Advise & Consent (1962)

Posted on October 21, 2016 by 4 Star Films

Advise-&-Consent-(1) This is an Otto Preminger film about politics. That should send off fireworks because such a divisive topic is only going to get more controversial with a man such as Preminger at the helm — a man known for his various run-ins with the Production Code. All that can be said is that he didn’t disappoint this time either.

Who knew a film revolving around the seemingly simple task of passing the president’s nomination for the new Secretary of State could be so complicated and lead to such turmoil? True, the nomination of Robert Leffingwell (Henry Fonda) might be controversial, but there’s a lot more to it than we initially conceived.

There’s the obvious political angle on Capitol Hill involving a Subcommittee chaired by majority member Brigham Anderson from Utah (Don Murray). Meanwhile, the majority leader is working behind the scenes to gather the necessary support, since he is loyal to the president, despite his share of doubts. However, old curmudgeon Seeb Cooley (Charles Laughton) is prepared to unleash all his fury and political wiles to stop the nomination in his tracks. Soon it seems to be working well enough.

But that ends up being hardly the half of it. There’s perjury, the aging president (Franchot Tone) is biding his time, and Brig begins to receive threatening telephone calls at home. At first, they seem wholly unsubstantiated, but it seems there really are some dirty little secrets to be drudged up on him. As one who is faithfully looking to uphold their position and do a credible job accessing Leffingwell, it looks like someone really doesn’t want him to reject the nomination. Brig doesn’t end up having time to find out.

And so the day of decision in the Senate Chamber turns out to be an eventful one, bringing old rivals together and resolving the issue of the nomination once and for all. It seems that so much legwork was done all for naught, but that’s politics for you.

Advise & Consent is a fascinating representation of the political system because it involves so many interconnected, intertwining conversations and interactions going on behind the scenes. There’s the pomp & circumstance, the traditions that go with these posts, but it’s actually all the side conversations behind closed doors, in private, where the real work seems to get done. Preminger uses extended shot length to allow his audience the luxury of watching events unfold methodically while using a fluid camera to keep them from being completely stuffy. And his laundry list of stars great and small lend a depth to Capitol Hill.

Although Henry Fonda might be the headliner the film’s focus is wonderfully distributed by the well-balanced cast of players. In fact, you can easily make the case that this is Walter Pidgeon and Don Murray’s film with the decrepit-looking Charles Laughton (who unfortunately passed away months later) falling close behind. Murray is the principled tragic family man, while Pidgeon is wonderfully cast as a veteran white knight of politics. Laughton while beleaguered, still manages a wry performance worthy of his final screen appearance.

Preminger also includes his longtime collaborator Gene Tierney in her return to the screen in a small but crucial role and Lew Ayres as the benevolent V.P. Harley Hudson. Even Peter Lawford is involved in a role supposedly inspired by his real-life brother-in-law incumbent president, John F. Kennedy. Some notable inclusions in the cast include the formerly blacklisted actors Will Geer and Burgess Meredith. One notable part that didn’t end up being cast was Martin Luther King Jr. in a cameo as a Senator from Georgia. Although it truly would have been a lightning rod of a political statement, in reality, Preminger didn’t end up needing it. His film already used words and covered topics hardly touched previously thanks to the watchful eyes of the Production Code. It didn’t need more dynamite.

While Advise & Consent may not be the greatest of political films or the most stirring, it still certainly has its share of riveting moments. Most anything from Otto Preminger is bound to be interesting and this one is no different.

4/5 Stars

My Left Foot (1989)

Posted on October 19, 2016 by 4 Star Films

My_Left_Foot As the film opens we watch a foot slowly wiggling its toes. It’s nothing extraordinary because we’ve undoubtedly seen this millions of times. If not on film then at least in our own lives. But it’s what the foot does that piques our interest. Quite dexterously but still straining, it manages to pull a record out of its sheath, set it down on the player, and lay down the needle before music finally emanates out. This simple act gives us some profound insight into the story that we are about to invest ourselves in.

My Left Foot, directed by Jim Sheridan and carried with an early tour de force performance by Daniel Day-Lewis, is an excruciatingly tortuous movie to watch at times. It follows the real-life narrative of Christy Brown, the future painter, poet, and writer who grew up in Ireland only capable of moving his left foot.

