Weeks 46-48

Introduction

Welcome to the second most film-packed entry ever! And possibly the longest, thanks to some ramblings. Why has this come to be so? Well, I'll come to that shortly, after those ramblings I mentioned...


An Extended Musing

First, another issue that's come to my mind while writing this entry (specifically after viewing film #123): when was the last time I 'fell in love' with a film? It's got me pondering not only that, but what caused me to fall for things I liked. Was it the critical reaction as much as my personal opinion? The in-built notion of This Is A Good Film making sure I liked it? I don't think that's quite true: I was certainly aware of the high praise for films like Pulp Fiction or Fight Club (both of which I adored from first viewing) when I saw them, but I'm sure there was something more to them that impressed me. Certainly, there are films I've enjoyed to a similar degree where my awareness of its wider praise has followed, such as Donnie Darko or Children of Men. By a similar token, there are films where I knew of the praise, such as Memento and The Departed, and still didn't come to love them.

It leaves me wondering if, as I grow older, I'm less prone to being swayed by received critical opinions and finally just judging films on their own merit; or, possibly, I'm so eager to try to have my own thoughts and to therefore avoid things that I'm not taking them in the right way? It's a very self-reflexive question and consequently a hard one to answer, especially as all opinions on art are so subjective anyway.

As for the issue of films I've 'fallen in love' with, the issue is slightly complicated by a division between Entertainment Films and Proper Films (I use these terms loosely, for the sake of this argument). To use some of the same examples, I would class all the films thus far mentioned as Proper Films (we can already see the line blurring as they all certainly have high entertainment values too), whereas things like Pirates of the Caribbean or Serenity are more clearly of the Entertainment variety. Handily, I have a list of all the films I've seen in the past eleven months, so I can see what I may've loved in the past year.

And, indeed, there are some. Under the Proper banner we might find the likes of Mean Creek, Brief Encounter, or, probably most of all, United 93. Under the Entertainment heading there could possibly be 300, Stranger Than Fiction, or, undoubtedly, Hot Fuzz. But it can be tricky to designate the difference between "liked a lot" and "loved" -- there were several more films I nearly listed, but then just wasn't sure.

Indeed, how much I love even the ones mentioned, and even more so whether they rank amongst films I'd call all-time favourites, is a complex proposition. When does "liked a lot" become "loved"? In the past, the likes of Se7en, Apocalypse Now and Magnolia, as well as one or two others mentioned earlier, easily jumped straight to the top of my favourites list after just one viewing... but then maybe I was just young and impressionable. Or maybe I wasn't as easily persuadable as I seem to think, and I'm just still waiting for something to capture me the same way they did...


Weeks Forty-Six to Forty-Eight

With all that (partially) exorcised, let's finally move on to what I was wittering about in the introduction.

I've had a little bit of a theme season (one might say) these past few weeks, so I've been waiting for those films to appear in a single entry -- plus there are other films watched in between, making the list even longer. So, what was the theme? Well, being the dedicated student that I am, I've watched all the suggested viewing for a seminar in which my group had to pose the questions. The seminar was on "Urban Rhythms"... but in film-viewing terms that translates to four Scorseses, four Woody Allens, and an anthology featuring shorts by both of them and Francis Ford Coppola (plus a fifth Scorsese that wasn't on the list but was on TV). Such respectable viewing!

Throw in another four films and this is the most film-packed entry since the seven-week, fifteen-film behemoth that was the first entry! And it makes it to only one film less in under half the time! Well blimey. Best get on with it then...


113) On the Town (1949, Stanley Donen & Gene Kelly, VHS) 4/5
Gene Kelly and Frank Sinatra lead the cast in this musical comedy about three soldiers who have 24 hours of shore leave in New York. The plot is sometimes predictable, but at least it's not as standardised as many. Equally, none of the songs are truly memorable but most are fun while they last. The humour may be quite gentle (though be prepared for some sexed-up female characters!), but as a whole it's never less than entertaining (with the exception of a third act dance almost as incongruous as Oklahoma!'s change of cast). Several of those who watched it with me were surprised to find they actually enjoyed a musical.

114) Bringing Out the Dead (1999, Martin Scorsese, DVD) 3/5
It's hard to know what to make of this, because by the end it all seems a little pointless. The storyline, which follows Nicolas Cage's paramedic across three nights in New York, is a mixture of short episodic medical incidents with longer threads that continue throughout. These connect and fall apart, feeling as episodic as the rest, and most of them don't really lead anywhere. Perhaps the best description is that it's a collection of subplots in search of proper story. There are some decent scenes and good shots, but the film doesn't seem to have anything to say, and it doesn't end so much as simply fade to black when it runs out of things to do.

