david-greene5 Reviews

Warrior (2011)

An Electrifying Surprise

[10/10 · 1 April 2019]

When first finding out about this little-known movie, I almost passed up a chance to check it out as a picture centered on Mixed Martial Arts was not ordinarily of any interest whatsoever to me. Then I saw the cast. If you see Joel Edgerton, Tom Hardy, and Nick Nolte in any cast, that is a clear sign that there is likely to be greatness in the production. These performers, and pretty much everyone else in this astonishing masterpiece are in pitch-perfect top form in a movie that, based on the number of "seen it all before" cliches, should not work; however, it is all so beautifully written, directed, photographed, edited, and scored that no serious movie buff should miss it. Beside the brilliantly pulse-pounding action highlights, the movie is loaded with deep, brilliantly drawn characters and their very human relationships, which make the outcome of the tale a matter of passionate concern for the viewer. Why this picture is not better known, and the recipient of many rewards and accolades, is a great mystery. See it on the biggest screen possible, with a good sound system, and you will be blown away. It has one of the most soul-stirring, cathartic finishes I have seen in many years. Director, Gavin O'Connor, who also co-wrote the script should be eternally proud of such a glorious accomplishment. You don't want to overlook "Warrior".

The Tale (2018)

Fine Exploration of a Very Difficult Subject

[9/10 · 31 May 2018]

This film is an important, serious treatment of the all-too-prevalent subject of child sexual abuse. It will require close concentration by the viewer as it works its way into the heart of a repressed memory. All the performances were spot-on perfect. Particularly noteworthy is the poignant, striking, brief performance. by John Heard.

Suspicious Minds (2010)

Extraordinarily Engrossing Drama

[9/10 · 10 June 2012]

The moment I had finished viewing this spellbinding film, I was researching it online to get more information about it. I can't believe how little I have been able to discover. Although it withholds so much key plot information until the conclusion that I am not entirely confident that I fully understood the storyline, it keeps one frozen in rapt attention throughout. Concerning a central character who is obsessed with the certainly that his wife is unfaithful to him, it utilizes the very common device of jumping back and forth in the timeline of the tale. I feel that the director was probably not trying to leave you confused, but one's difficulty in unsnarling the whole story ties in well with its central theme, all about suspicion and the dark road down which it can lead you. I am shocked at how obscure this movie seems to be in the U.S. I would not have stumbled across it were it not tucked into the afternoon schedule of a cable movie channel. If you appreciate really finely crafted films, with splendid performances by the cast, you'll want to see this one if you can, but pay CLOSE attention when you do. It will probably engross you sufficiently that my suggestion will not be necessary.

Lawman (1971)

A Profoundly Unusual Western

[10/10 · 8 May 2012]

I have just had occasion to see this film multiple times. The primary reasons why I would heartily recommend it to any fan of serious film making are its amazingly poetic, philosophical script, and its unusually thought-provoking qualities. Much of the language is unusually flavorful and articulate, with many wonderfully memorable lines. There is a particular act of violence at the end of the picture which is specifically mentioned in other comments posted on this sight. I would prefer to avoid including a spoiler in my commentary. I will merely say, "Watch closely for it." It defies easy understanding, but I feel that it brilliantly stimulates some very intense concentration on the meaning of the whole story that has led up to it. In so many westerns, the role of the lawman is not really scrutinized, or questioned. Usually, the man is a hero. If he is corrupt, he is a villain. This movie presents an unusually laid-back subtle performance for Burt Lancaster as a man that you, the viewer, must ultimately evaluate for yourself. As with the Lee J. Cobb character, he is not evil by intention, but is he heroic? This question, and the whole film will probably haunt you for a good while after it is over. This is most uncommon in the genre.