Neighbors in the community look at Christy as the bane of his family. He is his kindly mother’s unfortunate cross to bear. And true, his childhood existence is a humble one and his parents don’t quite understand how to empower him, but they still are devoted to him. His mother is the nurturing one and his father sees him as a cripple, but he loves him in spite of it.

As Christy is growing up there’s time for playing football, spin the bottle, and trying his hand (or rather foot) at watercolor. Because the truth is, Christy is a highly intelligent, creative mind only looking to express himself. And his mother continues to build him up with encouragement. In fact, Brenda Fricker’s performance brings to mind all the strong, grounded mothers in the vein of Jane Darwell’s Ma Joad. You can even find a little How Green Was My Valley or The Quiet Man in the family life.

However, it is speech therapy which becomes the next step in Christy’s development and his therapist does so much to open up his world. It’s hard for him not to feel attached and feelings of affection towards her. But as we find out over time, he’s as much a volatile creative force as he was an emblem of perseverance. Because he did not simply sit back, and when he learned to verbalize his thoughts there was a torrent of passion and perhaps even harbored anger that was finally released.

In no scene is this more evident than the one in the restaurant where his longtime therapist Eileen says she is going to marry another man, and aside from his pernicious words and his not ceasing to drink, Christy brings the conversation in the entire establishment to a standstill. In his defiance and anger, he breaks glasses, pulls off the tablecloth, and even threatens bodily harm.

But even when his pride is injured, Christy still remains faithful to his mother and father. His family life prospers even after the untimely death of his and pretty soon his career as an author flourishes after the publishing of his autobiography.

It’s up in question whether or not Christy Brownreal-lifeife received such a happy ending as this cinematic adaptation, but there is no doubt that the film gives the audience a jolt namely thanks to Day-Lewis’ complete dedication to his part. This film much like the likes of The Diving Bell and the Butterfly or even the Theory of Everything allows for great performances, but it also relies on these same actors to use constraints to their advantage. Watching Lewis is a masterclass education in what it means to truly don a role. In this case, My Left Foot truly benefits from it.

4/5 Stars

Finding Neverland (2004)

Posted on October 17, 2016 by 4 Star Films

Findingneverlandposter Peter Pan was immortalized by Disney in 1953, but as with many of the great fairy tales that they have adapted, it’s easy to forget that there was an earlier spark. These stories do not begin and end with Disney. They have a far more complex origin story and ensuing history. So it goes with J.M. Barrie’s Peter Pan.

Finding Neverland has a satisfactory periodness that reflects a bygone era neatly and without much-added schmaltz. Johnny Depp turns out to be thoroughly charismatic as 19th-century writer J.M Barrie, the mastermind behind Peter, Captain Hook, Tinker Bell, and all the rest. But this is really the story about his inspiration for the fairy tale that defined his career.

Kate Winslet is a wonderfully benevolent free spirit who single-handedly raises a family of four boys. Her mother (Julie Christie) is a brusque rather domineering lady, but Barrie is still drawn to this family because they awaken his own imagination.

The film allows itself to be whisked away into glorious worlds, dreamscapes out of the minds of children with the wildest of imaginations, but it continually remains grounded in the story of these people: A writer, a lady, and her sons. It conjures up the fantastical whimsy of Tim Burton’s Big Fish while preceding similar narratives like Saving Mr. Banks rather effortlessly.

There, of course, are the expected difficulties. His latest play backed by the wealthy money bags Charles Frohman (Dustin Hoffman) was a monumental flop and neither one of them can afford another such showing. Barrie also has trouble connecting with his wife (Radha Mitchell) and they slowly drift farther and farther apart right in front of each other’s eyes. They know it’s happening and still there’s very little they can do. Meanwhile, Sylvia Llewan Davies comes down with a sickness that she refuses to accept treatment for, but it becomes completely debilitating. Continually Barrie’s home life and personal relationships are intersecting and butting up against this world that he has created: Neverland

But the night of the big opening of his play arrives with much anticipation. There’s the normal stuffy crowd until a crowd of orphan children files into the performance, on Barrie’s doing. Because in some ways, they are the best critics. They know what they like and they are not afraid to show their approval or their derision for that matter. Their laughter spreads throughout the great hall and the show winds up a monumental success.