115) Annie Hall (1977, Woody Allen, DVD) 4/5
Widely considered to be Woody Allen's breakthrough movie and winner of four of the 'Big Five' Oscars. One might call it a romantic comedy, but it's very much an indie comedy-drama (for one thing, it utilises the ever-popular tactic of not taking place in chronological order), rather than the mainstream cliche-fest that first springs to mind whenever "rom-com" is mentioned. Annie Hall is either the basis for or just exemplifies all the cliches of Allen films (essentially, neurotic Jew who struggles with life), but that doesn't make it bad. It's very funny in places, suitably realistic in others, and has a nice line in comedic philosophy too.

116) Wild at Heart (1990, David Lynch, DVD) 4/5
My experience of David Lynch's work has so far been limited to Dune, the first short season of Twin Peaks, and Mulholland Drive. Admittedly, a list including the latter two isn't that bad, but it fails to encompass any of the acclaimed films that made his name. Wild at Heart doesn't come much closer: a quick look at IMDb reveals that it only beats Dune and the Twin Peaks movie in user ratings. I think I can see why: it's filled with mannered performances that can seem cheaper than those in daytime soaps (I presume this is deliberate, but some people just won't get, or like, it); characters and plot threads that meander off and seem pointless, while others don't come to anything; plus it lacks the opaqueness that many seem to hold as the key worthy feature of Lynch's work. In spite of its many faults I quite liked a lot of it, so my rating falls on the generous side. I still have no idea why there were so many Wizard of Oz references though.

117) New York Stories (1989, Woody Allen, Francis Ford Coppola & Martin Scorsese, DVD) 3/5
Anthology of three shorts, connected only by the New York setting (which, incidentally, may as well be anywhere in all but the last segment). Scorsese's Life Lessons opens the film, a tale of an artist and his love for his younger assistant. It's an alright little drama. Next is Coppola's dire Life Without Zoe, concerned with an irritating rich little brat and her irritating rich little brat friends (none of whom can act). Mercifully the shortest piece, but its very existence is lamentable. Finally, Allen's Oedipus Wrecks drags the quality up. It may largely be typical Allen fare (see the Annie Hall review), but its quite funny and the fantastical twist halfway through is brilliantly bizarre. As a whole, then, an unsurprisingly mixed bag.

118) Play Time (1967, Jacques Tati, DVD) 2/5
I know some people love the work of Tati, just like there's always someone who loves everything; personally, I find his films largely dull. His character, Monsieur Hulot, is like Mr Bean but less funny (don't worry, I know Hulot comes first by a good few decades). There are some laughs to be had in Play Time, but they're a long way in and not necessarily worth waiting for. Play Time is certainly pertinent to the Cityscapes course we were shown it as part of, but even the subtext (which is about as 'sub' as a space station) about the depressing similarity of modern cities is repetitively over-done. Recommended only as a cure for insomnia.

119) Manhattan (1979, Woody Allen, DVD) 4/5
Drama (though it does include some very funny bits) focusing on the interrelationships of a handful of 40-something New Yorkers. Allen fails to convince as a bit of a womaniser, even if he is notably less neurotic than usual; however, once the viewer gets over that little fantasy of his, I believe there's a lot to be had here. It's a much more traditional film than Annie Hall -- events occur in chronological order, with no unusual comedic breaks, or monologues to camera -- and, as a drama, it's all the better for this. The black & white photography is gorgeous throughout, helping the city to shine far brighter than any of the characters -- for me, the best bit of the entire film is the opening three-and-a-half minutes, in which the beautiful images, Allen's narration and Gershwin's music combine in a tribute to what must be the most genuinely loved of all cities. (A 5-star rating system only allows minimal delineation, so for the sake of clarity I'd like to point out that I personally preferred this to Annie Hall, though it falls just off attaining a full five.)

120) Hellboy: Director's Cut (2004, Guillermo del Toro, DVD) 4/5
A surprise hit on release, this live action adaptation of the cult comic book is an exciting and entertaining, though flawed, mix of pulp fantasy, gothic style and action. Surprisingly, it spends more time focused on the characters than the plot; while this is nice, and those scenes are expertly played, they do seem to throw the pacing off kilter somewhat. And, in an amusing reversal of the usual action movie cliche, while the character bits are great the action scenes are a tad underwritten! The score is also pretty lacklustre: it sounds like a typical, appropriate SF/F action score, but one where the cues have all been incorrectly placed. But these flaws are easily overlooked when the characters are such fun, the dramatic moments suitably poignant, and the action passable enough. Hopefully the forthcoming sequel can see to the faults and be even better. (I haven't seen the theatrical cut of Hellboy, hence why this is numbered.)

