Shack Out on 101 (1955)

Posted on July 21, 2018 by 4 Star Films

Shack_Out_on_101_film_poster Like a Cry Danger (1951) or a Private Hell 36 (1954), this low budget film noir flick is such a joy to watch because it wears what it is right on its sleeve, clear out in the open. What we get is an utterly absurd paranoia thriller that also happens to be a heaping plate of B-noir fun.

It’s a dirty, grimy picture about a dirty, grimy place. The cook behind the counter’s named Slob (Lee Marvin) and he has a dirty mind and disheveled look to match. He’s constantly at odds with the owner of the roadside shack (Keenan Wynn) and they make countless verbal barbs at each other time and again. You get the feeling that they relish jawing and putting the other man down.

Meanwhile, though the joint might not be one of the most frequented attractions there is some traffic from PCH and it brings in a few regular visitors.

The day-to-day “Hash Slinger” and longtime waitress Kotty (Terry Moore) is in the middle of a rapturous romance with a local professor Sam Bastion (Frank Lovejoy), and she’s beyond ecstatic to be going with someone who is a real man — intelligent and gentlemanly. Though recently he’s been especially occupied with work.

The traveling salesman Eddie (Whitt Bissell) with a nervous streak nevertheless remains a tried and true friend. He and George (Wynn) both made it through D-Day together and since then he always makes a habit of coming by the old place when he has a free moment. Kotty and the Professor take kindly to him too. He’s just that kind of amiable fellow.

Shack Out on 101 shines most obviously amid its small talk because there’s an invention to the dialogue that’s delightfully slovenly and colloquial. It’s full of the types of dialects, jabs, and put-downs that fill our everyday conversations in a way that feels thoroughly authentic and brings each character alive as they sit at the counter.

There might be two men standing in the front of the diner on a slow day lifting weights and talking about how muscles are for amateurs. Pecs are what real men call them. Then they proceed to show off and compare their physical attributes. No reservations whatsoever.

Later on, they try out the latest fashions in spearfishing attire as they dream about the mythical “Pancho” who they’ll soon spear in the tropical waters off the coast of Mexico. Little do they know how close that is to the truth. Except there’s no need to go to Mexico. The catch is right at home.

When the film actually gets preoccupied with its plotting, it starts to go cockeyed and crazy. Admittedly, fallout from the Cold War must have been on everyone’s minds because, like Aldrich’s Kiss Me Deadly (1955), this picture too tries to play the nuclear angle. It’s hardly effective though I suppose it needed a broader, more concrete story to add a certain amount of intrigue and this one is complete with spies and government secrets.

Still, in the end, it comes out pretty thin. What we truly relish as the audience are not the attempts at drama but the way the film manages to make its apparent lulls invariably interesting and even how it manages to have asides at all given its infinitesimal running time. Sure, it won’t win any awards and the joint is a real dive but that’s all part of its cruddy charm. For a B-picture, this cast is quite the array of talent.

3.5/5 Stars

Silk Stockings (1957)

Posted on July 20, 2018 by 4 Star Films

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In full disclosure, though I admire Ernst Lubitsch’s directorial eye and Billy Wilder’s trenchant wit, the Ninotchka (1939) premise alone never intrigued me. But as with all the great pictures, it’s not necessarily the main conceit but the execution of the story with its own unique digressions which matters most.

That’s why having screen goddess Greta Garbo paired with the two men mentioned above is of note. They ultimately created something delightful together. And as we draw the line all the way to Silk Stockings almost two decades later, the names attached are equally important.

We can probably start with Fred Astaire who was in a period in his career that constantly seemed to fluctuate between retirement and flurries of inspired activity. In this particular case, he would follow Silk Stockings out into the theaters with a second success in Funny Face (1957) pairing him with Audrey Hepburn for the first and only time.

Though he had his initial misgivings about the material and his director, Rouben Marmoulian proved to have quite the success with Silk Stockings, which would subsequently be his last effort in a generally underrated career. He took the successful stage play and transferred it to the screen, this collaboration even featured several more tunes from Cole Porter’s repertoire while writers such as Leonard Gershe (who had already penned Funny Face) and industry veteran Harry Kurnitz worked on the script.

Then, Cyd Charisse had the seemingly insurmountable task of inheriting the role owned by a larger-than-life star if there ever was one — Garbo herself. And yet maybe it’s a reflection of my own predilections in performers but I rather like Charisse in the part not because of the acting per se but for the moments where she’s able to shed the role and become the sentient ever dynamic being she is as a dancer.