However, perhaps more importantly, the film has some final wisdom to dole out to anyone willing to take the time to be still and listen. Even if time is chasing after all of us like the famous ticking crocodile, that doesn’t mean we have to grow up too fast or leave behind the wonderment of youth. There’s still so much to see if only we had the eyes to see them. The clear, credulous eyes of a child. That’s some of what Peter Pan taps into as with all timeless children stories. Because they aren’t really children stories at all, but tales that touch each and every one of us through life and even in death. Finding Neverland remains a fitting reminder of that. Each person needs hope in something greater. It’s finding that thing which is paramount to every existence.

3.5/5 Stars

Experimenter (2015)

Posted on October 12, 2016 by 4 Star Films

Experimenter_Poster Coming out of a psychology background I was familiar with Stanley Milgram’s famous social experiment back in high school during Intro to Psych. Even back then it was a striking conclusion on conformity and just how far people will go. It was also ruthlessly contrived and even more methodically executed. Inspiration came from Milgram’s own background working with psychologist Solomon Asch, as well as his own Jewish ancestry, nights watching Candid Camera, and a fascination in the Adolf Eichmann trial.

The results of his controversial deception are staggering. If people are told to administer an electric shock, even against their own will, knowing that the other person might full well be hurt, they will comply with benevolent authority. When you think about its moral implications, you wonder why no one had yet to make a film about it, but then again, now someone has.

Michael Almereyda appears to be the heart and soul of this film, and he brings together a mixed bag of talent, headed by Alexander Skarsgard and Winona Ryder, with various supporting spots filled by the likes of Jim Gaffigan, John Leguizamo, Anton Yelchin, Dennis Haysbert, and Anthony Edwards.

This is a stripped down film of simple design, but it rocks us with potency because its basic premise is so intriguing. It’s difficult not to be fascinated by the findings of Milgram since they feel as startling now as they were back in 1962. The scary part is that humanity has not changed all that much, not really when we get down to the base levels of human nature.

It puts the systematic genocide of the Nazis into perspective, but it has even more frightening implications for all of humanity. It leads to soul-searching, personal reconciliation, and of course, backlash, against Milgram himself. As the moral issues are twofold. The participants subjected to such an illusion, with confederates playing along, are forced to figure out their own conscience — what this all means about them. Meanwhile, the man behind this deception is understandably under fire. The public cannot fully condone what they did, nor do they want to believe his results.

Milgrim would lose his tenure, but as the years rolled ever onward, he carved at a decent life for himself with his wife, kids, and a nice work circuit, giving lectures and continuing his social experiments on conformity.

These are the fascinating aspects of the film. It’s when it gets a tad pretentious, breaking the fourth wall and using obviously phony back projection to tell the story of Milgram the man, that it ceases being as interesting. Because we are intrigued far more by his work than him as a person. He’s hardly an anomaly and more the norm, so we begin to remember why a film was never made about him before. The narrative strands start becoming fairly thin.

But in some ways, Experimenter feels like an apt companion piece to the film Hannah Arendt, because they both examine two people fascinated with human kind’s capacity to commit evil by examining not simply Adolf Eichmann but a great many other everyday individuals. That alone makes it worthwhile viewing — especially those fascinated by psychology. Like the former film, it’s hardly perfect or even cutting edge when it comes to biopics, but it certainly gives the viewer something to grapple with.

3.5/5 Stars

L’Eclisse (1962)

Posted on October 10, 2016 by 4 Star Films

leclisse3 “Two people shouldn’t know each other too well if they want to fall in love. But, then, maybe they shouldn’t fall in love at all.” – Vittoria

When it comes to being aloof, apathetic, and distant Monica Vitti knew no equal, and she works so marvelously against the worlds that Michelangelo Antonioni creates. Her sultry pair of eyes speaks volumes as far as sensuality and charm — making words hardly necessary. When we look at her and how she moves so indifferently through this romantic space with her former lover, it becomes all too obvious. There’s no feeling there. There’s no magic left to be tapped into. That happens with love sometimes, and it’s excruciatingly painful, even to watch.

