Posted by R. Emmet Sweeney on April 11, 2017
To view Perfect Friday, click here.
There is a blessed simplicity to a heist film, with its basic elements of planning and execution. Last week I looked at an elaborate cat-and-mouse variation of this trope, The Silent Partner (1978), while today I’ll discuss a streamlined version, the lighthearted British heist film Perfect Friday (1970). They are two of the six films FilmStruck is streaming in its “How to Rob a Bank” theme (alongside The League of Gentlemen, Max and the Junkmen , Revanche , and The Robber). Perfect Friday is shorn of any backstory or subplot, focused entirely on the robbery at hand. Stanley Baker stars as a mild mannered bank clerk looking to retire on one big score. He recruits a money hungry Lord (David Warner) and his wife (Ursula Andress) to pull off the job. But every word they speak is a lie, from promises of an equal split to the husband telling his wife he loves her. The scene is set for multiple betrayals, it is only a matter of who is holding the money-stuffed suitcase last.
Posted by Greg Ferrara on April 9, 2017
To view Breaking the Waves click here.
There are two moments near the beginning of Lars von Trier’s Breaking the Waves (1996) that capture a little bit of what I love so much about his style of filmmaking, moments that make the film seem unrehearsed, almost as if it weren’t a narrative piece at all. The first is after Bess (Emily Watson) walks outside after meeting with the council of her church elders seeking permission to get married. She breathes in the air and then looks directly at the camera, smiling. The second occurs during the wedding of Bess and Jan (Stellan Skarsgård) as we see Bess coming down the aisle. She smiles shyly at everyone then looks right into the camera and sticks her tongue out. Both are fourth wall breaks but are done without irony or sarcasm, done not to wink at the audience but to leave the impression that you’re there, with Bess, in the moment, sharing her story. Lars von Trier makes movies that infuriate people and I admit, it took me some time to appreciate his nuances, but once I did, I found myself rewatching his works and rediscovering an emotional intimacy few other filmmakers accomplish.
Posted by R. Emmet Sweeney on April 4, 2017
To view The Silent Partner click here.
In The Silent Partner, the devil is in the details. Elliott Gould’s mild-mannered bank teller Miles is transformed into a criminal strategist because he notices a scrawl of handwriting on a deposit slip. This causes his analytical mind to pivot its attentions from customer accounts to an elaborately unfolding heist. The script by Curtis Hanson is relentlessly logical as it pits the chess-playing, game theory wielding Gould against the brute force of a sociopathic thief named Harry, played with dark charisma by Christopher Plummer. Their pas de deux takes place all over Toronto (this was one of the early Canadian Tax Shelter films – 100% of costs were tax deductible), and what began as a teasing game becomes something elemental. The Silent Partner won six Canadian Film Awards, including Best Picture, but had trouble finding screens in the United States – but now The Silent Partner is streaming on FilmStruck as part of its six-film “How to Rob a Bank” collection.
Posted by R. Emmet Sweeney on March 7, 2017
Claudia Weill described her companionable film Girlfriends (1978) with a quote from the Eleanor Bergstein novel Advancing Paul Newman: “This is a story of two girls, each of whom suspected the other of a more passionate connection with life.” Or to put it in modern parlance, it’s a comedy of FOMO (fear of missing out). Girlfriends portrays the NYC friendship between the Jewish brunette Susan Weinblatt (Melanie Mayron) and the WASP blonde Anne Munroe (Anita Skinner). Susan is delaying family life to pursue a career in photography, while Anne speeds into marriage and kids while putting her writing to the side. They envy the other’s freedom and security, respectively, and their once unbreakable bond begins to fray. Girlfriends began as a documentary project on Jewish American identity, with funding from the AFI, but instead Weill funneled all her research into an independent feature, one so well-received it was picked up by Warner Bros. for distribution. Though the set-up can be a bit schematic, Weill has the patience of a documentarian and allows the actors to build their characters from types into complex personalities (shooting on location in shabby NYC apartments helps with the verisimilitude). The cast is superb all around, from Mayron and Skinner to the men who pursue them with varying degrees of success (an anxious Bob Balaban, flighty Christopher Guest and a charismatic Eli Wallach). Girlfriends is streaming on FilmStruck, and is also airing on Turner Classic Movies Wednesday March 8 at 9:15am.
Posted by Jill Blake on February 25, 2017
In the supernatural comedy I Married a Witch (1942), director René Clair serves up an irresistible potion consisting of revenge, sex, politics and romance. Based on the novel The Passionate Witch by author Thorne Smith, I Married a Witch stars Fredric March and Veronica Lake, an unlikely romantic leading couple if there ever was one. From the significant age gap between March and Lake, to tales of feuding and unprofessionalism on the set, to irreconcilable creative differences amongst the directorial and production staff, not to mention threat of censorship, the legend surrounding the troubled production has only added to the delightful curiosity that is I Married a Witch.