Death of a Salesman (1966 TV Movie)

A Treasured Record of a Great Portrayal

[10/10 · 29 March 2012]

The only slight reservation I have about this TV version of the play is the fact that it was clearly shortened for the medium. The greatest thing about this recording is that it preserves Lee J. Cobb's interpretation of the lead role. I was enrolled in a drama school in the early 60s, a time when several of our teachers had actually seen him in the 1947 stage play. They would frequently speak, in reverent tones, of the scorching great performance that Cobb delivered. This 1966 television revival makes Cobb seem all the more remarkable to me due to the nearly twenty year interval that had passed since the New York run of the play. No matter how great a performance he might have initially delivered, many an actor would have lost a lot of the original intensity in that span. On top of this, Cobb had experienced a battering ordeal at the hands of the House on Un-American Activities Committee toward the end of the run of the play. There is a fascinating story behind Cobb's development of the role. During rehearsals, the director was considering replacing Lee, as his work was not showing promise. The story goes that, at a critical point, Cobb had been staring at a crack in a wall in the rehearsal space. Suddenly he was seized by a strong sense of the character which immediately endowed his reading with uncanny feeling and intensity. Late in the run, it is told that the characterization took such a pervasive hold on the actor that he started to take it home with him, unable to snap out of it.

Reds (1981)

A Highly Intelligent Historical Film

[10/10 · 20 January 2012]

I have read, from numerous sources, that Warren Beatty's "Reds" is now widely considered to be an over-long and over-praised film. Having just viewed the whole show again, after many previous viewings. I simply wanted to express my firm disagreement with this opinion. It is not a film for those who are exclusively devoted to thrill-a-minute, fast paced action pictures. It is a thoughtful piece, conscientiously devoted to examining, in depth, a very important and dramatic moment in world history, and its impact on characters who played a central role in what happened at that time. I wish more such serious and intelligent fare was produced today.

Evelyn (2002)

A remarkably skillful piece of film making.

[10/10 · 17 December 2010]

I watch far too many movies not to have viewed this one with a certainty as to where the story was going and exactly what emotional response it would try to generate in me. They show far too many made-for-TV movies that fit this description, year after year, and if these generate a little bit of emotion when the big finish arrives, you actually feel ashamed that you were a sucker for such cheap manipulation; however, Bruce Beresford's "Evelyn" somehow rises above all of this. I suppose it helps that Pierce Brosnan manages to set aside the slick, stylish persona that he has embodied in countless previous roles, to instead personify a simple working guy with a drinking problem and an all-consuming love for his three kids. Some critics have questioned the wisdom of casting him in this, but the very fact that he is surprising you with a characterization that is not expected of him, and doing such a heartfelt job of it contributes to the fascination of the unfolding drama. All of the supporting players are very effective in the piece, particularly the remarkable little girl who plays the title role, and Alan Bates who, in one of his last appearances, has a quirky, playful approach to his role that is great fun indeed. One is decidedly sad to know this guy is not around to give us more of this sort of artistry. Then there is the big finish, the climactic courtroom scene. see this gentle little film for yourself and see if you can resist being deeply touched by it. This jaded veteran of way too many viewing experiences was incredibly moved. This one is a joy!

The Chase (1966)

A much underrated classic

[1 December 2010]

At the time of its initial release, few of us knew of the behind-the-scenes problems that beset director, Arthur Penn as he directed "The Chase". I, and many others attended the show and, in 1966, its impact was really astounding. What some critics and viewers take as a rather slow, meandering opening section of the film, I found to be an engrossing study of life in a small Southern town, somewhat low-key and slow-paced, but with a slowly emerging sense of its underlying tensions and conflicts. The news that a local boy has escaped from prison and is headed back to town, serves as the catalyst that eventually brings everything to a boil. Issues such as racism, class conflict, and the effects of evil gossip, come into play as a host of characters find themselves drawn into an ugly crescendo of hatred and fear. The manner in which it all ultimately explodes into a succession of violent scenes left me, and many others I knew, utterly blown away. The shock value and the way it caused us to ponder the meaning of it all long afterward can not be understated. See it now and various elements that reflect common shortcomings in the way big Hollywood productions of the era dealt with such material are far more obvious than they were then. Some dialog doesn't ring true, some of the larger-scale scenes seem overproduced. All the same, it remains a remarkable film, amazingly well acted.