In these opening minutes, nothing is said yet it’s hardly boring. There’s something tantalizing about sitting and waiting for some piece of exposition to come our way. Besides Antonioni’s extended shot length, a steadily smooth camera, use of mirrors, and a wonderful manipulation of the interior space to frame shots keep us constantly engaged.

leclisse5 The initial scene in the stock exchange is gloriously tumultuous and it never lets up. This is the dashing young Piero’s (Alain Delon) domain that he rushes through with lithe business savvy. What this arena becomes is the quintessential Italian marketplace, a hectic theater of business made up of all kinds, involved parties and observers alike. Vittoria (Vitti) is one of those who looks on with mild interest and really throughout the entire film she is a keen observer as much as she is a person of action.

Through the mutual connection of her distraught mother, she and Piero become acquaintances. No more, no less. But we expect there to be more, because how could you waste stars like Vitti and Delon without at least a few romantic interludes? But we are made to wait patiently as they share a little contact, watch the extraction of Piero’s car from its underwater mortuary, and take a long walk.

Again, Antonioni continues with glorious panoramas, a meticulous framing of shots, and exquisite overall composition of mise-en-scene. It makes every image that comes onscreen hold merit and they stay onscreen certainly long enough for you to truly appreciate them. He’s audacious enough not to feel the need to have his figures centered in the frame, and he dances around them, placing them really wherever he pleases, but there’s still something strangely satisfying about it. Doorways, trees, pillars, heads all work nicely.

leclisse1 And the narrative becomes perhaps even more tantalizing than love because it’s the prospect of romance that keeps it going. But it never seems fully realized. It’s frustrating, unfulfilling in a sense, like most of his films. Whether it’s an unsolved mystery or the most perplexing conundrum mankind has ever faced romantic attraction, he always leaves us an open-ended denouement.

There are laughs and moments of immense satisfaction, but they are transient — invariably lasting for only a very brief instant. In fact, this film’s finale is a dour twist that submerges L’Eclisse even lower than we could ever expect. With a title such as “Eclipse,” there’s a potential for foresight, but there also are very few warning signs. Then, all of a sudden, we are privy to a newspaper dotted with headlines like “nuclear arms race” and “fragile peace.” That is all.

It’s in these final moments that L’Eclisse takes a far more haunting turn than Dr. Strangelove and any of its compatriots. It just stops. No explanation. Not even a sign of our protagonists. Again, it’s that maddening ambiguity that comes with waiting out this lull. But the ultimate joke is that there is nothing after the lull. The frame literally gets darker and quieter and then everything ends altogether. There is nothing more. Enveloped in darkness, it simply ceases to be, another enigmatic visual tour de force from one of Italy’s most fascinating titans.

4.5/5 Stars

Bridge of Spies (2015)

Posted on October 7, 2016 by 4 Star Films

Steven Spielberg is this generation’s Alfred Hitchcock in many ways. True, he’s not as much of an audacious experimenter, but he most certainly knows the movie making craft. He understands suspense, good storytelling, and strong production values. Because he still is one of the most entertaining filmmakers to date, maintaining a grasp of all the integral details that make a Hollywood film interesting.

Hitchcock famously made two Cold War thrillers of his own in Torn Curtain and Topaz that were unfortunately rather disappointing. In this respect, Spielberg may have just bested the Master with his own espionage thriller Bridge of Spies. The secret is that he too grabs hold of an everyman story, utilizing one of his most magnetic collaborators Tom Hanks, but he also has an immense appreciation for the historical subtext. This is as much a historical drama as it is a human drama or a spy thriller. The fact that it functions on multiple levels gives it a greater degree of depth.

The film starts with a rather ordinary fellow (Mark Rylance) who we don’t know anything about, except he is rather old and likes to paint. Soon the FBI is on his tail and we quickly remember that this is 1958 — the Red Scare is real — the Cold War is freezing over. Ethel and Julius Rosenberg are fresh on everyone’s mind as Rudolf Abel (Rylance) is imprisoned on multiple accounts of conspiracy.

