MOVIES, "THE SWEET LIFE OF CINEMA"
Tuesday, December 31, 2013
DVdC: "THE FACE IS FAMILIAR -- SKELTON KNAGGS" 2013 (DOCUMENTARY)
This is the third in a series of brief biographies of character actors active in horror and science fiction films of the classic, pre-1960 period. Skelton was a very talented character actor, often compared to Dwight Frye in that he appeared in similar roles in horror and gangster pictures. His skill with make up and odd characterizations has often been compared to that of Lon Chaney Sr. This series not made commercially available. (Color, Sound, 20:24)
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DVdC: "THE ACTOR...OFF STAGE" ELI WALLACH 1993 (DOCUMENTARY)
In-depth interview with the noted actor. (Color, Sound, 28:45)
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Monday, December 30, 2013
DVdC: "THE HITCHHIKER" IDA LUPINO 1953 (FEATURE FILM)
Sixth Lupino feature and first "Film noir" made by a woman ever. Hardly sentimental and sharp edged thriller with very modern filming. The paralysed "eyelid" thing is very clever too. (Black and White, Sound, 1:10:48)
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DVdC: "HAXAN" 1922 (SILENT FEATURE FILM)
One strange film. Every cinema-phile should see this artsy, bizarre tale. (Black and White and Tinted, Sound, 1:44:53)
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DVdC: "LA CIOCIARA (TWO WOMEN)" SOPHIA LOREN 1960 (FEATURE FILM)
The raw and sometimes-hard-to-watch film tells the tragic story of a woman trying to protect her teenaged daughter from the horrors of war. The film won the Academy Award for Best Actress (Sophia Loren). It was the first time an actress won an acting award for a non-English speaking role. (Black and White, Sound, 1:39:29)
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Sunday, December 29, 2013
DVdC: "EEGAH" 1962 (FEATURE FILM)
While driving through the desert, a teenage girl is frightened by a seven-foot giant who appears in her path. After escaping, she returns to the site with her boyfriend and her father in an attempt to find the giant. They do find him and it proceeds to terrorize them and the rest of Palm Springs, California.
Stars: Arch Hall Jr., Marilyn Manning, Richard Kiel, and Arch Hall Sr. (Color, Sound, 1:30:08)
Stars: Arch Hall Jr., Marilyn Manning, Richard Kiel, and Arch Hall Sr. (Color, Sound, 1:30:08)
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Saturday, December 28, 2013
DVdC: "SALOME" 1923 (FEATURE FILM)
Avant-garde adaptation of the Oscar Wilde play. Rumors at the time of its production that the cast was all gay doomed its success with the mainstream public. However, the film is now perceived as a landmark of artistic cinema with its spectacle of striking visual images. A work of art!
With English intertitles and German subtitles. (Black and White, Music Track, 1:12:13)
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With English intertitles and German subtitles. (Black and White, Music Track, 1:12:13)
DVdC: "THE FACE IS FAMILIAR: GALE SONDERGAARD" 2012 (DOCUMENTARY)
This is the second in a series of brief biographies of character actors active in horror and science fiction films of the classic pre-1960 period. Gale was a classically-trained actress who found herself closely identified with the character of the Spider Woman after she appeared as Basil Rathbones's nemesis in the 1944 Sherlock Holmes film. Both she and her husband, director Herbert Biberman, fell pray to the post-war blacklisting frenzy of the House Unamerican Activities Committee. This film has never been available to the public. (Color, Sound, 16:23)
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Friday, December 27, 2013
DVdC: "THE RUSH OF THE RIVER" BROTHER ANDY 2010 (WESTERN SHORT FILM)
Uber-artist Brother Andy wrote, directed, edited, and stars in (plus did costumes, makeup and props) a Western about a lonely preacher who is illiterate -- and naive -- who tries to help a man in need. Warning: Some scenes contain nudity. (Color, Sound, 31:25)
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DVdC: "FANCESCO" 1989 (FEATURE FILM)
Told in flashback, the film relates Francis of Assisi's evolution from rich man's son to religious humanitarian and eventually to full-fledged saint.
Francesco was based on Hermann Hesse's Francis of Assisi, which director Liliana Cavani had previously filmed in 1966.
The Saint and founder of the Franciscan Order of Friars Minor is played by Mickey Rourke, and his inspiration, the woman who later became Saint Clare, is played by Helena Bonham Carter.
Raised as the pampered son of a merchant, Francis goes off to war only to return with a profound horror for the society which generated such suffering.