The ball starts rolling when an American film producer, Steve Canfield (Astaire) tries to coax a brilliant Russian composer named Boroff (Wim Sonneveld) to compose the score for his next film. Simultaneously three of his countrymen have been enlisted as emissaries on Parisian soil to bring him back home before he gets polluted by capitalist dogma any further. The oafish louts are eclectic talents as diverse as Peter Lorre, Jules Munshin, and Joseph Buloff.

Of course, if you know anything of Ninochtka (1939) or retrospectively, Wilder’s similar One, Two, Three (1961) you’ll know that they too get seduced by the decadence of capitalism to humorous ends. It seems there is only one person who will not fail in her mission, that is Ninotchka (Cyd Charisse), an austere devotee of the party whose only interest is observing French trivialities on a purely academic basis while making sure her comrades remain diligent in their duties. She’s a tough case to crack. It’s bound to take time and yet at some point, Canfield gets to her with a little help from “The City of Lights.”

Janis Paige enters and wows the reporters and everyone else with a tornado of flirtatious vivacity captured in the number “Glorious Technicolor Stereophonic Sound.” Like It’s Always Fair Weather (1954) before it, the musical number manages a few jabs at the direction the industry was heading with the advent and subsequent cultural boom of television. And yet in his shrewdness, Astaire lobbied for the picture to be shot a very specific way and sure enough, it got made in Cinemascope and Eastmancolor with Stereophonic Sound.

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After shedding her dour exterior, Cyd Charisse gets arguably her finest starring spot in any film, playing opposite Astaire again following The Band Wagon (1953) and despite the constraints of her character, she fairly rapidly transforms into the free-flowing, immaculately graceful spirit we know her to be.

Fittingly, Charisse earns the film’s most emblematic scene where she exquisitely dons her first pair of silk stockings along with an entire wardrobe as she goes through her ideological transformation which subsequently transforms her very movements with carefree ease. She brings it to life moment by moment so effortlessly. In “Fated to Be Mates,” Astaire and Charisse are featured together at their most lively as the leading man leads his partner in twirling carries and their dance devolves into a show verging on parkour and gymnastics.

Along with the amorous “All of You” to instigate his relationship with his repeatedly aloof leading lady, Astaire gets another contemporary showcase that simultaneously alludes to his rich legacy in the industry. “Ritz Roll and Rock” perfectly encapsulates this performer-extraordinaire who came out of a certain era and yet never seems outmoded even in the latest music craze.

He went out on top and continued to perform at that same level to the very end. Not every leading man can say that. Of course, the exclamation point at the end is the smashing of his top hat for all posterity. As we’ve all probably noted over the years, it’s a bit of a moniker for him and fittingly when he’s gone, it’s retired too. No one else deserves to wear the crown of the king.

3.5/5 Stars

NOTE: My entry in The FRED & GINGER BLOGATHON !

Les Girls (1957)

Posted on July 18, 2018 by 4 Star Films

Classic Hollywood musicals usually have a very common framework that they rarely seem to deviate from. There’s almost an accepted unwritten rule that they will function like so. Typically, there is an overarching story being told and yet the narrative is conveniently broken up by song and dance routines that not only provide immeasurable entertainment value and give an excuse for talented performers to strut their stuff but also serve to move our movie forward comedically, romantically, dramatically, whatever it may be.

Thus, Les Girls is a generally absorbing musical simply in terms of its mechanics. They stray slightly from the set formula. It’s a bit of a Rashomon (1950) plotting device. If you will recall, Akira Kurosawa’s film famously told the same turn of events three times over from three differing perspectives. That’s what happens here, in a sense, with the action being set partially in a courtroom (a first for a musical) and then the rest on the road with theater performers.

It all comes into being because of a libel suit that has broken out between two former colleagues who used to be a part of Barry Nichols’ Les Girls act that was a smashing success in its day. But following the publishing of a tell-all memoir and suggestion of a supposed suicide attempt, blood is boiling between Frenchwoman Angele Ducros (Taina Elg) and British-born Sybil Wren (Kay Kendall) who had the gall to publish such a story.

Of course, there are actually three ladies in question, the third being the peppy American Joy Henderson (Mitzi Gaynor) who rounds out the act and, of course, Barry finds himself romantically linked to each one though he specifically makes a habit of never falling in love with his fellow dancers. It proves a hard rule for him to keep but for the audience, it gives us a good excuse to see Gene Kelly share at least one moment on the dance floor with each of his talented costars individually.

This proved to be the final film score of America’s beloved songsmith Cole Porter and he provides a few moderately memorable numbers including the title track. Kay Kendall is thoroughly convivial to watch as a comedienne and performer throughout with her number “You’re Just Too, Too” being one of the most playful in the picture.