This is a big deal and the whole country is watching, nay, the whole world is watching including the Soviets. The job of defending Abel appears a thankless one and so the buck gets passed to an insurance lawyer named James Donovan (Hanks). Whereas everyone else sees this as a sorry position to be in, Donovan understands it’s a stellar opportunity to reflect the ideals that the American justice system are founded on. Not everyone is so keen with his ideals, especially when it involves a Communist. It is in these early scenes where we understand the fear of a nuclear threat is real. Yes, the Red Scare is real. You begin to understand how it could take root in the American public. After his face is seen in the papers, Donovan receives the ire of the public and it affects his family.

Meanwhile, no one knows it but the FBI is proceeding with a highly sensitive mission in Soviet airspace. Any slight screw-up and nuclear war seems inevitable. But of course, the long-remembered Gary Powers is shot down in a U2 plane taking recon footage and all of the sudden things have gotten a lot hotter.

The second leg of the narrative follows Donovan as he tries to broker a deal between the two superpowers for a prisoner swap. Both countries are intent on keeping a lid on their national secrets. If Donovan’s task was just an exchange between Gary Powers and Abel it would be, shall we say, simple, but there has to be an added wrinkle. There always is. We get at least a taste of what the Berlin Wall truly did in creating a fissure between families and friends in Germany. However, crucial to this story, it also trapped an American student named Frederic Pryor in the GDR. Now Donovan has two men to try and retrieve, one bargaining chip in Abel, and two powers he must deal with. The Soviet Union are the main priority along with Powers, but his contacts in the GDR are still miffed about not being recognized by the U.S. They are not about to be pushed around.

Really we can break Bridge of Spies down to just a few men, but these seemingly simple actions and interactions are blown up and magnified to the nth degree on a highly political scale. If this is actually, in essence, how this war played out in real time then it is almost a ludicrously crazy ordeal.

Still, as Spielberg always does, he reverts his story back to the human component and Donovan, the man who put his vocational talents to good use in ways that had global impact. Imagine, he was a civilian, a man who was hardly given any authority by his own government, and yet his fortitude was ultimately rewarded. Then, at the end of a hard day’s work, he returned quietly to his wife and kids with the jar of marmalade he had promised to bring home.

Spielberg does well to evoke nostalgia, with the coats and the ties, the hats and ’50s sensibilities. And though we can guess the outcome of this biography before we get there, that doesn’t make the historical climate or how we get there any less gripping. That’s where this story succeeds. Furthermore, Mark Rylance’s performance is thoroughly grounded and his scrupled man of honor truly reflects socialism with a human face, all the while wielding a droll sense of humor.

It’s easy to look at the past events of world history with a more tempered eye. We can see the rationale of Donovan, the blind paranoia of the American public, and the unyielding tensions on all fronts. The day and age may have changed, but just have a look around. There are still tensions rising to this day. We still need the common man to enact change, now as much as ever. It’s that type of sentiment that really separates Spielberg from Hitchcock. His every man comes with heart.

4/5 Stars

Review: Breakfast at Tiffany’s (1961)

Posted on October 6, 2016 by 4 Star Films

breakfastat4

Every time I return to Breakfast at Tiffany’s certain things become more and more evident. Mickey Rooney’s characterization as Mr. Yunioshi is certainly an egregious blot on this film, but if you look around the nooks and crannies, it’s full of quirky sorts who can be described as weak caricatures at best. Buddy Ebsen and Patricia Neal are wonderful actors but for some reason, they feel out of place in this one. I love Martin Balsam too but he’s not quite right either.

Still, all those complaints go away when I see those opening shots. If a film is defined purely by its opening sequence, this would be one of the most sublime films of the 20th century. Because watching Audrey Hepburn walk the silent streets of New York right outside of Tiffany’s is as good as it gets. There’s a perfect cadence to the sequence. We learn so much about the character of Holly Golightly in a few short moments and New York has never been a more magical place — as hushed as it is when her solitary taxi pulls up to the curbside.

Moon River lends a beautiful melancholy to the sequence and it’s absolutely marvelous. But then the illusion is broken when Holly gets home chased by a caricature of a man and accosted by her caricature of a landlord. The yellow face is deeply unfortunate but to a lesser extent so are many of the other portrayals.