Posted by Greg Ferrara on February 17, 2017
When people think of old movies, they think black and white, grainy, studio-driven and set bound. It’s a common go-to for most casual movie fans but for a film lover, there are no old movies, only classics. There are, however, relics. Movies from not just a different time but a different state of mind, and for me, the independent films of the 1980s and the 1990s are now the relics of cinema. Movies made decades before them seem less dated, movies made just a few years after them seem a century ahead. But I don’t necessarily mean that in a negative way. For me, the movie most representative of what I’m talking about is the 1992 independent feature Gas Food Lodging, directed by Allison Anders and starring Brooke Adams, Ione Skye and Fairuza Balk. Filled with promise, it went nowhere and the cast, with the mild exception of Ms. Balk, got no real boost from its acclaim. Shortly afterwards, independent movies starting getting higher budgets, bigger celebrity star turns and technology put them on the same plane as the studios.
Posted by Greg Ferrara on January 29, 2017
I just did a Fritz Lang movie last week (The Big Heat from 1953) and there have been other posts on the director around these parts lately as well so forgive me if I dive into familiar waters one more time. You see, I tend to focus on the ethical dilemmas of Lang’s work, in movies like M (1931), Fury (1936), Scarlet Street (1945), and, of course, The Big Heat*, where the good guys and the bad guys tend to overlap. But before I take a break from writing about Lang, I’d like to throw in one more post on what may be my biggest Lang surprise in all my years of watching him. It’s a movie that throws so many genre tropes together into one big pot, it’s a miracle any of it works at all. But it does, magnificently so. It’s one of those movies that came and went and despite having plenty of big names in the cast, it feels like a low budget movie shot on the run. This amazing little piece of work called While the City Sleeps (1956) may be Lang’s most purely enjoyable film.
Posted by Kimberly Lindbergs on January 26, 2017
Joan Bennett got her start in Hollywood as a lovely, demure, fair-haired ingénue but made her mark as a sexy, feisty, dark-haired femme fatale. Her transformation was atypical in Tinseltown where many natural brunettes such as Carole Lombard, Lana Turner, Marilyn Monroe and Jayne Mansfield, found success after becoming bottle blonds. Bennett’s makeover happened during the production of Trade Winds (1938), an amusing crime-drama where she plays a woman on the run from the law who is forced to change her appearance. She looked so striking as a brunette that she was inundated with fan mail after the film’s release and got approval from national hairdresser associations who publicly admired her exotic new ‘do. Critics disapprovingly compared her to Hedy Lamarr but according to the actress’s autobiography (The Bennett Playbill), she relished the idea of escaping the “bland, blond, innocent” image that had dogged her and the change of appearance brought about a newfound personal and professional confidence. Afterward Bennett became politically active, fell in love with producer Walter Wanger and began a creative partnership with director Fritz Lang that would forever alter the trajectory of her career.
Posted by R. Emmet Sweeney on January 24, 2017
Ginza Cosmetics (1951) is an unassuming, nearly plotless wander through Tokyo from director Mikio Naruse. It is remarkable for how unremarkable it is, focusing on the everyday lives of bar hostesses at a failing nightclub. Anticipating the setting of his 1960 masterpiece When a Woman Ascends the Stairs, Ginza Cosmetics takes place in a world absent of functional men. They have all been lost to gambling, infidelity or the war. The ones that are left are damaged beyond recovery, appendages to a barstool. So the women make do with what is available to them, treating romance as their business and making arrangements with bucktooth middle-managers to create the illusion of intimacy. The film, diffuse in its focus, touches on these faux-mances but also finds time for the afternoon wanderings of a latchkey kid and his exhausted bar hostess mother, whose schedules are almost exact inverses. When he is wandering the city, she is holed up inside a bar, and when he is in bed asleep, she is finally freed into the night. Ginza Cosmetics is streaming on the Criterion Channel of FilmStruck, along with eleven other Naruse titles.
Posted by R. Emmet Sweeney on December 27, 2016
As 2016 staggers to a close, I am looking back at the pockets of film pleasure I enjoyed from the year that was. This season is clogged with lists, and here I offer another, though one more suited to the historically minded viewers of TCM and FilmStruck. It is a list of my favorite old movies that I viewed for the first time over the past twelve months. These came from all over – rare MoMA film prints, old Warner Brothers DVDs, and yes, from streaming titles on FilmStruck. It’s an eclectic grouping of arts high and low, from all over the world. I hope it points you in some different cinema directions in 2017, or at least diverts your attention from current events for a few minutes. So prematurely, let me wish you all a Happy New Year, and I hope you’ll continue reading our little blog in the year to come.
Streamline is the official blog of FilmStruck, a new subscription service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films.
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