Meanwhile, the final number with Kelly and Gaynor is a blast full of romance around table and chairs. But the real kicker is feisty Mitzi Gaynor letting Kelly have it over the head with a picture frame, deservedly so, I might add. But in the end it all comes to naught, the court case is dropped and we are left with an open ending that’s winking at us. At least everyone’s happy.

Though he is not often remembered as a musical director, in some sense, George Cukor seems well within his element with the material at hand always adept at bringing together stories of behind the scenes antics and goings on between women and their men. That’s precisely what we have here.

This would prove to be Gene Kelly’s final film with MGM after an illustrious run. You also get the sense that perhaps this character is closer to the real Gene Kelly — the man who was constantly called a perfectionist and recounted later by Esther Williams to be a terror to work with. And here he still has a dose of his winning charm but there are also signs of that dancing slave driver working his girls to the bone and unwittingly romancing them at the same time. Still, there’s no doubting his inspired screen presence that underlines nearly every picture he was ever in.

It’s true that a previous iteration of the film was to have included Cyd Charisse, Leslie Caron, and Jean Simmons. That would have been an interesting combination to be sure but what we got here instead is still a stunning and at times thoroughly unconventional musical.

3.5/5 Stars

Take Me out to The Ball Game (1949)

Posted on July 17, 2018 by 4 Star Films

Take_Me_Out_To_The_Ballgame_(MGM_film).jpg There’s something perfectly in sync between Gene Kelly and Donald O’Connor so I could never choose another duo over them but Kelly and Frank Sinatra are such wonderful entertainers that they help make this period baseball number a real musical classic even if it has to fall in line behind a row of other quality contenders.

It’s easy to half expect to see Stanley Donen’s name on the marquee as director in part because of his prestigious partnership with Kelly but instead, we get an equally renowned name in Busby Berkeley. In fact, at this time Berkeley was a veteran of musicals. However, it’s true that Donen did help with crafting the narrative on this one with Kelly and would pick up directing duties with On the Town (1949).

America’s original Pasttime (before being challenged by Basketball and Football) is ripe for a musical homage as MGM seemed to take aim at all the popular arenas of entertainment. Set during the golden years of baseball, this story, in particular, takes interest in the fictional Wolves who share some resemblance to the famed Cubs of the early 1900s with the double-play combination of Joe Tinker, Johnny Evers, and Frank Chance. In this film, the archetypal slogan, “Tinkers to Evers to Chance” is adapted into a giddy tune “O’Brien to Ryan to Goldberg” with the trio of Kelly, Sinatra, and Jules Munshin taking the leads.

Esther Williams even gets her obligatory dip in the pool while still showing her prowess as a baseball player, a desirable heartthrob, and a club owner with a certain amount of business acumen. Because she really is at the core of the story’s plot.

You see the boys, O’Brien and Ryan, are having a grand old time coming off a stint in vaudeville during the offseason and now spring training is upon them and they are reunited with their clubmates along with the scintillating prospect of another league pennant. That is until they find out that they’re under new ownership, and they suspect it’s a stuffy nobody named K.C. Higgins.

Are they surprised with what meets their eyes? K.C. Higgins turns out to be a “she” instead of a “he” and a very attractive one at that. But that doesn’t detract from the bottom line. She’s a woman who expects that she knows the game better than they do. Thus, it’s a slight musical riff on the old battle of the sexes dilemma.

Their plan of action entails setting up their buddy Denny (Sinatra) with Ms. Catherine so they can keep her occupied and off their backs. Kelly is the fast-moving playboy ballplayer who also has a complicated relationship with Katherine Catherine (that’s what K.C. stands for). While the forward Shirley Delwyn (Betty Garret) is out to snag herself a man and sets her sights on poor helpless Dennis.

There’s a bit of a black sox scandal type thread that’s grafted in at the end with Edward Arnold playing his usual corrupt businessman who is looking to ruin O’Brien’s reputation and make a killing off betting against the Wolves. Thank goodness in this case Kenesaw Mountain Landis does not come in and expulse Gene Kelly who instead is allowed to dance another day this time with all his costars.

Aside from singing the game’s most revered song on screen, (which is a relief given its name), the film also has adequate room for some of the other important aspects of baseball namely antagonizing umpires, trash talk, clowning, and brawls. After all, what would America’s game be without those finer points?

Gene Kelly even gets around to putting another feather in his dancing cap with an Irish jig proving him to be yet again a master showman and virtuoso performer on taps. He’s also probably the first baseball player in history who carried two careers as a ballplayer by day and a hoofer by night. All in all, this was the kind of Technicolor spectacle that MGM was accustomed to offering up in the 40s and 50s and it’s satisfying stuff, if not quite their best.