Because it’s so easy to care for Holly. Audrey Hepburn makes us care for this woman who doesn’t quite understand what it is to need other people, to love other people, and to be okay with that. She’s scatterbrained in all the best ways. By proxy, we like “Fred, Darling” (George Peppard) because he is a stand-in for the audience as we get to know her better. He’s conflicted but also mesmerized by her like we are. She’s truly something special. And all the affection that we hold for her is because she is Audrey Hepburn. We cannot help but love her — unless I’m just speaking for myself — which easily could be the case.

Still, Truman Capote’s source novel was a very different animal and it could have become a very different film altogether with Marilyn Monroe initially slotted to star. But with her sweet smile and demure image, Hepburn brought something of herself to the role. Still sweet but more extroverted and out there.

It’s easy to peg this as her best performance because it does have so much character and her wardrobe by Givenchy becomes a perfect extension of Holly Golightly. In every sequence, she’s impeccably dressed and even when she’s in her pajamas she looks ready for a night out on the town. But of course, with all of those nights on the town, she’s come to her conclusions about men. They’re all either “rats” or “super rats” only looking out for themselves.

breakfastat11

Holly winds up with her cat and the man who wants to love her, perhaps even the man that she deserves. Anyways he’s probably the closest thing she can achieve in the cinematic landscape at hand. However, it is unfortunate that Breakfast at Tiffany’s is not quite the film that Audrey Hepburn deserved. It rightfully so galvanized her iconic status for the ensuing generations. It’s only a shame that the film is not a greater achievement than it is, settling instead to be a generally light and diverting romcom from Blake Edwards.

But do yourself a favor and listen to Moon River again and again on repeat. The version doesn’t matter too much whether Mancini, Andy Williams or Hepburn herself. It’s one of the most remarkably mellifluous tunes of all time and truly worthy of Audrey Hepburn’s performance in this one.

4/5 Stars

Bed and Board (1970)

Posted on October 5, 2016 by 4 Star Films

bedandboard1 Arguably the greatest French comic was Jacques Tati and like Chaplin or Keaton he seemed to have an impeccable handle on physical comedy, combining the human body with the visual landscape to develop truly wonderful bits of humor. Bed and Board is a hardly a comparable film, but it pays some homage to the likes of Mon Oncle and Playtime. There’s a Hulot doppelganger at the train station, while Antoine also ends up getting hired by an American Hydraulics company led by a loud-mouthed American (Billy Kearns) who closely resembles one of Hulot’s pals from Playtime. Furthermore, there are supporting cast members with a plethora of comic quirks. The man who won’t leave his second story apartment until Petain is dead and buried at Verdun. No one seems to have told him that the old warhorse has been dead nearly 20 years. The couple next door that is constantly running late, the husband pacing in the hallway as his wife rushes to make it to his opera in time. There’s the local strangler who is kept at arm’s length until the locals learn something about him. The rest is a smattering of characters who pop up here and there at no particular moment. Their purpose is anyone’s guess, and yet they certainly do entertain.

In other ways, Francois Truffaut is a very different director than Tati when it comes to his filmmaking. His protagonist Antoine Doinel (Jean-Pierre Leaud) is a bit autobiographical, but he still seemingly functions outside of normal time and space as he continues to float easily in between jobs and doesn’t seem to worry much about anything. First, it’s a flower shop that doesn’t get much traffic and then the American company where Doniel hardly does anything but pilot remote control boats. But like before in Stolen Kisses (1968), it is Christine (Claude Jade) who still gives him the edge of humanity. Early on we notice that they go to the cellar — the same cellar he made advances on her two years prior — except now things are a little different. They are married now and happily so. He experiments with dying flowers while she takes on a violinist pupil. Soon enough follows a baby boy with his loving parents dueling on what to name him. They even have a dinner of baby food, because who wants to go to the store like a grown-up? At night they cuddle up and read together in bed.

bedandboard2 But as Truffaut usually does, he digs into his character’s flaws that suspiciously look like they might be his own. Antoine easily gets swayed by the demure attractiveness of a Japanese beauty (Hiroko Berghauer), and he begins spending more time with her. Thus the marital turbulence sets in thanks in part to Antoine’s needless infidelity –revealed to Christine through a troubling bouquet of flowers. It’s hard to keep up pretenses when the parent’s come over again and Doinel even ends up calling on a prostitute one more. It’s as if he always reverts back to the same self-destructive habits. He never quite learns.