American Madness (1932)

Rapid-fire, world-class storytelling

[10/10 · 20 March 2010]

After all the material I have read about so many better known Frank Capra movies, I am amazed that this one has not been more widely acclaimed. "American Madness" tells a great big, intricate tale involving a host of characters tangled up in a fairly complex sequence of events, and all in less than an hour and a half. As the pace of the action grows ever quicker, and the screen imagery becomes more and more spectacular, the film skillfully holds the viewer's undivided attention without any slack moments. True to the Capra style, there a moments of preachy grand-standing, which one should expect in such movies of this era. The conclusion of the show, also typical of Capra films, is a bit too neat and tidy for today's more jaded and skeptical tastes; however, if you like this director's best work, this one should not be missed. Such a skillful, riveting, and economic dramatization of a rousing, ambitious spellbinder of a tale is very rare in any era.

Che: Part Two (2008)

A Most Impersonal Biopic

[6/10 · 14 January 2010]

Having just completed a viewing of both parts one and two of this lengthy film (and I really like lengthy films if they are good), I feel that a great many of the artists involved in its making, both cast and crew, did a lot of admirable work. Somehow, the whole thing held my interest fairly well; however, the big problem with the film lies with the long shot. The director chose to keep his camera at a considerable distance from his subjects, eschewing the occasional close-up altogether too often for my taste. This stylistic choice is symbolic of the biggest flaw in the film. We see the great ordeal that Guevara underwent for his beliefs, and the nobility of his unflagging commitment to his crusade clearly presented here. The problem lies with the emptiness of sitting through so much footage without ever being allowed enough "closeness" to the principal characters to get a feeling of connection with them. From what I have read, Che was a very complex, intelligent fellow. I would have liked to get to know him a little bit, but this film seemed to be so much about his deeds, and so little about what distinguished him as a person that I am surprised when some of the comments on this site suggest that their authors felt that some depth of character was conveyed. In the end, I feel as though I just saw endless hours of newsreel footage. It was a very chilly, impersonal experience. Noting that as gifted and capable an artist as Benicio Del Toro was not only the star, but the producer, I have to commend him for resisting all temptation to give his portrayal any of the kind of stylistic flourish that distinguishes star performers. Unfortunately, this contributed to the distance at which the whole movie keeps us from a feeling of personal involvement with the protagonist. If Soderberg's sole purpose was to convey a sense of the magnitude of Guevara's struggle and sacrifice, he succeeds in this. Sadly, I feel the whole vast production could have offered us a much richer human experience. As hard and inflexible as a revolutionary's commitment to his particular ideology, this movie builds up a brick wall which consistently denies us any intimacy with its subject.

The Happening (2008)

Surprisingly effective entry in a well-worn genre.

[8/10 · 5 June 2009]

First, I had to wonder if Shyamalan cut this rather short little film down from an intended earlier version that he had hoped would be more portentous, and deeper. I can see in this movie an idea for a deeper, more "serious" film, which he might have attempted without ultimately being satisfied with its effectiveness at the original longer running time.

Despite that impression, I would have to say that I join with those who felt that harsh treatment of this entry by the critics, along with weak box office returns was ill deserved. The very fresh feel, and unique magic, and whopping success of "The Sixth Sense", has apparently set this director up for such high expectations surrounding every new effort, that he has repeatedly been denied credit for his very substantial capabilities. The disappointing ticket sales for "The Happening" may result, in part, from the lack of major action sequences or dazzling special effects. Sadly, a lot of today's viewers seem addicted to all of that adrenaline-rush hyper-active film-making.

Objectifying this film quickly reveals that it is essentially a new offering in a very old genre. They were doing these creeping menace movies, wherein the threat emanates from some real danger that we have all been hearing about in the news in great numbers, back in the 1950s. Most were fairly mediocre. This one is so finely crafted, and so deftly laced with references to many sources of modern-day fear and paranoia, that it reminded me a bit of Francis Coppola's interspersing of history and fiction in The Godfather movies. For my money, Shyamalan played brilliantly on the embedded anxieties of this era to achieve a very creepy, chilling movie.