3.5/5 Stars

Review: The Way Way Back (2013)

Posted on July 15, 2018 by 4 Star Films

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“Kyrie Eleison along the road that I must travel…” ~ Mr. Mister

Liam James is undoubtedly a kindred spirit to many young men because he’s the epitome of awkward. His posture is terminally awful. He has no confidence, no presence, his hair could use a trim, and he’s pale and unassertive. He doesn’t even have a go-to dance move, heaven forbid. He’s the kind of kid who wears jeans to the beach in the throes of summer.

But that’s what we have at face value. The problem is he plays into the narrative that others have written for him and it’s a self-fulfilling prophecy. Take Trent (Steve Carell), the man Duncan’s mother (Toni Colette) is seeing. He calls the boy out on his apparent lack of social skills and criticizes him for being a 3 on a scale from 1 to 10.

That’s what Ducan has to go up against as his makeshift family travels to the beachfront for summer vacation. It looks like a dead end, several months that Duncan will simply have to survive tagging along awkwardly with Trent’s self-absorbed teenage daughter or getting systematically belittled by Trent in small ways.

And yet this same summer that looks like a veritable disaster ends up becoming the most formative time in Duncan’s life because in the thick of all the bad stacked up against him he is introduced to a world of so much good. It’s one of those moments of sheer happenstance. He begins riding a pink bicycle around town to get away from the suffocation at home and finds himself crossing paths with everyone’s new favorite friend Owen (Sam Rockwell).

They meet over a Pac-Man game and it’s awkward. Because every conversation Duncan has is awkward (ie. He talks to his pretty next-door neighbor Susannah about the weather). But not about to give up on a kid in need of some camaraderie, Owen lets the lad into his life and offers him something remarkable: A job helping him at the water park Wizz World.

In itself cleaning up vomit and stacking chairs isn’t the image of a perfect summer. But by reaching out and giving Duncan something, Owen impacts someone else more than he will ever know. Because that park represents so much for Duncan. It’s the family he’s struggling to find. It’s his fountain of confidence. It provides him a much-needed platform where even he can be cool and be known by others. That’s what we all want, to be known and appreciated.

That’s why he returns again and again. In fact, it’s so apparent how often he rides off that Susannah (AnnaSophia Robb) follows him one day and the rest is history. This girl who is different than her peers begins to take an interest in his paradise because she sees a confidence and enthusiasm in him that never existed before and she too seeks an escape.

Meanwhile, Duncan’s home life is still a shambles. Things are shot to hell as Trent is cheating on his mother and their vacation gets quickly terminated. He’s unhappy with it all and there’s very little his mother can do about the situation. Forced to say goodbye to the best family he ever had, there’s still some satisfaction in one last trip to the water park.

He emblazons his name forever in the lore of Wizz World and he gets the joy of Owen facing down Trent. Perhaps most importantly, the ride in the way-back of the station wagon is a little less lonely on the return trip. His mother has made the concerted effort to be by his side which is a statement of her new resolve to hold their family unit together.

This film is a dream. No one would go so far as to say that this is the dream summer or the dream job but it is a bit of a fantasy and we wish it could be true. Because Wizz World much like Adventureland (2009) before it is an oasis from the worries and distractions of the world at large. It’s one of those places frozen in time year in and year out, in this case, stuck permanently in the 1980s. But this Neverland, far from stunting your growth, helps one teenager discover more of his confidence than he ever thought possible.

Likewise, Sam Rockwell is a cinematic creation, the voice we always wish we had, the cool guy we wish we had in our corner, the jokester who helps us become a better version of ourselves by bringing us out of our shells. In some ways, he’s Peter Pan. Because if he existed in reality, it would only be depressing, but here there’s a special aura about him that instantly makes him our favorite character.

Meanwhile, Steve Carell much to his credit shows another side of himself and even greater range as an actor as Trent, a man who can best be described as a Grade-A jerk. Still, there’s something tragic in the characterization. Everyone else from Maya Rudolph a fellow Wizz World manager, Allison Janney the uninhibited mom-next-door living life buzzed, or even writer/director partners Nat Faxon and Jim Rash, all utilize their various quirks and qualities to stand out. Even Rob Corddry and Amanda Peet while playing a pair of obnoxious friends manage to leave their marks on those roles that feel surprisingly believable.