Christine doesn’t deserve a cad such as him, but then again perhaps many people aren’t deserving of love, but we willingly give it to them anyways. The bottom line is that Antoine and Christine still love each other to the end, but that doesn’t make married life with a small child any less difficult. As is his proclivity, Truffaut gracefully touches on what it means to progress from adolescence to adulthood, singleness to married life. He does it with comedic touches that are forever underlined by searing romantic drama. It’s continually engaging just as Antoine Doinel continues to captivate us. Would I ever want to know him personally? Probably not, but I am intrigued by his character. If nothing else it’s a worthy continuation of Antoine and Christine’s life story. Antoine is not the only one smitten with Christine. She wins over the audience as well.

“I’m not like you. I don’t like things fuzzy and vague and ambiguous. I like things to be clear.” – Christine talking to Antoine

4/5 Stars

The Return of the Jedi (1983)

Posted on October 3, 2016 by 4 Star Films

ReturnOfTheJediPoster1983 If you’ve read any of my reviews on the original trilogy, you undoubtedly know that Star Wars had a tremendous impact on my childhood. That’s true for many young boys. It was the film franchise of choice, and it wasn’t just a series of movies. The beauty of Star Wars is that it encompasses an entire galaxy of dreams beyond our own. It’s a world that reflects ours in many ways — the difference is that they have lightsabers. But not just lightsabers. Aliens. Spaceships. Planets. The Force. Characters who for all intent and purposes live like us. Good, that is in constant conflict with the evil in the world. It’s a struggle that is constantly evolving.

As a boy, Return of the Jedi always appealed to me the most, and I can still understand that even to this day. This film is the conclusion to the story. It enacts the happy ending that all of us desire as human beings who have an inherent love for storytelling. This film continues the saga of these characters that most everyone has grown to love.

The set pieces are a great deal of fun from Jabba’s Palace to the sail barge where Luke shows off his newfound skills and Boba Fett earns a trip to the Sarlacc Pitt. Then the forest moon of Endor where the cute little Ewoks dwell in full force ready to combat the Empire. In fact, there are numerous heart-wrenching cinematic experiences, but few things are worse than the moment when that Ewok shakes his friend only to find him dead — never to move again. Is there no justice in the galaxy?

There’s the assault of the ragtag rebel fleet against the overwhelming firepower of the Imperials and their newly constructed Death Star where Lando Calrissian, Wedge Antilles, and Admiral Ackbar become standouts in their own right. Finally, there’s the showdown between Luke and Vader, father and son, as the Emperor looks on in wrathful glee. On multiple fronts the action takes place and each one is a thoroughly engaging piece of this fuller, grander narrative.

There’s something so satisfying about seeing all the many planets in the galaxy celebrating simultaneously when evil has been quelled and peace is fully restored. Because, again, there is something inside of each of us that seems to desire that type of fellowship and joy. You might say that this is only a Star Wars movie, but then again the reason so many people followed this story was not so much for the action, but for the characters because we cannot help but love them.

The dynamic between Han, Luke, and Leia is wrought with conflict but also great love and affection. C3P0 and R2 beep and bicker like an old married couple, and yet there’s so much concern there. Even as Han is freed from his carbonite prison, a helpless corpse, Chewie is always by his side to watch out for his buddy. Ultimately, most importantly of all is the central narrative of Luke and his father. Return of the Jedi is coming full circle as Luke returns to face his father. But he finally understands that this is not about vanquishing this villain or even confronting his fear. It’s more than that. It’s about teasing out the good that still dwells inside of this shell of a man formerly known as Anakin Skywalker. And when that relationship is renewed all the other relationships are made better.