I've seen Wahlberg do better work. He is nonetheless, quite competent. In all, the cast, effectively comprised mostly of little known faces, did a fine job of bringing the story and its characters to life. Perhaps the characters could have been more complex and fully developed, but they served this little film very convincingly. To the director/writer's credit, this is a compact, scary thriller with a very serious message. I won't spell out the theme. It becomes fairly obvious when you view the film. It is hardly the first film to pitch this message; it won't be the last, but it struck me as a very well crafted, surprisingly powerful little horror show that ought to be widely seen, and widely discussed. If only a few holdouts among the partisans, who continue to deny that the threat at the heart of this story is real, might be moved to reconsider their folly, then Mr. Shyamalan's very engrossing show will be something for which we should all be grateful.

Inventing the Abbotts (1997)

A lovely, heartfelt movie that should have received more attention

[10/10 · 31 August 2008]

As a voracious film buff, it always surprises me when a great film is released and totally escapes my notice, sometimes for years! I recently viewed "Inventing the Abbotts" on a TV pay channel. I was so astounded by the emotional power of the film that I went to my Leonard Maltin guide, curious to see what the reviewer there had to say about it. I was astounded to find that he had pretty much dismissed the whole thing as flaccid and disappointing. I could not help but disagree, most emphatically. Maybe it is all a matter of taste, but I loved the performances by all of the principal players. The cinematography and production design are terrific. I felt that the director had crafted a constantly engrossing, moving film. The script, which Maltin's reviewer called "dull", struck me as having a fine ear for strong dialogue, all of which seemed very natural and effective to me. There is so much that is poignant and insightful and deeply touching in this entire piece that I would say that anyone who favors dramas with powerful romantic elements and thoughtful examination of the forces at work in society should make every effort to see this film. I do not know why it did not attract more notice when it first came out.

Close Encounters of the Third Kind (1977)

No single "complete" version available

[10/10 · 6 July 2008]

As a former film-maker, heavily influenced by "Art House" movies and the noblest efforts by the classic auteur directors, I have a very eccentric reaction to "Close Encounters". I've read Spielberg's numerous statements about his reasons for, and objections to many inclusions and deletions of scenes from one release of the movie after another. For my own enjoyment, and that of film-buff friends, I once undertook to build my own "special edition". All that this entailed was the restoration of every good and memorable scene that I had ever seen in every version of the film I could remember. Such scenes as the charming quarrel among the Neary family over going to a Disney flick vs, goofy golf, the great conference room gathering of UFO witnesses testifying about their various experiences to the authorities, and assorted spectacular closing scenes that are never found all together in any available edition. In total, it was nearly 150 minutes long. When creating it, I had the notion that such a great craftsman as Spielberg had probably decided against creating anything similar due to some certainty that it would either be simply over-long, or would not play well for reasons he would understand better than I. We ran the thing for a group of friends on a giant screen, with the appropriate surround sound gear, which is the way I usually present movies. It was a great success! I tried it out repeatedly, over a period of years, for numerous different viewers. It was always a hit. Everyone always seems to remember scenes that are deleted from one version or another and they feel cheated that these were omitted.

On some artistic level, this may indeed be deemed a greater film when honed down some from the all-inclusive thing that I threw together, but I, for one, would love to be able to own a DVD quality edition that leaves nothing out. For me, it is somehow in the nature of this particular movie that it prompts one to anticipate one old favorite moment after another. It is part of the special joy of seeing it again. As you eagerly anticipate a particular sequence, it is distracting and somewhat frustrating to find it missing. I can't help but feel that I probably share this frustration with a good many other fans of the film.

The Island (1960)

A challenging film for today's audiences

[10/10 · 16 June 2008]

If you drive a car, you may have experienced a common phenomenon. Spend hours driving at super-highway speed, then, when you exit onto a road where the speed limit is 45 MPH, you will feel as though you are going very, very slowly. This phenomenon has a parallel in the world of movie viewing. With the pervasive acceleration of film pacing that is evident in today's action/thriller films, audiences have become conditioned to expect and even demand fast moving story-telling on their cineplex screens. In 1959, when the curtains closed and the lights came up for the intermission in William Wyler's "Ben Hur", people in the theaters expressed surprise that so much time had elapsed. In its day, that film (particularly the first half) seemed to fly by so quickly that people could scarcely believe its actual running time was as great as it was. Nowadays, we have grown so accustomed to faster-moving fare that many find "Ben Hur" to be rather slow.