In one scene, as an act of renunciation, he strips himself of his fine clothing in front of his father and leaves the house naked and barefoot, joining the lepers and beggars in the poor section of town.
The film follows with a series of episodes from the saint's life rather than a coherent narrative, following up until his final days when he receives the stigmata, or wounds similar to those on the body of Jesus at the crucifixion. -- allmovieguide
Cast: Mickey Rourke, Helena Bonham Carter, Andra Ferrol, Nikolaus Dutsch, Peter Berling, Hanns Zischler, Mario Adorf, Paolo Bonacelli, Fabio Bussotti
The film won three awards and was nominated for a fourth. Danilo Donati won the 1989 David di Donatello Award for Best Production Design, and the 1989 Italian National Syndicate of Film Journalists Silver Ribbon also for Best Production Design.
Fabio Bussotti won the Syndicate's Best Supporting Actor Award. Director Liliana Cavani was nominated for the Golden Palm at the 1989 Cannes Film Festival. (Color, Sound, 1:58:38)
Francesco was based on Hermann Hesse's Francis of Assisi, which director Liliana Cavani had previously filmed in 1966.
The Saint and founder of the Franciscan Order of Friars Minor is played by Mickey Rourke, and his inspiration, the woman who later became Saint Clare, is played by Helena Bonham Carter.
Raised as the pampered son of a merchant, Francis goes off to war only to return with a profound horror for the society which generated such suffering.
In one scene, as an act of renunciation, he strips himself of his fine clothing in front of his father and leaves the house naked and barefoot, joining the lepers and beggars in the poor section of town.
The film follows with a series of episodes from the saint's life rather than a coherent narrative, following up until his final days when he receives the stigmata, or wounds similar to those on the body of Jesus at the crucifixion. -- allmovieguide
Cast: Mickey Rourke, Helena Bonham Carter, Andra Ferrol, Nikolaus Dutsch, Peter Berling, Hanns Zischler, Mario Adorf, Paolo Bonacelli, Fabio Bussotti
The film won three awards and was nominated for a fourth. Danilo Donati won the 1989 David di Donatello Award for Best Production Design, and the 1989 Italian National Syndicate of Film Journalists Silver Ribbon also for Best Production Design.
Fabio Bussotti won the Syndicate's Best Supporting Actor Award. Director Liliana Cavani was nominated for the Golden Palm at the 1989 Cannes Film Festival. (Color, Sound, 1:58:38)
Thursday, December 26, 2013
DVdC: "DAS WANDERNADE BILD" FRITZ LANG 1920 (SILENT FEATURE)
"Das Wandernde Bild" was directed by Fritz Lang and released in 1920. The inter-titles are in Portuguese, however English subtitles are mixed in. The subtitle source is unknown. (Black and White, Silent, 45:16)
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DVdC: "FLYING DEUCES" 1939 LAUREL AND HARDY (COMEDY FEATURE FILM)
This was the first comedy that Laurel and Hardy starred in without producer Hal Roach, although they had previously been "guest stars" in four MGM movies.
After they finished making "The Flying Deuces," they returned to Hal Roach Studios to make films.
In order to make this movie, producer Boris Morros bought the rights to the 1931 French film "Les deux legionnaires," which had a similar plot. "The Flying Deuces" was Morros' first independent production and it was shot in continuity over a span of four weeks.
After they finished making "The Flying Deuces," they returned to Hal Roach Studios to make films.
In order to make this movie, producer Boris Morros bought the rights to the 1931 French film "Les deux legionnaires," which had a similar plot. "The Flying Deuces" was Morros' first independent production and it was shot in continuity over a span of four weeks.