121) The King of Comedy (1983, Martin Scorsese, TV) 5/5
Underrated black comedy from the prolific partnership of director Scorsese and star De Niro. De Niro gives an excellent performance as an obsessive wannabe comedian, stalking the host of a popular talk show in his desperation for a guest spot. The depth of his delusion is both hilariously funny and deeply unsettling; subtly woven between the laughs is the impression that this sort of behaviour must be all-too-real among those over-obsessed with celebrity culture. Jerry Lewis and Sandra Bernhard are also worthy of note in their supporting roles. Rarely mentioned when it comes to discussions of Scorsese's work, I think its the best film I've seen from him. (This closing comment is subject to the fact that I've only seen The Departed, The Aviator, Gangs of New York and Bringing Out the Dead, a list clearly missing most of his highly-praised work! Expect a more informed opinion to appear when I see them (later this entry!))

122) Taxi Driver (1976, Martin Scorsese, DVD) 4/5
Much praised, discussed and quoted, Taxi Driver needs little introduction. The weight of expectation also makes it hard to judge when first viewed. Personally, I didn't buy Travis' slide into psychosis, which is unfortunate as it's the core of the film and why it's meant to be so great. In fact, I found Robert Pupkin's broadly similar, self delusion-based, character arc in The King of Comedy more believable. The ending was also dubious, although one theory does make it work better, so it perhaps depends on what you choose to believe. Further viewings may help the film work better for me -- as my rating shows, I still liked the film as a whole, but I wasn't as impressed as I'd been led to believe I would be.

123) Goodfellas (1990, Martin Scorsese, DVD) 5/5
These days perhaps even more praised than Taxi Driver, Goodfellas tells the true story of Henry Hill's 25-year career as a gangster. It's certainly a notable achievement on virtually every level, which are too numerous to list here. The use of popular music struck me especially though, creating a sense of time (and never too obviously) while also complimenting the visuals in its own right. In the lead role, Liotta seems to have been underrated, lost behind the top billing of De Niro and the award-winning craziness of Pesci; he carries the film, with a performance that isn't showy but is perfectly pitched. I didn't fall in love with the film as so many seem to have, but I also don't think there's really any denying its worthiness for full marks.

124) Manhattan Murder Mystery (1993, Woody Allen, DVD) 4/5
Woody Allen mixes a bit of the thriller into his usual relationship-based comedy/drama style, with effective results. The combination produces an engaging thriller with the usual character-focused drama woven around it, and a decent dash of comedy too. The first half hour or so is a tad slow, but the pace picks up as the story rattles into the second half. Murder Mystery has been criticised as lightweight -- the comedy stops the thriller being too serious, the thriller stops the drama being the focus, and they both prevent the comedy from overpowering -- but Allen has dealt with these elements in isolation elsewhere, so it's refreshing to see him do more than merely repeat himself. This is an underrated gem in Allen's relatively vast body of work.

125) Bullets Over Broadway (1994, Woody Allen, DVD) 4/5
The final Allen film of this little 'season' is that rare thing: one that doesn't star him! This is its biggest flaw, as Cusack spends the entire film doing a blatant and middling impression of the writer/director. But he nonetheless does OK, and when the rest of the cast are note-perfect, the script pacy and funny, the photography gorgeous and the long takes never more appropriate, it's hard not to be impressed. Special mention to the final scene, a four-way shouted conversation between two high windows and the street -- it's beautifully written and executed. Another underrated Allen film, and probably the most down-right entertaining of his I've seen so far.

126) Mean Streets (1973, Martin Scorsese, DVD) 4/5
Semi-autobiographical New York gangster movie, guaranteed a place in history as the first collaboration between Scorsese and De Niro -- what a place to end my little season! As with Goodfellas, it's someone else who's the main character; and, as with Goodfellas, De Niro's supporting character is a disturbing presence even when off screen. The similarities don't end there, but I'm not going to go into them in detail. Suffice to say, Mean Streets feels a bit like a less epic, oddly less focused, grittier, and perhaps more realistic, prototype for Goodfellas. But even then it's only that in some ways -- the two are notably different enough to make each worthwhile.