Faxon and Rash’s previous effort The Descendants (2011) is the kind of film that got award buzz and it’s a searing drama that’s almost brutal in impact. Whereas The Way Way Back is made for summer. It’s light, funny, full of life while still managing to be poignant. Coming-of-age nostalgia pieces are a personal weakness — a guilty pleasure even — and this film hits that sweet spot. Are there flaws? Yes, but why focus on those when there’s so much that’s refreshing like a summer vacation of old that you took with your family or ventures to the water park with your best friends? Sometimes we need films like this.

4/5 Stars

The Killers (1964)

Posted on July 13, 2018 by 4 Star Films

The_Killers_(1964_movie_poster).jpg After an opening to rival the original film noir The Killers (1946), though nowhere near as atmospheric, Don Siegel’s The Killers asserts itself as a real rough and tumble operation with surprisingly frank violence. However, it might be expected from such a veteran action director on his way to making Dirty Harry (1971) with Clint Eastwood.

With hitmen (Lee Marvin and Clu Galagher) as the motors for the story, they help maintain a similar flashback structure to the original film taken from Hemingway’s short story, except this time their inquiries are a little more forceful than anything the insurance investigator managed in Robert Siodmak’s film.

Furthermore, to fit better with the cultural moment boxing is traded out for race car driving as our fateful hero in this instance is Johhny North (John Cassavetes) a tragic figure who got caught up in love and wounded in the same instance.

Still, Cassavetes even before he was a director of great repute, he made for a quality acting force because the intensity always seems to burn in his eyes and it serves him well here yet again.

He and his mechanic partner (Claude Akins) are intent on winning a big pile at the racetrack but Johnny gets caught up in a romance with an alluring beauty named Sheila Farr (Angie Dickinson) who can’t get enough of him. But she also happens to be pretty closely connected to an unscrupulous “businessman” who conveniently pays the bills for her. If Johnny knew any better he would get out of there as fast as he could but she’s a knockout who seems to want him and he wants to believe in her sincerity.

Ronald Reagan takes on the uncharacteristically grimy role as the corrupt Jack Browning which interestingly enough would be the actor’s last Hollywood role before switching his sights on politics first as governor of California and then down the road aways as the president of the United States.

Like his predecessor so many years before, The Swede (Burt Lancaster), Johnny (Cassavetes) gets played for a bit of a stooge and as embittered as he is after a faltering racing career, he inserts himself into Jack Browning’s (Reagan) get-rich-quick bank job which is bound to spin out of control. Adding insult to injury Sheila is right there searing through him like she always used to. The imminent results speak for themselves concerning hitmen, dames, and everyone else who could possibly be caught up in the dirty business.

There are isolated moments where the drama gets laid down a little thick and yet for a film that was initially supposed to be a TV movie, this effort really is an enjoyable neo-noir despite being starkly different than its predecessor. In fact, that allows it to stand on its own two feet and even if it’s not nearly as good, Siegel’s film is still quite thrilling. Thankfully this one lives up to its name and it goes out as deadly as it came in which usually bodes well for a crime picture.

Part of that goes down to the acting talent because it feels like there’s no real throwaway role and everyone has something to keep them busy. Lee Marvin has top billing and he takes up a post that feels like it just might be the precursor to the enigmatic crime spree of Point Blank (1967). His performance along with Clu Gulager’s are undoubtedly the coolest bar none and yet they aren’t even in the majority of it.

That privilege goes to Cassavetes and Dickinson who light up the screen and play their character types impeccably. The same might be said for Claude Akins or Norman Fell. The only odd spot is Reagan but then again maybe that might only be my bias since I’m so used to seeing him be presidential.

3.5/5 Stars

Forbidden Planet (1956)

Posted on July 11, 2018 by 4 Star Films

We’re all part monsters in our subconscious. ~ Leslie Nielsen as Commander Adams

I couldn’t help but recall Han Solo’s line about the Millenium Falcon in the original Star Wars in response to Luke’s derision. After giving his pride and joy an affectionate pat he defends her reputation like so, “She may not look like much but she’s got it where it counts.”

It seems fitting that the line is used to commend Forbidden Planet because this is the film that in many ways made science fiction what it is today. It’s almost too easy to trace the line from this film to the likes of Star Wars and Star Trek and a plethora of others. But today we’re so used to the canonical worlds of established sci-fi that Forbidden Planet might come off as quaint and a bit outmoded. Still, the film has it where it counts even today.

Forbidden Planet was also unprecedented in its day because this was no B-picture. This was A-grade entertainment and that was almost unheard of at the time for science fiction, a historically low budget genre. Leslie Nielsen is given his first starring role while Walter Pidgeon plays the scientist who greets the explorers on the surface of the planet that they were sent to investigate.