SYNOPSIS:
Ollie is in love with a woman. When he find out that she is already married, he tries to kill himself. Of course, the suicide is prevented and the boys join the Foreign Legion to get away from their troubles. Eventually, they are arrested for trying to desert the Legion and escape the firing squad by stealing a plane. (Black and White, Sound, 1:07:58)
Ollie is in love with a woman. When he find out that she is already married, he tries to kill himself. Of course, the suicide is prevented and the boys join the Foreign Legion to get away from their troubles. Eventually, they are arrested for trying to desert the Legion and escape the firing squad by stealing a plane. (Black and White, Sound, 1:07:58)
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DVdC: "THE AMERICAN WEST OF JOHN FORD" 1971 (DOCUMENTARY)
A documentary encapsulating the career and Western films of director 'John Ford' , including clips from his work and interviews with his colleagues such as John Wayne, James Stewart, Henry Fonda and Andy Devine. (Color, Sound, 51:22)
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Wednesday, December 25, 2013
DVdC: "STAR TREATMENT: SILENT MOVIE STARS" 1980 (DOCUMENTARY)
Producers discovered the effect of 'star power' on their box office bottom line. Creating Hollywood stars became its own industry, resulting in the Hollywood Star System, from which came Clara Bow, Lillian Gish, and John Gilbert, successor to Rudolph Valentino as "The Great Lover". But as easily as they made them, studios could break them. Interviews include Charles "Buddy" Rogers, Louise Brooks and King Vidor. (Black and White, Color, Sound, 52:09)
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DVdC: "THE SADIST" 1963 (HORROR FEATURE FILM)
This is believed to be the first feature film based on real life serial killers Charles Starkweather and Caril Fugate. Mainstream Hollywood would not produce films inspired by the pair until a decade after this one. (Black and White, Sound, 1:31:38)
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DVdC: "SEX MADNESS" 1938 (FEATURE FILM)
This is a typical sex exploitation film from the early 1930s - complete with wild parties, sex out of wedlock, lesbianism, etc. A chorus girl's exposure to the "casting couch" also exposes her to syphilis.
Exploitation filmmakers hoped to capitalize on the taboo subjects of venereal disease, sex before marriage, lesbianism, etc. while skirting the Motion Picture Production Code of 1930 which forbade a film from containing such content. Films like this would tour the United States for years - mostly being shown in rundown, skid row theaters. This film has been re-edited and re-titled ("Human Wreckage", "They Must Be Told", "Trial Marriage", "About Trial Marriage") many times to attract the same audience to film, to take advantage of a taboo subject which may have gotten press recently or to appease local censors who disapproved of the film's content. (Black and White, Sound, 51:38)
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Exploitation filmmakers hoped to capitalize on the taboo subjects of venereal disease, sex before marriage, lesbianism, etc. while skirting the Motion Picture Production Code of 1930 which forbade a film from containing such content. Films like this would tour the United States for years - mostly being shown in rundown, skid row theaters. This film has been re-edited and re-titled ("Human Wreckage", "They Must Be Told", "Trial Marriage", "About Trial Marriage") many times to attract the same audience to film, to take advantage of a taboo subject which may have gotten press recently or to appease local censors who disapproved of the film's content. (Black and White, Sound, 51:38)
DVdC: "DUNGEON OF HARROW" (SCI-FI, HORROR FEATURE FILM)
A man is shipwrecked on the island of a cruel count and taken prisoner. This film was written and directed by comic book artist Pat Boyette. (Color, Sound, 1:26:15)
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DVdC: "TEA SPACE" 2003 (FRENCH DOCUMENTARY)
In the heart of Paris, a new construction is being built in a garden, amongst the great stone buildings of the city. This donation of Japan, made in wood, earth and paper will be hosting the act of sharing tea, across cultures and boundaries. "It is made to last for a long time", says the architect, Mister Masao Nakamura. (Color, Sound, 26:49)
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DVdC: "WARNER BROTHERS BREAKDOWNS AND BLOW-UPS" 1936 (DOCUMENTARY)
These are most of the surviving behind-the-scenes reels produced by "The Warner Club", an organization comprising of Warner Bros stars and crew members. These reels were produced most years and shown at their annual dinner -- the mistakes that had been made during that year's productions.
Some of the people who appear: Eddie Acuff, Eddie Albert, Mary Astor, Ralph Bellamy, Humphrey Bogart, Walter Brennan, George Brent, Sheila Bromley, James Cagney, Claudette Colbert, Walter Connolly, Gary Cooper, Bette Davis, Errol Flynn, Henry Fonda, Dick Foran, Kay Francis, John Garfield, Bonita Granville, Rita Hayworth, Hugh Herbert, Ian Hunter, Isabel Jeans, Paul Kelly, Patric Knowles, Margaret Lindsay, Gene Lockhart, Carole Lombard, Paul Muni, Pat O'Brien, Hugh O'Connell, Nat Pendleton, Mary Philips, Dick Powell, Dick Purcell, George Raft, Claude Rains, Basil Rathbone, Ronald Reagan, George Reeves, Addison Richards, Edward G. Robinson, Rosalind Russell, Ann Sheridan, Sylvia Sidney, James Stewart, Rudy Vallee, Sammy White, Jane Wyman, Walter Young. (Black and White, Sound, Approx. Various)
Some of the people who appear: Eddie Acuff, Eddie Albert, Mary Astor, Ralph Bellamy, Humphrey Bogart, Walter Brennan, George Brent, Sheila Bromley, James Cagney, Claudette Colbert, Walter Connolly, Gary Cooper, Bette Davis, Errol Flynn, Henry Fonda, Dick Foran, Kay Francis, John Garfield, Bonita Granville, Rita Hayworth, Hugh Herbert, Ian Hunter, Isabel Jeans, Paul Kelly, Patric Knowles, Margaret Lindsay, Gene Lockhart, Carole Lombard, Paul Muni, Pat O'Brien, Hugh O'Connell, Nat Pendleton, Mary Philips, Dick Powell, Dick Purcell, George Raft, Claude Rains, Basil Rathbone, Ronald Reagan, George Reeves, Addison Richards, Edward G. Robinson, Rosalind Russell, Ann Sheridan, Sylvia Sidney, James Stewart, Rudy Vallee, Sammy White, Jane Wyman, Walter Young. (Black and White, Sound, Approx. Various)
DVdC: "OF HUMAN BONDAGE" BETTE DAVIS 1932 (FEATURE FILM)
The 1934 film was the first film to bring real critical success to its star Bette Davis, her over-the-top, theatrical performance was passed over for a Best Actress Oscar nomination, although she was an unofficial write-in candidate.