Consider then the extraordinary production that Kaneto Shindo brought to the screen in 1960. It was a daringly slow-paced film even then! If you were the sort of film-goer who was forever impatient to see the action unfold swiftly (and there were many such people, then as now), this was hardly going to be your kind of movie. "The Island", as it was titled in its original U.S. release, asked the viewer to enter into the grinding, arduous existence of a little family monotonously toiling to eke out a meager existence on a remote and rugged little island. It continually invites deep contemplation of the minute details of this struggle and the environment in which it occurs. If you are attuned to the style and purpose of the director, you will respond deeply to his visual poetry. You will gain an appreciation of the extraordinary lives and labors of the characters in his story. When the film's intense climax arrives, it will have all the more impact on you because of the way that you have been drawn into an atmosphere of numbingly repetitious daily struggles. What happens to this family will come closer to feeling like it is happening to you. I can not imagine any way this might have been accomplished with greater effectiveness.

Having said all of this, I am not deluded into imagining that this is a film for everyone. Impatient viewers who will never be drawn to contemplative film-making which aims primarily to immerse the viewer in the world of its characters, rather than to hurtle the audience along through a cinematic thrill-ride, had best ignore this picture. For the rest of us, I believe it to be a one-of-a-kind treasure.

The Sand Pebbles (1966)

A most unexpected "epic" in its day.

[10/10 · 25 May 2008]

I had the rare thrill of first seeing "The Sand Pebbles" in a first-run Times Square theater in New York. Their massive screen delivered all the scenic wonder and power of the film with unparalleled effectiveness. I sadly remember that the initial critical reaction included a lot of less than whole hearted approval. This was a complete mystery to me as the film had such an enormous impact on me at that time. Most of the big "epics" of the time were based on far more predictable material so that you walked in with clear expectations about the story you were about to experience. This one may have been too unusual and unexpected for many, and its political overtones may have worked against it at a time when the disastrous nature of our military adventure into Vietnam was not yet clear to most of the country. All the same it seemed to me that the subtle, treatment of the controversial issues, deftly integrated into the action and human drama should have made the production very palatable to viewers of varying political biases.

For those who have commented here on the failure of the Academy to award McQueen's marvelous performance with a well-deserved Oscar, it should remember that many of the forces of "Old Hollywood" still had a lot to say about such things in those days. At that time, the old-schoolers still viewed Steve McQueen as some sort of biker- rebel/outsider. Such prejudices make it difficult for inflexible minds to take in the true genius of new talent. It may also be noted that this performance has a feel of such naturalness that it is very easy to underestimate the skill and artistry that went into it. Much of the time, McQueen simply seems to be Holman and vice-versa. This is much like what Spencer Tracy did so well for so long. Oscars usually go to flashier, more stylized acting.

Barry Lyndon (1975)

Possibly filmdom's most unique period epic.

[10/10 · 13 May 2008]

When I was a film maker, I learned a very sad lesson. When it comes to audience approval, a monumentally great film can fail in the box office if viewers come to it with preconceived expectations that are wrong. MGM hyped David Lean's magnificent "Ryan's Daughter" as another "Doctor Zhivago". It was nothing of the kind. If you attended a screening of that show with this in mind, you would very likely be confused and disappointed by the radically different sort of picture it is. In the case of "Barry Lyndon", that process worked in reverse for me. I missed seeing it when it was first released. I heard many negative reviews and comments suggesting that it was a slack, slow failure. "Kubrick had bombed at last!" Years later, I finally caught up with it and saw it, pretty much to satisfy my curiosity about this major failure from a major director. I was thunderstruck to discover that it seemed instead to be the greatest film Kubrick made. I know that the controversy rages on and many agree with me, while many do not. I will say that, although I hardly expect to win over "Barry Lyndon"s detractors, I think that it will stand the test of time far better than say, "2001, a Space Odyssey" which, although it must be lauded as a legendary ground-breaker in its day, does not play nearly as well today. For me, "2001" simply does not reward repeated viewing anywhere near as richly as "Barry Lyndon". If you haven't seen this one, see it only on a giant screen, giving it your undivided attention. Judge it for yourself. It is too unique and amazing to be missed.

A View from the Bridge (1962)

A must-see Arthur Miller modern-day "Greek Tragedy".

