Posted by Pablo Kjolseth on February 5, 2017
FilmStruck has five titles available to view as part of a Behind the Iron Curtain theme. I originally set out to write about Barbara (2012) as it’s an interesting and unfairly overlooked gem dealing with a family doctor banished from East Berlin to a rural community. I still have a great poster for Barbara showing her riding a bike against a dark green backdrop of grass and trees, casting a suspicious look behind her. I’m shifting gears, however, and delving instead into The Lives of Others (2006). The Lives of Others won an Oscar for Best Foreign Language Film of the Year and was a box office success story. Deservedly so, as it’s a rich and poignant film full of universal truths. It’s also that rare film with humanistic traits that elevate human welfare and art without resorting to treacle. It’s a movie that celebrates music, poetry, literature, and it culminates with both epiphany and the celebration of human dignity, sealed with a perfect ending – one that still brings a tear to my eye.
Posted by Nathaniel Thompson on August 3, 2016
The passing of screenwriter and playwright Peter Shaffer this summer (June 6, to be precise) is another reminder of how most successful writers tend to be remembered for one or two signature works. In this case, all of his obituaries focused on two titles, both of which he translated from stage to screen himself: Equus, filmed in 1977 by Sidney Lumet with Richard Burton and Peter Firth, and Amadeus, turned into an Oscar-winning 1984 film directed by Milos Forman with F. Murray Abraham and Tom Hulce.
Less remarked upon but not entirely ignored was the fact that Peter was preceded into this world by five minutes in 1926 by a twin brother, Anthony Shaffer, who also turned a successful, Edgar Award-winning 1970 play into a hit film: Sleuth (1972), directed by Joseph L. Mankiewicz and starring Laurence Olivier and Michael Caine. (Harold Pinter later overhauled it considerably for a 2007 version directed by Kenneth Branagh, with Caine switching roles opposite Jude Law.) [...MORE]
It was a little over 100 years ago that the writing team of Marcel Allain and Pierre Souvestre first began cranking out Fantômas mystery novels for a voracious European public. To keep apace with the relentless publication schedule, Souvestre and Allain traded writing duties. They would playfully build impossible cliffhangers before handing off to one another, daring the other to concoct a solution. It was perhaps the first commercial application of the Surrealists’ famous “exquisite corpse” game.
Over the years, the Fantômas character has appeared in a frenzied array of movie adaptations of differing degrees of quality. Arguably the most faithful adaptation to date is the 1979 TV miniseries–not necessarily the best, mind you, but the truest to the books. And as it happened, the authenticity extended behind the scenes: the producers decided to hire two visionary filmmakers to direct alternating episodes, in the spirit of Allain and Souvestre’s gonzo writing habits.
So here we are, in the middle of November, sandwiched between the release of the latest James Bond flick and the upcoming release of the new Star Wars. The War on Terror rages on, with no end in sight. The Coen Brothers have migrated to TV where Fargo is ripping it up. Wouldn’t it be awesome if somehow, all these different experiences could be smoothed together into one event? Wouldn’t that just save so much time?
So, I present to you, The Men Who Stare At Goats. A spy-comedy derived as a fictionalized adaptation of a controversial non-fiction book about “psychic soldiers” fighting in Iraq, with overt Star Wars in-jokes…I can’t say it’s a good movie, but it has so much else going for it, quality might be beside the point.
There are times when the received wisdom on a movie separates from the movie itself and starts to run down a track of its own. Consider “Play it again, Sam,” the Thing Everybody Knows about Casablanca even though that line is never spoken in the film. Thinking that’s a line in Casablanca is a trivial error with no real consequences—the sentiment is recognizable from the film, such that it can be true-ish if not strictly accurate.
But then there’s the strange case of Dr. Caligari. Somewhere along the line, the Thing Everybody Knows about this landmark classic of horror cinema took root in our culture like intellectual kudzu—quickly overtaking all available territory and choking to death all the alternative points of view. Thankfully, this remarkable film is making a mini-comeback thanks to some intrepid restorationists, affording an opportunity to rethink its legacy. (Plus it’s on TCM this Sunday, so now’s the time to read up and do our homework on it, right?)
So what do we find here? Two different fortune tellers, neither one genuine. A dead man who isn’t dead—or, put another way, a man who is killed twice. Two different characters who kill a loved one, a set of secret microfilm that is stolen twice, a fake blind man, fake cops, a fake delivery of some fake books to a fake address. Is Mr. Travers the same man as Dr. Forester, or is Mr. Travers the same man as Mr. Costa? Which Mrs. Bellane is the real one—or is neither one of them a real person?
OK, slow down. Take this one step at a time.
Mike Nichols was a veteran comedy director of stage and screen, not to mention a comedy performer of no small renown. He would go on to become of the few people to win an Emmy, Grammy, Oscar and a Tony (the fabled EGOT)—all but the Emmy being won for his comedy work.
Buck Henry was a prolific comedy writer whose career had taken him from the writing staff of The Steve Allen Show to co-creating Get Smart with Mel Brooks to updating Howard Hawks’ screwball classic Bringing Up Baby for a new generation under the title What’s Up Doc? In the years to come he would become a recurring host of Saturday Night Live, a contributor to The Daily Show and a guest star on 30 Rock.
Together they had collaborated on The Graduate, and Catch 22. They had a contractual obligation to producer Joseph E. Levine for a third film—and so in 1973 Mike Nichols and Buck Henry made a paranoid conspiracy thriller about a plot to use talking dolphins to assassinate the President. This is a not a joke.
Posted by Pablo Kjolseth on December 29, 2013
Pope Francis may have edged out Eric Snowden as “Person of the Year” at TIME magazine, but the contributions by the latter have had a deep and ongoing impact on our national psyche. A lot of whistleblowers wind up dead, behind bars, labeled traitors, or – like Snowden – on the run. Small wonder they’ve also found their lives dramatized on film. Their actions inevitably wrestle with big moral questions and all kinds of risks. They flirt with danger and sometimes succumb to tragedy. The high drama lends itself to the screen. Surely some 100 movies out there deal with the topic, many well regarded and yet to be seen by me. For example, I must have been asleep all of 2005, because I missed both The Constant Gardener and North County that year, films I still need to watch when time allows. My own short list must therefore be taken with a grain-of-salt. It’s not comprehensive so much as a casual cluster of what comes to mind. The consolation prize is that two of these will screen on TCM next month. [...MORE]
Posted by Pablo Kjolseth on August 26, 2012
In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). [...MORE]
Posted by David Kalat on June 23, 2012
Abraham Lincoln Vampire Hunter? Seriously?
I took my kids to The Avengers a few weeks ago and we were assaulted by a preview for Abraham Lincoln Vampire Hunter. Both kids, almost simultaneously, leaned in to me to ask in incredulous bafflement, “This is a movie? For realsies?” (That’s how 14 year-olds talk these days. For realsies). Now, just consider how far off the mean you have to have wandered to have the audience for The Avengers think your premise is too preposterous.
Well, the fact is, the definitive Abraham Lincoln action movie already exists—and has done for over 60 years. If it was a person, it could retire. Now, this fantastic action thriller may not have Lincoln in very many scenes (one, if you’re counting), but it’s about Lincoln, it’s an action thriller, and it hits it out of the friggin’ park, so…
We’re here to enjoy The Tall Target. And hoo boy is there a lot to enjoy.
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