The RKO film, directed by John Cromwell, tells the story of a club-footed, sensitive artist Philip Carey (Leslie Howard), an Englishman who has been studying painting in Paris for four years, but is advised by his art teacher that his work is mediocre and second-rate, and that he lacks promise. So he returns to London, England to take up studies to become a medical doctor, but his older age and introspection make it difficult for him to keep up in his scholastic work. In England, he becomes infatuated, and then obsessed by a blonde, lower-class, slatternly and vulgar, Cockney-accented, illiterate tearoom waitress named Mildred Rogers (Bette Davis). (Black and White, Sound, 1:22:38)
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The RKO film, directed by John Cromwell, tells the story of a club-footed, sensitive artist Philip Carey (Leslie Howard), an Englishman who has been studying painting in Paris for four years, but is advised by his art teacher that his work is mediocre and second-rate, and that he lacks promise. So he returns to London, England to take up studies to become a medical doctor, but his older age and introspection make it difficult for him to keep up in his scholastic work. In England, he becomes infatuated, and then obsessed by a blonde, lower-class, slatternly and vulgar, Cockney-accented, illiterate tearoom waitress named Mildred Rogers (Bette Davis). (Black and White, Sound, 1:22:38)
Monday, December 23, 2013
DVdC: "ACTIVITY GROUP THERAPY PT 3" 1950 (DOCUMENTARY)
All hell breaks loose when boys act like boys -- and then they use "profanity". (Black and White, Sound, Approx. 19:56)
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DVdC: "ACTIVITY GROUP THERAPY PT 2" 1950 (DOCUMENTARY)
Boys are suspect of "anti-social behavior" while wearing ties. (Black and White, Sound, 12:56)
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DVdC: "ACTIVITY GROUP THERAPY PT 1" 1950 (DOCUMENTARY)
Shows socially-maladjusted boys 10 to 11 years old being benefitted therapeutically by "acting out" their disturbances upon their environment and each other in a realistic situation with an emotionally neutral therapist and concealed cameras and microphones. A fascinating mental health film produced for professional audiences, depicting truly anarchic behavior. (Black and White, Sound, Approx. 10:17)
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DVdC: "NIGHT TIDE" DENNIS HOPPER 1961 (FEATURE FILM & TRAILER)
Struggling young actor Dennis Hopper in this nice little tale with a theme of love is stronger than fear... (Black and White, Sound, Approx. 1:27:37)
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DVdC: "FATAL GLASS OF BEER" W. C. FIELDS 1933 (COMEDY SHORT)
(Black and White, Sound, Approx. 18:28)
DVdC: "MAKING CHRISTMAS TREE ORNAMENTS" 1956 (INSTRUCTIONAL)
Hilarious (almost a SNL satire) educational film, dry-narrated by a housewife doing Christmas crafts with for-real seriousness. (Color, Sound, Approx. 17:08)
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DVdC: "IF MIRRORS COULD SPEAK" 1976 (EDUCATIONAL)
In hopes of keeping kids' attention, social engineering films would often use supernatural elements to make their points. In this film, we see a magic talking mirror that reflects bratty kids as clowns. Most of the misbehaving kids understand how their behavior is disruptive and make amends. Surprisingly, one kid doesnt care if he is a "clown" and continues being a jerk, probably for the rest of his life. (Color, Sound, Approx. 10:16)
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DVdC: "FILM MAKING EXPERIENCE (A NIGHT BEFORE CHRISTMAS PROJECT)" 1974 (DOCUMENTARY)
The film depicts the making of the film as well as the finished product, with Bolex camera, the construction of miniature sets, lighting and splicing. The jazz sound track is performed by Robert Clark, music teacher at Hughes Jr. High. The narration was done by veteran actor Marvin Miller. The girl shown splicing footage is Simms' daughter Laura. (Color Approx. 10:23)
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DVdC: ACTOR AL LEWIS "GOODBYE, AMERICA" 2000 (DOCUMENTARY)
An extremely interesting documentary, especially since Al Lewis played "Grandpa" (an undead vampire) on the TV show, "The Munsters" and here discusses world events and life experiences, as he is dying himself. A Sergio Oksman film. Spanish subtitles. (Color, Sound, 1:12:10)
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Sunday, December 22, 2013
DVdC: "CLASSIC COMEDY TEAMS" (DOCUMENTARY)
Host Steve Allen narrates a documentary about classic comedy teams, including Burns & Allen, The Three Stooges, The Marx Brothers and many more.
