Tuesday, November 25, 2014
It's a minor comedy, to be sure, but is also such a good example of the kind of fun, lightweight entertainment that Hollywood just isn't capable of producing anymore in the era of the blockbuster. There's a lightness to the film, and the sense that it doesn't take itself too seriously, that makes it consistently enjoyable even when the humor is rather mild. Penny Marshall's snappy direction keeps the pacing strong and provides Goldberg with the room to make the most of her role.
The fine supporting cast includes Stephen Collins, John Wood, Carol Kane, Annie Potts, Jon Lovitz, Phil Hartman, Tracey Ullman and Jim Belushi, along with Jonathan Pryce in a fun cameo revealed at the end.
Monday, November 24, 2014
Very funny third teaming of Gene Wilder and Richard Pryor, about a deaf man (Wilder) and a blind man (Pryor) who are witnesses to a murder, but through a misunderstanding find themselves wanted by the police as the chief suspects in the case. Together they must escape and track down the real killers in order to clear their names. The premise is fairly routine, but what really sells it are the excellent performances of Wilder and Pryor, and the carefully-constructed humor they get out of their respective disabilities, which is handled extremely well and is never in bad taste. Indeed, the tone of the humor deftly walks a very fine line -- extremely vulgar without ever being mean-spirited or offensive -- thanks to the incredible talent of the two comedians at the heart of the film. An unlikely team, they are remarkable to watch because of how well their contrasting personalities complement each other. They have an excellent sense of timing between them, too, which is put to especially good use in the scene where Pryor knocks out a bar tough by throwing punches based on Wilder's instructions, as Wilder maneuvers Pryor around the bar.
The supporting cast includes Joan Severance as the sexy murderess, and Kevin Spacey in an early role as the smarmy villain, effective enough in what amounts to a rather cartoonish stock "heavy" part. Arthur Hiller's expert direction holds the zaniness together and keeps the pacing strong right up through the action-packed climax, but also manages to find room for leisurely, low-key moments, such as the scene of Wilder and Pryor sharing an ice-cream on a park bench and discussing their life philosophies, which provides the film with some of its warmest laughs.
Sunday, November 23, 2014
A mildly funny comedy that would probably seem even funnier today if it hadn't been remade so much more effectively as DIRTY ROTTEN SCOUNDRELS two decades later. Marlon Brando and David Niven star in the roles played by Steve Martin and Michael Caine, respectively, in the remake. After seeing the later film, one of the best comedies of its decade, it's a rather uncanny experience to see this original version. With the exception of the opening sequences setting up the Freddy Benson character, and the concluding sequence, it matches the plot of the remake virtually scene-for-scene (and often line-for-line). The highlights here are the same as those in the later version: Brando's turn as "Ruprecht", Niven testing the supposedly-paralyzed Brando's legs for any sign of feeling by whipping them mercilessly, their constant scheming to outwit each other, etc.
Yet the best moments from this film can't help feeling like something of a dry run for the remake, where the writers had the benefit of hindsight and were able to mine this earlier film for all of the comic potential that it missed the first time around. A good example of this occurs in the scene where the character of Freddy Benson is jailed on false pretenses and tries to remember the name of Lawrence Jameson, a prominent local resident whom he met earlier on the train. In the original film, Brando (as Benson) recalls the name with only a moment's thought, which serves the plot just fine but completely misses the potential for any laughs. Contrast this with the remake, where Steve Martin turns this scene into one of the comic highlights of the film, as he struggles frantically to remember the name.
Nonetheless, Brando acquits himself surprisingly well in such a silly comic turn, and it's a testament to his versatility that he could so successfully pull off the kind of zany, nutty "jerk" humor that Steve Martin would make so distinctively his own in the coming decades. David Niven was, of course, born to play roles like the suave, elegant gentleman-thief Lawrence Jameson, and practically made a career out of playing such types, especially in these kind of continental comedy capers (see: THE PINK PANTHER). Perhaps because of this, he comes across as rather bored in the role at times, lacking the spirited energy of Michael Caine in the remake. Still, it's a "David Niven role" if ever there was one.
Special mention should be made of Shirley Jones, who shows up about halfway through the film as Janet Walker, the "American Soap Queen" and target of the crooks' scheme. She works quite well with Brando and Niven, bringing the right amount of naivete and charm to the role. Character actress Dody Goodman also has a nice supporting part as "Fanny Eubank of Omaha", one of Niven's unsuspecting victims.
Overall, it's an often amusing and funny little comedy, but is primarily of interest for having inspired a much funnier and successful remake.
Saturday, November 22, 2014
Short documentary on the making of the now-infamous 1966 low-budget horror film MANOS: THE HANDS OF FATE, which was notable for having been directed by a local El Paso fertilizer salesman and has earned the dubious distinction in many circles as the worst film ever made. The doc, directed by Aaron Allard, James Lafleur, and Marco Pazzano, is a fascinating glimpse into regional filmmaking, and the resources that MANOS' director, Hal Warren, drew on to put his rather bizarre vision on the screen.
The thrust of the documentary are the interviews with historian Richard Brandt, and Bernie Rosenblum, who acted in MANOS as well as pulling double duty on seemingly a dozen other crew positions. Rosenblum's stories about the production are delightfully funny and often quite interesting as an insight into the intentions of the filmmaker. His account of the film's disastrous premiere is especially of interest as an indicator of how audiences -- even the very local audience for whom the film was a major event -- reacted to the film at the time of its release. There are also visits to the locations that were used for the house and the Master's lair, neither of which seem to have changed much in the intervening 40 years. An entertaining and revealing doc about a film that has endured much longer than anyone involved in its creation would have expected.