But the band of expeditioners who came before them was all but decimated by some unknown force leaving only Dr. Morbius alive (Pidgeon) along with his pretty daughter Altaira (Anne Francis) who has no grasp of what life on earth is like. Commander Adams (Nielsen) is intent on staying on the planet until receiving further instructions from earth.

Still, something doesn’t sit right. There’s something off about Altair IV. A silent, invisible adversary is oftentimes more engaging than a visual one especially when it dwells very close to home and that’s precisely what presents itself moment by moment as the narrative progresses.

From their very first touchdown, this is an incredibly eery picture which manages to carry the audience’s attention for a great deal of the movie. In fact, if this was Star Wars they would have said, “I have a bad feeling about this” at least a couple times. But equally crucial is the subsequent development of the landscape around us that’s at times utterly entrancing.

The key to the film is that everyone plays it straight and serious and in this particular case it doesn’t come off as camp. There’s a gravity to it all that’s mesmerizing even in its bits of antiquity because the world is full of grand endeavors in creativity.

The electronic instrumentation provides what is purported to be the cinematic world’s first fully atonal electric score and even today each note is unnerving to the core. Whereas the theremin has somehow entered into the realm of parody these notes still seem resonant and they perform far better than any traditional score might have in the same circumstances.

At times Forbidden Planet showcases a very simple, even austere mise en scene and other times expands to almost labyrinthian proportions. The sweeping palette photographed in Eastmancolor with CinemaScope certainly adds to its allure straight out of the 1950s while still managing to take cues from stories from centuries prior, Shakespeare’s The Tempest, being the most obvious inspiration.

While not necessarily prophetic or correct in all its assertions about space travel (as far as we can possibly know) there’s a commitment to the world and a specificity to its inner workings that makes the Forbidden Planet into a fairly immersive place — a world alternative to our own that we are able to explore and I think that’s part of its unique status as a pioneering film. Because now we are so used to worldmaking and fantasies outside the realm of Earth whether it be Star Wars or Lord of the Rings or Harry Potter.

Here we see it too but it comes out of a time where most stories were human stories planted on earth or at the very least had the semblance of the reality that we know to be true here. And yet here was a narrative that dared transplant our human shortcomings to the other end of the universe in an entirely different paradigm while showing how man is his fallen nature can still make a mess of life even there. It’s a fairly powerful statement full of human psychology as much as it is about conquering new frontiers.

Robby the Robot (designed by Robert Kinoshita and the team at MGM) stands as a landmark among cinematic robots since he is his own entity as a standalone character. Far from turning on man, he’s about as useful as we might possibly think — even creating gallons of whiskey for the thirsty cook (Earl Holliman). The film was also a trendsetter in describing space travel in increments of light while miniskirts far from being a thing of the future still made a splash with 50s audiences as worn so provocatively by Anne Francis.

Through its final credits, Forbidden Planet is a special picture and that uniqueness goes far beyond its rightful place as one of the seminal explorations in science-fiction. The only thing left to say seems to be despite the iconic nature of its film poster, it has absolutely no bearing on the plot whatsoever. Still, it makes for a good piece of advertising. It must be if someone as oblivious as me is talking about Forbidden Planet over 60 years later.

4/5 Stars

Sunday in New York (1963)

Posted on July 9, 2018 by 4 Star Films

It would appear that a film like Sunday in New York would never exist today. First, it’s obviously rooted in a stage play and it functions with the kind of moments you might expect out of some of Neil Simon’s works around New York though this particular story was crafted from a play by longtime screenwriter Norman Krasna who wrote many a screwball comedy back in the day.

But this is a film of the 1960s and it looks as such by today’s standards because it’s a chaste sex comedy that is charmingly madcap in its romance and numerous mishaps all while dodging around the social mores of the day. It’s never biting, always palatable, and fairly tame fun given its central themes.

New York becomes a lovely place for a pit stop over the weekend. Numerous people are headed there. First on the list is an airline pilot (Cliff Robertson) who is titillated by the prospect of a whole day alone with his best girl. Of course, being on active call near a busy terminal can be very aggravating for your love life and he and Mona constantly find themselves spending more time on the opposite ends of a telephone than actually together eating bagels and doing whatever else they normally do.

Then there’s Eileen (Jane Fonda), Adam’s little sister who is trying to get over a breakup with her beau. As a young, naive 22-year-old, she’s still trying to figure out the conventions of society and she goes to her big brother for advice on life’s most important questions. He’s someone she can trust about this particular issue.

The fact is she’s still a virgin (Gasp!). He does the brotherly thing and commends her as a respectable man will come along sometime for her. Meanwhile, he conveniently equivocates about what his romantic life looks like.