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Friday, December 20, 2013
DVdC: "BROKEBACK MOUNTAIN IS BROKEN" (MOVIE REVIEW/EDITORIAL)
DATED 2006:
“Brokeback Mountain” Is Broken
“Brokeback Mountain” is receiving much widespread acclaim because everyone is acclaiming its’ widespread acclaim and, in my opinion, that’s appalling. It is being called a “gay cowboy love story” over and over again, in press, on the streets, as though it were true. Except there are a few little minor problems to address -- the film isn’t any of those things in any way shape or form, barring that, yes, they wear western costumes and ride horses occasionally. I am deeply saddened if “this is the most influential film of the decade” and “Best Film Of The Year” as stated in the press – gay press at that -- and that the film is up for many prestigious awards. I am disappointed for numerous reasons:
1. They’re not gay.
The two main characters themselves say they’re straight in the movie itself – and I believe them. What I saw was two straight married men with children, playing on the “down-low”. One of the actors, Jake, is quoted publicly saying, he “played a straight man in love with another man”. Being that they are “real” men, not just “stereotypical” gays, it makes the two characters being “gay-like” easier to accept by the general public and by gays alike.
This exemplifies internalized self-hatred in the gay community where having sex with a straight man makes the sex seem less homosexual and any straight man having any kind of homosexual activities is a tortured soul and the straight world reacting to the ultra-liberal stance (in their highly intolerant view) of “at least they’re not nelly”.
I have never seen a woman, black, or gay in mainstream media that resembles anything like real life and “Brokeback Mountain” is dismal in showing a real-life “gay experience” (or even “closeted gays” or fantasy, especially in light of being made by surely well-intended but-still-straight people speaking of subjects without first-hand knowledge, just like “The Bird Cage” and countless other films). If this film is the current representation of gays, how they see themselves, and how other non-gay people see them – to be pitied at best – we have got a long way to go for true acceptance.
Not once was “love” shown -- between men, men and women, or parents and children. There is a difference between “love” (a behavior of concern, caring, acceptance, support and understanding) or even being “in love” and “desire and lust” (a behavior of being overtly sexual, fantasizing, and self-concerned with one’s own needs and wants). But of course, this difference was never addressed in the film. Everyone seems to be confusing one behavior for the other – especially the film-makers. What I saw was “a longing to share aggressive physical sexuality between two people who have made strong intimate commitments to other people” – but all this in a very limited way – and, by far, I grant it, they did emotionalize over that…endlessly.
There is an out-of-nowhere drunken, animalistic doggy-style sex scene, a scene where the two hungrily greet after four years of absence (where more alcohol was involved), and two scenes of frolic (i.e. wrestling and swimming). These scenes are a mere brief few minutes (if not seconds) – especially in contrast to the hours devoted to denial, anger, acting out and negative consequences. They seem to hit each other more than kiss. Why doesn’t anyone see that?
We saw no nudity, no overt sexuality, not even holding hands. Just talk – and not much of that. It’s the IDEA of sex – not anything presented visually. One character, who does tricks in Mexico because he states he can’t wait between sex camp trysts (and tries to play house with another man on his parents’ property), says, “I think the only thing we have in common is Brokeback Mountain…” There’s love for ya. If these people are lonely, they have brought it on themselves.
