have even messier and crazier personal lives than their hair, and that’s saying a lot. These are not the kind of folks that you would want for friends, and yet could it be possible that there is a little bit of these characters in each one of us? Do we still live in a world where the Carmines are the victims and the real perpetrators get away scot-free? It’s something to ask ourselves.

I’m not sure why people compare this film to Scorsese, perhaps because it is a crime film, it takes place in the 1970s, it features the Mob, or it shows off one of Scorsese’s acting icons in Robert de Niro. No matter the reason, American Hustle is a separate entity that seems completely different from Scorsese. That does not make it bad, just unique. And that it is. You have to give David O. Russell credit for teaming his two previous casts (The Fighter and Silver Linings Playbook) in this one for an acting extravaganza. It will be difficult to top this one as far as acting power goes. I must admit I was a sucker for the music too.

4.5/5 Stars

No Country for Old Men (2007)

Posted on January 17, 2014 by 4 Star Films

Starring Tommy Lee Jones, Javier Bardem, and Josh Brolin, with the Coen Brothers directing, the film opens with a voice-over as a sheriff reminisces about an unrepentant killer he put away. The year is 1980 in Texas and we watch as a ruthless killer (Bardem) is arrested and then breaks free. At the same time a hunter (Brolin) happens upon a bloody scene that has to do with a cache of drugs. After he searches around Llewlyn finds $2 million and tires to get away with it. All too soon he is being tracked by the psychopathic killer to various hotels. They have one bloody confrontation and after fleeing once more into Mexico, Llewelyn decides to drop the money off with his wife. However, pretty soon he is dead and the sheriff must find this killer who is on the loose. The hit man is not quite done and finishes off some business before getting into a car accident that forces him to flee. The film ends as the now retired sheriff talks with his wife, leaving the film’s ending open. This film is very violent and Bardem’s character is so noticeable because he has absolutely no humanity in him. In these bleak events there is not much hope, so if you want a fluffy film you will not find it here.

4.5/5 Stars

There Will Be Blood (2007)

Posted on January 16, 2014 by 4 Star Films

Starring Daniel Day-Lewis in a brilliant performance, the film opens at the turn of the century where a Daniel Plainview finds oil and starts a small drilling company. After a worker dies, Plainview takes the abandoned baby as his son H.W. He uses the boy to endear himself to others and his successes grow. Time passes and Daniel is approached by a boy who knows the location of oil. Daniel goes there and buys up all the land he can, becoming a wealthy man in the process. However, not everything is wonderful. He begins a long conflict with a local preacher (Paul Dana) and his son becomes ill after an explosion. Later a man comes to Plainview claiming to be his brother and Daniel also abandons his son. The years pass and he is more greedy and tyrannical and on top of that he is also a drunkard. He cruelly mocks his son before cutting all ties with him. Finally, he commits one last violent act. What stands out is that Plainview has no redeeming qualities and this man proclaiming to be a minister is also an undesirable. This film had moments reminiscent of Giant, The Treasure of Sierra Madre, and even Citizen Kane. However, despite the commanding performance of Lewis, it is not quite the same caliber in my mind.

4.5/5 Stars

The Lavender Hill Mob (1951)

Posted on January 5, 2014 by 4 Star Films

Starring Alec Guinness and David Holloway this Ealing Studios comedy-heist film begins with an older man recounting how he got away with a large amount of gold bullion. His job had been to ride with gold shipments while they were transported. However, soon he met a quirky fellow partial to art and together they devised a plan to get the gold. They enlisted the help of two small-time criminals. The day of the caper was far from smooth and they must improvise. With luck they get away and the two instigators take their prize to Paris. There they have disastrous results and arrive back in England eventually to even more craziness. This film had endearing characters and its share of comical moments. If you pay attention you can see a young Audrey Hepburn for a blink of an eye near the beginning too!