[10/10 · 13 May 2008]

This film hit the theaters at a time when Arthur Miller's prestige in the American Theater was at its zenith. I remember some critics quibbling over alterations to the original stage play that were made by Sidney Lumet in adapting it for the screen. Sadly, these considerations blinded many to the truly classic quality of the film. Raf Vallone was unusually effective in the lead role wherein his heavily accented English lent greater authenticity to the characterization than would have been likely with any contemporary American star. Lumet's largely New York based cast fired their performances with the kind of intensity that one might expect from the work you find in the films of Elia Kazan, Martin Ritt, as well as in this director's own long list of classic pictures.

"A View from the Bridge" offers the starkly dramatic portrait of a hero who, like so many figures in classic Greek Tragedy, is a man of many admirable qualities ultimately brought down by fatal weaknesses in his own character. Traditionally, the Greek tradition was to deal with high-born heroes like kings, divinities, and the like. Miller's variation on the theme was to give us a tragic hero who was a common man, a blue collar longshoreman in a gritty working class world. The feel of powerful physicality that you would expect to find in such a man is palpable with Vallone and lends great tension to the film as one becomes aware of the man's dangerously volatile temper.

The magnificently stark black and white photography, which is reminiscent of "On the Waterfront", flawlessly evokes the gritty world of the story. It is all so hard hitting and brilliantly written and directed that one can only wonder why it has been absent from home entertainment release for so many years. This film is shamefully overdue for a high quality DVD release! Why are so many good films thus ignored?

He Who Must Die (1957)

An indelibly memorable film

[13 May 2008]

As with another comment posted here, I would note that I too saw the film, only once, way back in the sixties and the memory of it has stuck with me ever since. I have read mixed reviews of the piece which saddens me as I feel that the picture was so finely wrought and deeply moving that nothing should prevent its reaching the widest possible audience. Bad, or Luke-warm reviews can have this effect. "Celui Qui Doit Mourir" should long have been available in a first- rate DVD edition. Its tale of the lives of simple villagers coming to parallel those of the scriptural characters they enact in a Passion Play is a rich, atmospheric parable. The black and white cinematography is exquisite along with the actors' performances and all the other production values of this rare motion picture.

On the Outs (2004)

A film without one false note!

[10/10 · 11 May 2008]

During the opening minutes of this film, one might conclude that it was the result of some sort of group project created by a bunch of inner city kids eager to express their perspective of life on the "mean streets". Having seen such material before, I prepared to make allowances for the clumsiness and unprofessional moments that commonly weaken these efforts. Boy, was I fooled! There wasn't a false note in the whole show. It skillfully gives you the impression that it is an intimate documentary, assembled from hand-held camera footage of actual events. The camera work appears to be incredibly rough sometimes. This contributes to the feeling of spot-on realism. The editing brilliantly maintains a great narrative flow throughout, powerfully conveying a rising tension and growing sense of intimate connection with the numerous characters. The film's greatest asset is also its biggest surprise. Unknown actors usually display the failings that arise from inexperience with acting in front of the camera. Frequent little moments that just do not ring true tend to undermine the believability of their overall performances. So where did the actors in this picture come from? There wasn't a single moment that did not ring true, not one giveaway slip-up. Likely, some of those in the smaller parts were very limited talents but they were utilized so skillfully that it never became obvious. Meanwhile, the work of the principals in the cast was so powerfully truthful that the world of this story continued to be convincing and deeply moving throughout the entire show. This is a gritty masterpiece.

The Devil and Daniel Johnston (2005)

The Emperor's New Clothes

[7/10 · 22 September 2007]

If, by some chance, you are not familiar with the old Hans Christian Anderson tale, "The Emperor's New Clothes", find a copy and read it before, during or after you view this film. As documentary film-making, I have no question that you have great effort, talent and craftsmanship here. The problem is that the infantile, artless work of the film's subject matter is unbelievably appalling and worthless. The real wonder of the show is the immense volume of praise and adulation that is heaped on the stuff by a great crowd of individuals of all imaginable types. This film strikes me as the most astounding portrait of some sort of mass psychosis ever made. How could all these people be so deluded. Perhaps poor Daniel Johnston would have fared better in life if his inartistic efforts had not been encouraged over the decades.