3. Deviants must be punished.
At least five times, the film concretely points out how “bad” it is to be gay. From “Boys Don’t Cry” to “The Boys In The Band”, gays get what they deserve in films, or so film-makers would have you believe – dating back to the “Hayes Office” censorship. Even today on TV’s “Will And Grace”, “Will”, a gay “Rhoda”, is unable to be fulfilled as a person – someone they now show as jobless, non-romantic, with a dysfunctional family who can not seem to accept his gayness. Laughing on the outside -- period.
Gays have no emotional depth in media. A scene in “Brokeback”, when the blonde cowboy speaks on the telephone to the dark-haired cowboy’s wife, a scene in which the dark-haired cowboy is beaten appears, seems to be tacked on. Who’s point of view is it? Is it the blonde’s thoughts? The wife’s thoughts? Was it a film-maker’s after-thoughts? Why was it necessary in a “gay love story” to show THREE dead gay people? In a bio-pic of Hugh Hefner, I hope they splice in references to herpes and crabs and women getting raped. Huh?
“Brokeback Mountain” is not to be confused with “Romeo And Juliet”. This is closer to the Mathew Sheppard story, plain and simple, or “Angles In America” or whatever tear-jerker dead-queer story. Yet, these two men should be punished in my opinion. Where are the consequences of cheating on their spouses or having indiscriminate anonymous sex or laziness or being afraid to look at one’s self? If this were about two people – a man and a woman – who worked together and ran off together every so often to “party” (“Same Time Next Year”), would there be this positive reaction?
4. There are no mentions of positive gay reinforcements in ANY scene.
Many opportunities were missed to counter the negativity presented in the movie. When the dark-haired cowboy is confronted by the boss who tells him there is no job for him, that was an opportunity to say, in essence, “I don’t care what you think of me…I am not ashamed…” Yet, the boss didn’t fire them because they were gay. They were fired for fucking off while on duty and on his dime.
When the blonde cowboy is confronted by his ex-wife in the kitchen about him never having caught fish on his trips, this was a time when he could have said something to the effect of, “We went there to be with each other…not fish”.
When the blonde cowboy visits the dark-haired cowboy’s parents, the mother should have given him what he needed to fulfill the wishes of her son. Instead, the blonde leaves with a reminder of their bloody fight and never insists the parents do right by the man he loves. He accepts the parents’ coldness and, apparently, so are we.
When the blonde’s daughter announces her plans of marriage, she could have said, “I’m happy now…You only seemed happy on trips with what’s-his-name? Let’s go fulfill his last wishes...” Or she says, “I hope you find happiness again, like I have…” This would have been “the audiences’ point of view”, teaching acceptance, showing love to someone who couldn’t love themselves, even enough to love someone else the way they wanted and needed to be loved.
No gender, sexual orientation, sexual preferences, hate crimes, relationship dynamics, not even the suggestion of reasoning or why a person would be so repressed – nothing. Where’s Kinsey at this time with his world-wide shocking scientific data? Where’s the sexual revolution? Where is the voice of one other gay character? These characters seem to live in a vacuum. The argument they live in the middle of nowhere doesn’t cut it when one of them travels to Mexico (How did he know to go there? Did the openly gay men there have nothing to teach him?), lives in a town big enough to sell large farm equipment (Stories abound of boys and the back of the barn…), and have televisions (What did he think of Liberace?). They seem to be the only gay people in the world -- ever. There is no context other than “it’s bad – and that’s that”. But…why? Why was it so bad to be a woman a hundred years ago? Why was it so bad to be black two hundred years ago? You have to make sense of something senseless when that’s what the presented theme is in a film. The ONLY thing the blonde’s father said to him growing up was about dead gay people – apparently missing “don’t drink and drive”, “be good to your woman”, or “get an education so you can get a good job to feed your babies”? Why was it necessary to reference a little child’s reaction to a dead gay man whose penis was severed? This was shown but countless other relative things go by without addressing whatsoever.
Diane Sawyer (who is married to an Oscar-winning, history-making film-maker of the “Graduate” and “The Birds Cage”) asked Heath Ledger on ABC, “So here it is, two straight men, playing in love scenes…I mean, how was it done? Did you have to choreograph it?” -- as though the idea of actors acting was foreign to her and thereby reinforcing how difficult is must be to be perceived as gay and do gay things when you are so obviously not.
By ravishing praise on “Brokeback Mountain” and then rebuffing with how the actors must have anguished over acting “gay”, the media itself is subtly reinforcing negative gay stereotypes while trying to sound “with it”. Gays, even in Hollywood, are so desperate for positive role models, they grab on to ones that truly aren’t. If the movie was about a black man “in love with a white woman” and the black man was killed at the end for his sexual interests in white women, there would be riots in the street over the film – even if the film was set in a time when that seemed like appropriate behavior.