She does meet a man (Rod Taylor) and there is something between them rather odd at first and then strained by sexual tension and finally complicated by the fact that first her beau (Robert Culp) and then her brother Adam both come back and she must explain the presence of her guest. The film has plenty of comings and goings and while the plot is nothing new and noteworthy the cast makes it work rather well.

Jane Fonda gives a delightfully radiant performance opposite the always personable Rod Taylor with a meet-cute that’s so obviously absurd that it’s easy to laugh it off and simply enjoy it. They get thrown together on public transportation, aboard a bus, but the lady’s jacket gets caught on his coat and they must proceed to exit together. One of those awkward rom-com trifles. The film is full of these cute moments. Little do they know they will be spending a great deal more time with one another on a Sunday in New York.

3.5/5 Stars

Grave of the Fireflies (1988)

Posted on July 6, 2018 by 4 Star Films

Anime is very much a Japanese art form denoted by its style, the visuals, and even the depiction of its characters with wide eyes all the better to convey emotions. Oftentimes the images onscreen are a great deal more stagnant than the real-time action that American animators try and replicate with a greater frame rate.

Maybe American animation is more “realistic” but what the Japanese films have is an unrivaled beauty almost like watercolors or as if canvases of actual paintings are making up the backdrop for our characters to reside in. There’s even a line of inspiration that can undoubtedly be drawn from Japan’s own rich tradition of vibrant scroll and woodblock paintings. Far from being derided as childish fare, cartoons are given a platform as art and they are executed as such.

Thus, it’s fitting that Grave of the Fireflies brought to us by renowned Ghibli Studios and the acclaimed director Isao Takahata would utilize this very Japanese style to tell a native story full of pain, suffering, chaos, and survival. His canvas includes exquisite landscapes that glorify the Japanese countryside but more often than not provide a muted even sobering lens to view the ashes and destitution that war sows. The wounds and the scars. The dead bodies left in the streets and the dirtiness that pervades daily life. It’s offensive to the eyes. All of this because American planes drop fire bombs to break the will of the enemy.

In western minds, it almost seems like an incongruity that a film can be both a stark war-torn drama and an animated picture but Grave of the Fireflies proves emphatically that this simply is not the case.

There are very few films brimming with so much emotion, so powerful and evocative and so fully invested in the human experience. There is an innate understanding of the pure destructiveness in the totality of war. It breeds very little that is good. Ripping families apart, causing children to grow up too fast, and subjecting mankind to excruciating loss and indignity.

But in my estimation, it remains far too simplistic to simply state that Grave of the Fireflies is an indictment of the carnage of war or that it is an anti-war picture because its scope is so much greater than that.

Notice what Takahata doesn’t do. He doesn’t make the Americans into dehumanized monsters or anything else. They are just absent, faceless individuals that we will never know. However, he does give us a front row seat to the events through the eyes of two other people.

I think it’s an especially uncomfortable and maybe an important perspective for Americans because instead of seeing ourselves front and center of this epic story of WWII amid both its victories and tragedies, we are only a distant force. This film causes us to take on the viewpoint of those on the other side of the Pacific. This wasn’t just an emblematic figure like Tojo or some crazed, inhuman killer that we were looking to take down.

It becomes clear from the outset that the people being displaced from their homes by firebombs and struggling with rationing and families getting split apart by conflict are not so unlike us.

Takahata brilliantly gears us up for a story that could not be more universal. It doesn’t take place on a battlefield. It doesn’t involve war rooms or army barracks. It’s about two siblings. An older brother Seita and his little baby sister Setsuko.

Together they provide the core of the film. Because Setsuko is one of those precocious little kids who undoubtedly does not comprehend the gravity of all the chaos that swirls around her. All she knows is that she wants to see her mother or that she’s hungry or that she wants her favorite Sakura fruit drops. And her brother provides for her and sticks to her closely with fortitude and faithfulness that makes their bond one of the most affecting connections between cinematic siblings.

I would be hardpressed to guess how old Seita is but there’s no doubt that he’s forced to act quite a lot older than should be necessary under normal circumstances. His father is gone in the navy. His mother is debilitated. He must be his sister’s keeper and everything else for her. Her friend, her playmate, and her protector from a traumatic world that she cannot begin to understand. Since they only have each other and as they skrimp by, as an audience we realize just how abhorrent their conditions are and how no child should ever have to know a life of malnutrition or obliteration.

It’s easy to marvel at the animation because whereas normally we would probably take care in depicting actions of great consequence, a picture such as this finds time to articulate the little things that feel so human. Fiddling with a piece of clothing, scratching an itchy mosquito bite, or simply frolicking along the shoreline for the sheer relish of the moment.