Yes (I) (2004)

"Yes" is one of the most courageous productions I've ever seen.

[10/10 · 22 December 2006]

This comment comes from someone who used to make films and who positively devours them, sometimes seeing ten or more in a given week. I often deliberately seek out movies that I know little or nothing about. I wanted to see the movie, "Yes" because Joan Allen at her worst, in a terrible film is likely to be worth watching, so great is her artistry. In the Brechtian sense, the composing of all the dialect in this film in strictly rhyming verse is alienating. You do not become readily hypnotized into that suspended disbelief that makes many movie stories seem so real. Some very committed, powerful performances in this film frequently make the sense of real, vibrant characters come across very strongly; however, the verse often jars you into standing back, as it were, and more objectively examining what the filmmaker is saying thematically. In my opinion, Sally Potter is dealing here, in a fascinating manner, with some major philosophical issues. It is heady, literary territory and I quickly knew that vast numbers of moviegoers in this day and age would be very resistant to a film that is so far removed from the flashy action fare that is so pervasive these days. I don't know if there was ever a time when one might have expected much box-office success for such a strange film. Perhaps Ms. Potter was blissfully oblivious to this fact in an impassioned quest to bring her project to the screen; however, given the high level of intelligence that is so powerfully in evidence here, I rather suspect that what we are seeing is the product of a great deal of courage. I believe that this artist had a powerful vision of a "dangerously" unique sort of picture and, with that rare sort of integrity that will not permit degrading compromise, she brought forth a film which is dazzlingly rich and thought provoking.......and will surely never work for those who crave that adrenaline rush that seems to be the primary aim of today's blockbuster hits. Such integrity garners all possible respect and approval from me. I was engrossed and intrigued throughout the whole piece.

Viva Zapata! (1952)

A collaboration of giants

[10/10 · 11 December 2005]

When I read so many of the comments on this film featured here, I find it difficult to understand how so many viewers fail to appreciate the incredible nature of the collaboration that produced it. The very idea of a motion picture scripted by John Steinbeck, directed by Elia Kazan, scored by Alex North, starring Marlon Brando, co-starring Anthony Quinn........this is an almost unbelievable gathering of artistic giants.

Taste in movies varies and thus one can be certain that some will not respond positively even to this one. After over five decades of movie-going, I can look back and remember precious few pictures that rise to the high level of excellence to be found in "Zapata". With its spellbinding storytelling, superb cast in top form, its insightful examination of issues which are still crucially relevant today, I can not fathom why some would not praise it.

Like a long list of really fine titles that endlessly persist in remaining unavailable in DVD release, this film has me wondering once again why, in the vastness of the internet, one can not discover the reason why this major Brando star-vehicle continues to be withheld from circulation. Is such information so impossible to find that no one can unearth it?

You can tell from reading the viewer comments that not everyone will agree on this, but I would suggest that anyone who appreciates literate, superbly crafted classic motion pictures should make every effort to see this one. I wish I could invite you all to a great gala screening of it. I know you would be dazzled by its splendor.

Heaven's Gate (1980)

"Heaven's Gate", very nearly a masterpiece

[9/10 · 20 August 2005]

So many of us who are devoted to the "art" of the motion picture will disregard or forget that movies are also business ventures. Most of the time, they are far too costly to produce to be anything else. In light of this, it often seems a miracle to me that really great ones do get made every now and then. Once in a while, the film-makers will go so far over budget in producing a film that the businessmen responsible for funding the enterprise will be badly hurt financially and will of course become very angry about this. I'd like to know precisely how it happens that this has often led to both the big studios and some major critics "gunning" for the picture when it is at last released. Terrible expectations are generated and often what people expect to see clouds their perception of what they are viewing.