In the ‘60’s movie, “Guess Who’s Coming To Dinner”, a “white-ish” Sidney Poitier and the rest wait around, pondering if they will be accepted by “the great white father”, Spencer Tracy. You are to leave the film rooting for the two to be joined when in fact you should be angry over such white butt kissing.
Why make the movie at all? Why would anyone sympathize with ignorant liars, selfish cheaters, and blatant manipulators as they are presented in “Brokeback Mountain”? At best, these men are terrible husbands, horrible fathers, crappy lovers and irresponsible employees. That’s entertainment? That’s making a social statement?
Anyone saying anything bad against this movie comes off as “disloyal” to the gay community or “anti-gay” and that’s a sad comment as well. I don’t need Hollywood or anyone else to tell me it’s ok to be gay – that’s condescending. And I am certainly old enough to remember every struggle of every minority before me and recognize being patronized by powers-that-be.
“Brokeback Mountain” is not ground-breaking or progressive. It puts all of us right back where the characters are – in the ‘60’s and ‘70’s and gives no hints for possible change. Theatergoers who find themselves weeping at “Brokeback Mountain” should take a long, hard look at where their sympathies lie… and why.
The film contains a “who” and a “when” and a “where”. What’s lacking is the “how” and the “why”. The cowboy theme is overwhelmingly dull. What’s with all the sheep-wrangling? The original writer of the short story in which the film is based can’t believe it was ever published, let alone a film. I can see her point.
The film-makers do not tell us anything new in any new way about cowboys or gays or even people who struggle emotionally. The cowboys have dedicated their lives doing something we have no clue as to why. There’s no money, no glory, no sense to it all.
Acting? What acting? Heath Leger’s mumbling imitation of Gary Cooper is passé. Perhaps limiting dialogue and slurring was a way of hiding his accent. Even the mustaches seem to be a macho contrivances.
The first twenty minutes of the film was tragically boring. If I hear one more time about “beautiful vistas”, I’ll puke. The director has said, “The mountain is the third character.” And that character is what? Mean? Happy? “Rustic” is not plot, character, or dialogue.
Here, the main character doesn’t speak much and others make many references to that fact. Therefore, we are left unaware of any motivations he or anyone else has. Why would the wives stay married to these kinds of men? Who knows? Love stories must establish the characters’ strong bond but too much “kissy-face mooning” and you are turned off by the sappiness. Here, we do not see any structure for their relationship or anyone elses’. We know very, very little and on that comes this outpouring of praise and admiration?
Naive boy meets horny boy. Boys meet every once in while and screw. Boy looses boy. The end. What is the message? What’s the conclusion? A better movie would have been about the blonde’s wife with two kids who sees her husband kissing a man out of nowhere and her decision to stay with him and her ultimate decision to leave him. She rang as the only true thing in the whole film.
To see in my lifetime not only gays refused basic legal rights, but to witness whole industries supporting something so obviously hurtful makes me wonder why hate crimes aren’t more prevalent. I can only hope the future brings about true acceptance and understanding and this film is seen in the same light as earlier films about sexism and racism – well-meaning but still repressive and even openly hostile.
Even still, having said all that, I would be fine, in my opinion, if, for one, the Hollywood bastards hadn’t cheated me out of nine damned dollars once again. Secondly, the film was presented truthfully in the manner in which it was created: “Ladies and gentleman, introducing a wistful little non-sense film about two sex-starved, up-tight straight dudes who find themselves in a homosexual version of ‘Same Time Next Year’ that ends in a painful tragedy of senseless hate-crimes…” But what’s the sense in being real like that? Calling it a “gay cowboy love story” sells better. The makers of “Brokeback Mountain” should be ashamed of themselves and so should anyone who liked it.