It’s these smaller interludes and touches that give even greater import to the larger ones. A childhood home burning down with a whole host of others so that an entire town looks drastically different. A brother and sister who are forced to live on their own thanks to the glacial welcome they receive from distant relatives. And ultimately the inevitable comes knocking: death.

But just as the titular fireflies fill young Setsuko with a certain awe and wide-eyed wonderment, even in death there seems to be some distant even elusive sense of hope. In a world that can hardly be fathomed, Seita and Setsuko are reunited; no longer plagued by their suffering, their path illuminated once more by nature’s shining beacons of light. While we might have slightly different views about the afterlife, there’s no doubt that we share a desire for such an outcome after death.

Where graves will be emptied. Death will be no more. Pain will have ended. War will be over. Families will be restored. Wounds will be healed and peace will be the final resounding note. Do not let your flame be extinguished by hate, burdens, or dissatisfaction but know that there is so much more to life. In their enduring innocence in the face of such devastation, Seita and Setsuko are a stirring reminder.

Because life is not simply upended by tragedy. It is also fortified by hope. That’s part of what makes it worth living. As Dylan Thomas once eulogized, “rage, rage against the dying of the light.” Do not let your youth be quelled. Do not let your optimism be forfeited. Do not give up your capacity for love. It’s well worth the fight.

5/5 Stars

Tampopo (1985)

Posted on July 5, 2018 by 4 Star Films

Juzo Itami’s so-called ramen western Tampopo is unequivocably original in its hilarity, opening with what could best be called a public service announcement. A suave gangster is getting ready for the movie screening only to be disrupted by a noisy bag of curry potato chips. He threatens the foodie and sits back down to enjoy the entertainment, concluding the film within a film.

What follows in the actual movie is an unabashed love letter to food with some oddly sensual elements. It has off-beat scatterbrained touches of humor that send it in all sorts of odd directions, picking up momentary storylines and varying vignettes focused on different people all over Japan with the one unifying element being the food that they eat and enjoy.

There are the businessmen going out for a meal together who all order the same thing in deference to their leader only to be put off by their youngest associate who turns out to be well-versed in French cuisine and champagne. Then a society of women gets a lesson in how to eat Spaghetti like a true westerner which apparently means shoveling noodles into your face and making as much noise as you possibly can. They`re not wrong per se. Even the aforementioned debonair gangster and his lover turn up several more times romancing each other over their favorite dishes.

But the main attraction and the one that takes up most of the runtime has to do with the art of the perfect ramen shop with touches of what can best be termed a ramen western (an oriental rendition of Italy’s own affectionate spinoff, Spaghetti Westerns).

Goro (Tsutomu Yamazaki) and his sidekick Gun (Ken Watanabe) ride into town in their big rig and happen on a ramen shop that’s not doing so well. Its proprietor is a single mother who lives with her young son and looks to maintain the establishment after the death of her husband.

Unfortunately, she’s not much of a chief or a businesswoman and the shop has been suffering as a result. Thus, the newcomers main objective becomes turning the humble Lai Lai into a 3 star ramen operation. They are the hired hands who swoop in to save the helpless villagers, metaphorically speaking.

Recall Seven Samurai, The Magnificent Seven, or Shane and you`ll probably be on the right track. In this particular rendition, the first order of business is a name change to Tampopo Ramen. A regiment of further fortifications follows thereafter.

Goro takes his new benefactor to scout out the major competition in the area, gleaning from their success and also their failures. A good ramen shop has no wasted movement and provides a quiet atmosphere for the customers to savor.

Next, Tampopo trains with the foremost masters who know how to make a truly delectable bowl of ramen in every dimension. Finally, Goro and his compatriots help build a team to ensure her little shop will have the best of everything from food, to decor, and, of course, noodles. They are ready to face the inevitable onslaught headed their way: The lunch rush.

In her final test, Tampopo succeeds with flying colors. Goro`s work here is done so he can drift on further down the road a spell until another ramen shop catches his interest.

To its very core, Tampopo is a meandering film that ambles along forcing no clear agenda nor does it seem intent on getting to a certain destination. Instead, as it roams it slowly causes us to become attuned to the simple pleasures of food while wrapping us further still in the idiosyncrasies of humanity. This is the holy grail for ramen-lovers everywhere. It will make their mouth’s water in frame after frame and leave them raising an eyebrow on more than one occasion.

It’s possible to guarantee that you’ve probably never seen a film quite like Tampopo. While it revels in Japan’s rich culture of food it may not be for everyone. The same might be said of Japanese cuisine. I for one am more partial to the noodles but the film no doubt has a few savory moments.

4/5 Stars