Thus, Return of the Jedi will forever be spellbinding, because I feel like a young boy once more watching this sci-fi mythology unfolding in front of me in glorious majesty. There is a suspension of disbelief that envelops this story for all the aforementioned reasons. There is no question in my mind about the logic or the way things tick or so on. I accept them for what they are and truly and fully allow myself to be immersed in a world, “A Long Time Ago in a Galaxy Far Far Away.” There certainly are better films, but few films have gripped me time and time again like Return of the Jedi. I will hold onto it proudly for as long as I watch movies.

4.5/5 Stars

Stolen Kisses (1968)

Posted on September 30, 2016 by 4 Star Films

stolenkisses7 Charles Trenet’s airy melody “I Wish You Love” is our romantic introduction into this comedy-drama. However, amid the constant humorous touches of Truffaut’s film, he makes light of youthful visions of romance, while simultaneously reveling in them. Because there is something about being young that is truly extraordinary. The continued saga of Truffaut’s Antoine Doinel is a perfect place to examine this beautiful conundrum.

To begin with, Doinel is still a bit of a trouble-making vagrant, and his time in the military was mostly spent being AWOL. He gets dishonorably discharged and the first thing he does when he gets out seemingly fits what we know of his character. He scampers across incoming traffic and finds the nearest brothel. What begins after that is an increasingly long list of odd jobs. First as a night clerk, before he unwittingly gets mixed up with a private investigator and a jealous husband which ends up getting him fired. Next, comes his most prolific phase as a detective and he’s such a horrendous tail it’s hilarious. But an old vet takes him under his wing and Doinel learns how to be a true detective. Soon he becomes a plant at the local shoe store of a Mr. Tabard after a fine showing wrapping shoe boxes — something he proves to be absurdly awful at.

stolenkisses3 In fact, all in all, if we look at Doinel he doesn’t seem like much. He’s out of the army, obsessed with sex, can’t do anything, and really is a jerk sometimes. Still, he manages to maintain an amicable relationship with the parents of the innocent, wide-eyed beauty Christine (Claude Jade in her spectacular debut). Theirs is an interesting relationship full of turbulence. We don’t know the whole story, but they’ve had a past, and it’s ambiguous whether or not they really are a couple. They’re in the “friend zone” most of the film and really never spend any significant scenes together. Doinel is either busy tailing some arbitrary individual or fleeing pell-mell from the bosses wife who he has a crush on.

If we look at Antoine’s track record and take another look at Christine, there’s no way they should ever, ever be together not in a million years. But Truffaut does bless Doinel with bits of depth even amidst the everyday comic absurdities. He is a young man always running his hand nervously through his hair. He practices English by record trying to improve himself and he’s obviously looking for intimacy like we all are. In one particularly enlightening turn of events, he begins repeating names in front of the mirror to the point that it becomes taxing. But what young person hasn’t stared at themselves in the mirror or nervously talked to themselves? He truly is a young man still trying to figure things out. He’s allowed to have crushes and make mistakes. Perhaps he doesn’t deserve love. Most of us probably don’t, but that cannot stop him from being ever enraptured by it.

stolenkisses6 By the time he’s given up the shoe trade and taken up tv repair he’s already visited another hooker, but Christine isn’t done with him yet. She sets up the perfect meet-cute and the two young lovers finally have the type of connection that we have been expecting. When we look at them in this light, sitting at breakfast, or on a bench, or walking in the park they really do seem made for each other. Their height perfectly suited. Her face glowing with joy, his innately serious. Their steps in pleasant cadence with each other. The hesitant gazes of puppy love.

Before the romantic interludes of the Before Trilogy or the adolescent expanses of Boyhood by Richard Linklater, Francois Truffaut was the master of such topics adeptly mixing drama, comedy, and touches of biography to tell personal, heartfelt tales. Jean-Pierre Leaud continues to make Doinel into a character that is continually watchable, because of the very flaws that we criticize. The days of The 400 Blows seem so long ago now and back then he seemed like such a solitary figure. Thankfully now he has the sweet effervescent beauty of Claude Jade to stand by his side. The eminent Pauline Kael, noted her to be “a less ethereal, more practical Catherine Deneuve.” That is a compliment if I’ve ever heard one, and she is a welcomed addition to Stolen Kisses, a thoroughly riveting journey of young love from one of France’s most accessible masters.

4/5 Stars