Thursday, December 19, 2013
DVdC: VERDI'S "AIDA" SAN FRANSISCO OPERA W/ LUCIANO PAVAROTTI 2012
A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music. (Color 2:43:00)
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DVdC: "THE STRANGE WOMAN" 1946 (FEATURE FILM)
Hedy Lamarr and George Sanders in a movie based on Ben Ames Williams' novel of early 19th-century Maine. (Black-and-White 1:39:13)
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DVdC: "THE BLACK COBRA" 1987 (ACTION FEATURE FILM)
Detective Robert Malone (Fred Williamson) establishes himself as a maverick, uncompromising policeman when he guns down several criminals during a hostage standoff. Next, he finds himself protecting a female photographer (Eva Grimaldi) who has witnessed a murder. She is sought by a moronic gang of motorcyclists who have been murdering and raping at will. Malone finds them, confronts them, and takes care of (police) business. (Color, 1:26:04)
DVdC: "BLACK TIGHTS" 1960 (DANCE, MUSIC FEATURE FILM)
Maurice Chevalier link together four dramatic ballet: "Carmen: (1949), "La Croqueuse de Diamant"s (1950), "Deuil en 24 Heures" (1953), and "Cyrano de Bergerac" (1959). Danced by the Paris Opera Ballet and choreographies by Roland Petit. (Color, 2:03:56)
DVdC: "HOLLYWOOD WITHOUT MAKEUP" 1963 (DOCUMENTARY)
A gag-reel/bloopers premise with Eddie Albert, June Allyson, George K. Arthur, Mary Astor, Lew Ayres, Max Baer, Lucille Ball, Richard Barthelmess, Rex Bell, Edgar Bergen, Sally Blane, Humphrey Bogart, John Boles, Pat Boone, Eddie Borden, Hobart Bosworth, Clara Bow, William Boyd, Fanny Brice, Paul Brooks, Joe E. Brown, Johnny Mack Brown, Virginia Bruce, Rory Calhoun, Leo Carrillo, Charles Chaplin, Lew Cody, William Collier Jr., Russ Columbo, Gary Cooper, Jackie Cooper, Jeanne Crain, Robert Cummings, Linda Darnell, Marion Davies, Joan Davis, Olivia de Havilland, Dolores del Rio, Cecil B. DeMille, Jack Dempsey, Walt Disney, Kirk Douglas, Marie Dressler, Irene Dunne, Josephine Dunn, Stuart Erwin, Ruth Etting, Douglas Fairbanks, Douglas Fairbanks Jr., Charles Farrell, Todd Fisher, Errol Flynn, Joan Fontaine, Glenn Ford, Clark Gable, Greta Garbo, Reginald Gardiner, Cary Grant, Alan Hale, Oliver Hardy, William Randolph Hearst, Jean Hersholt, William Holden, Bob Hope, Hedda Hopper, Walter Huston, Sam Jaffe, Van Johnson, Buck Jones, Hope Lange, Charles Laughton, Stan Laurel, Gertrude Lawrence, Mervyn LeRoy, Charles Lindbergh, Carole Lombard, William Lundigan, Fred MacMurray, Jayne Mansfield, George Marshall, Herbert Marshall, Chico Marx, Groucho Marx, Harpo Marx, Joel McCrea, Victor McLaglen, Adolphe Menjou, Mayo Methot, Marilyn Monroe, Frank Morgan, Wayne Morris, Jean Parker, Louella Parsons, Mary Pickford, Dick Powell, Tyrone Power, George Raft, Gregory Ratoff, Donna Reed, Debbie Reynolds, Buddy Rogers, Charles Ruggles, Albert Schweitzer, George Seaton, Norma Shearer, George Stevens, Lewis Stone, Margaret Sullavan, Robert Taylor, William T. Tilden, George Tobias, Spencer Tracy, Lupe Velez, Jimmy Walker, John Wayne, Johnny Weissmuller, Mae West, Claire Windsor, Robert Woolsey, Jane Wyman and others.
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DVdC: "ANOTHER MAN'S POISON" 1951 BETTE DAVIS (FEATURE FILM)
Bette Davis stars in a film noir crime drama. (Black and White, Approx. 1:30:29)
DVdC: "BATTLE AXE: THE MAKING OF 'STRAIGHT JACKET'" (DOCUMENTARY)
Joan Crawford starred in the 1962 movie, "Straight Jacket". This is a behind-the-scenes of making the strange film.
(Color. Approx. 14 mins.)
Wednesday, December 18, 2013
DVdC: "BREAKING WITH OLD IDEAS" 1975 (CHINA, FEATURE FILM)
One of the most controversial dramatic films produced in China during the cultural revolution, "Breaking" is about the struggle to democratize education in the countryside. Made during Mao Tse Tung's infamous Cultural Revolution.
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DVdC: "MAN WITH A CAMERA" 1929 (FEATURE FILM)
Dziga Vertov's "Man With A Movie Camera" is considered one of the most innovative and influential films of the silent era.
Startlingly modern, this film utilizes a groundbreaking style of rapid editing and incorporates innumerable other cinematic effects to create a work of amazing power and energy.
Film pioneer Dziga Vertov uses all the cinematic techniques available at the time - dissolves, split screen, slow motion and freeze frames.
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