Friday, November 21, 2014
One of Spielberg's finest films, encompassing many of his favorite themes. It's one of the few major Hollywood films to deal intelligently (though still, at times, perhaps a bit too sensationally) with the possibilities of extraterrestrial life and alien abduction, and Spielberg wisely focuses on how a chance UFO sighting forever changes a simple Indiana family man's perception of the universe and his place within it. Richard Dreyfuss delivers one of his finest performances as Roy Neary, whose obsession with the UFO he has witnessed and his subsequent efforts to make contact with the aliens erodes his family and personal life, filling him instead with a singular purpose.
Although it is not primarily a special effects picture, much credit has to go to photographic effects supervisor Douglas Trumbull, who achieves some really magnificent imagery here. The spaceship is an incredible piece of artistry and design, and Trumbull's effects inspire the requisite amount of awe and wonder, without which the film would fall apart.
It is Spielberg's emphasis on the human condition that make the biggest impression, however. The scenes of Dreyfuss' mundane home life reveals the banality of the existence he has been living, making his character's curiosity about "what's out there" all the more profound. Spielberg does a remarkable job capturing that sense of wonder that keeps people watching the skies. Indeed, the film's rather protracted conclusion reveals perhaps too much detail, removing some of the mystery that comes from things left unseen. Perhaps that's why the ending -- in which the alien beings and the fate of their abductees are revealed -- seems a bit anticlimactic. As well-done as it undoubtedly is, it's simply too literal, and thus a bit of a let-down from the preceding events of the film.
However, the ending does force the viewer to ask themselves if they would leave behind their family, their home, and indeed, their very beliefs, in exchange for the experience of making contact with extraterrestrials and traveling with them to places unknown -- questions we may find ourselves pondering on clear nights under the vast expanse of shining stars, and wondering what's out there.
Sunday, November 16, 2014
One of the real delights to come out of Hollywood screen comedy in the past 30 years has been the collaborations of comedian Steve Martin and director Frank Oz. Their finest film -- certainly my favorite, anyway -- is this 1988 comic crime caper, about two con men: one a dapper English gentleman-thief (played to perfection by Michael Caine), the other a rather loutish and crude American (Martin) who find themselves as rivals working their confidence schemes in the town of Beaumont-sur-Mer, on the French Riviera. Trying to outwit each other, the men make a bet that whichever one can successfully scam the fortune of a newly-arrived, naive young woman from the Midwest (Glenne Headley) will have complete run of the territory, although this task turns out to be far more complicated than either of them had anticipated.
The film feels like a throwback to those continental heist pictures of the '60s, filled with impossibly sophisticated characters and exotic locations. There are also very funny moments of low humor, especially involving Martin's unforgettable impersonation of "Ruprecht the monkey-boy". Although Martin is at his comic peak here, Michael Caine very nearly steals the film from him, as the suave, elegant crook -- the kind of role that David Niven specialized in years earlier.* It's great fun watching them match wits, trying to one-up each other in surprising and unexpected ways. Oz has to be given much credit for keeping the proceedings reined in enough that they never go too far, never disrupting the tone or style he has achieved so well. His impeccable gift for directing comedy has never been better served than it is here. Certainly one of the best comedies of the decade.
*Upon further research, I learned that this film was indeed a remake of a 1964 Universal comedy, THE BEDTIME STORY, which indeed starred David Niven in the role played by Michael Caine here.
Tuesday, November 11, 2014
An offbeat but gripping political thriller produced for British television and aired on PBS as part of the "Masterpiece Contemporary" anthology series. Bill Nighy plays Johnnie Worricker, a former MI-5 agent who gets involved with an eccentric and unorthodox CIA agent (Christopher Walken) to bring to justice a group of businessmen who have been defrauding the US government for millions of dollars in the process of building prisoner-of-war camps.
Writer-director David Hare crafts an exciting political mystery around this premise, creating in the process an odd contrast between the contemporary setting and the seemingly-deliberate stylistic throwback to what feels like it could have been a late '80s-early '90s erotic thriller, complete with a moody, saxophone-heavy jazz soundtrack and little touches, such as tape-recorded answering machines, that seem slightly anachronistic. Whether or not this is intentional, I'm not sure, but it undoubtedly contributes to the fun and off-kilter tone of the piece. Hare also successfully implies a much larger and overwhelming sense of political conspiracy that moves well beyond the immediate characters and surroundings, wisely avoiding needlessly-complicated set pieces in favor of emphasizing the tensions and relationships between the characters and the various political organizations involved.
Nighy and Walken are especially fun to watch. Nighy brings just the right amount of "secret agent cool" to the part without losing any of the character's world-weary sadness and sincerity; indeed, one of the most effective aspects of the character is his touching friendship with a local policeman and the native islanders. Walken is clearly having a ball playing the two-faced CIA agent, delivering very much an over-the-top "Christopher Walken performance" that borders on the comical and absurd at times, and yet it fits right in with the off-balance world that Hare has created in this unique thriller. The top-notch supporting cast includes Winona Ryder, Helena Bonham Carter, Ralph Fiennes, Rupert Graves and Ewen Bremner. This was a follow-up to David Hare's earlier "Johnnie Worricker" thriller PAGE EIGHT (2011).