You can see this phenomenon at work in the imperfect, but magnificent '62 re-make 0f "Mutiny on the Bounty", and you can definitely see it in the reaction to "Heaven's Gate". Cimino took too long and cost United Artists way too much money in making this picture. The company was fatally wounded by his excesses and, no doubt, powerful people were out to see his reputation forever ruined when this strange, mammoth epic was finally released. There are always many film-goers who dislike long, weighty pictures. The storytelling in this film is not accomplished with great economy or a brisk pace. Like Stanley Kubrick, Cimino often chooses not to spell out the particular statement he is making with a given scene. Rather, he draws it out in such a way as to make the viewer feel like they are living in the moment, providing time for his own imagination to participate deeply in what is being presented. A lot of folks don't react all that favorably to this approach. They want the story to move quickly and clearly and they easily become impatient and confused by this sort of film. These factors doubtless contributed to the box-office failure of "Heaven's Gate".

By nature, a film editor, I am deeply frustrated by two problems with this film. Here and there, a scene is clearly too long and could easily have been trimmed without harming its effectiveness. Then we come to the massive, drawn-out battle scenes at the end of the picture. Where these are concerned, the clarity of the storytelling is indeed damaged. If you liked the film up to the point where these occur, your understanding of what is supposed to be happening is likely to become unclear and this is indeed a frustration. Not having seen all the rough footage, I can not tell if actual re-shoots would have been needed, or whether some critical plot elements might have been made clearer by careful re-editing of some moments. Given the time and money that were poured into this picture, more care and thought should have been given to this problem.

There are other problems, some occasional weak acting, some dialog that doesn't ring true, but these are really minor concerns. The reason I am so troubled by the problems stated above is that, like so many these days, I too feel that in all "Heaven's Gate" is so splendid to behold and so magnificently deals with major historic, political and sociological issues that it is just short of a masterpiece. Despite its shortcomings, it is so dramatically and visually powerful that it stands head and shoulders above most other Hollywood films I have ever seen. I'd like to re-mix a lot of the sound. I'd like to re-direct and re-edit the scene where Ella is killed, but the greatness of this picture is such that these considerations really do become trivial when compared with the value of the total production. I should add that it should always be seen on a giant wide screen to achieve the glorious effect that it is so capable of delivering.

Lookin' to Get Out (1982)

Energetic Tour-de-Force Actors' Movie

[9/10 · 27 December 2004]

Because this film has been so stubbornly withheld from the home-video market, it has been years since the last time I saw it. Still, as a serious aficionado of fine acting, I still retain vivid memories of this lively flick and I can not understand all the negative reaction it received. The characters who populate this story are fascinating and memorably enacted by a superb cast. It would be little more than another typical caper flick were it not for the well-drawn weaknesses of the main characters which lead them inexorably into a high pressure situation from which they must try with all their might to escape. If you ever get to see this show, watch for the marvelous work of the numerous supporting players such as Richard Bradford. It is a deliciously glossy, stylish film but with a character-driven story that thoroughly engrossed me each time I saw it. It dances precariously between comedy and drama in a manner which I found intriguing and delightful. In view of all the bad reviews I have read about "Looking to Get Out" I deeply regret that it persists in being unavailable year after year. I would love to look at it again to try to figure out what causes so many folks to dislike it. Is it simply a matter of taste? I do not know.

Charley Varrick (1973)

News of Universal's DVD release of Charley Varrick

[8/10 · 21 December 2004]

Having recently been informed of the product details on this month's DVD release of Charley Varrick, I was dismayed to discover that this fairly scenic, outdoor action picture is being released in a pan&scan format only. In this age when so many movie buffs have gotten serious about home theater gear and therefore seek out films in their original theatrical aspect ratios, it is deplorable that such crackling fine shows as this Walter Matthau gem would be released in a full-frame- only edition. Unlike a lot of purists, I can easily see why folks with relatively small television screens would favor full-frame editions so I welcome the Studios' common practice of giving buyers a choice, either on one disc or two. The sad thing is that when they decide not to offer a widescreen version, there is no effective way to appeal to them for a subsequent widescreen release. This matter of effectively communicating with these corporations is a sore point with a great many of their best customers. For example,we would like to be heard when we ask them to seriously consider releasing one of the many classic films which remain unavailable in DVD release, year after year. Some of these titles are such landmark, historically significant productions that it makes no sense that they are forever withheld from circulation. What a great use for the internet, if someone could develop a way to use it as an effective medium for this kind of interaction between eager consumers and potential sellers!