White Heat
1949. Directed by Raoul Walsh
Film noir used to be a moral medium. Sure, the main character in White Heat, played powerfully by James Cagney, is a homicidal criminal with major emotional issues and a mean streak a mile wide, but he’s clearly presented as the bad guy, and the intricate FBI plot to take him down leads to a thrilling and satisfyingly just ending. That’s not to say that Cagney’s character gets no sympathy. As the story progresses we get to see deeper and deeper into his character and motivations, but his immoral actions are never justified. Basically, you feel for Cagney, but you root for the cops. Now most noir films have descended to Sin City-level depravity, anti-authority sentiments and moral relativism. We could use more films like White Heat, where strong morality and engaging gangland action go hand-in-hand.
Yojimbo
1961. Directed by Akira Kurosawa
Combine 1960’s widescreen technology with striking black and white imagery, startling scenes of action and a fantastic ancient world of wandering warriors and you have Kurosawa’s Yojimbo. I’ve seen a few Kurosawa films now, and they’ve all been centered in feudal Japan. He has such a good eye for authentic historical dress and costume, and the worlds of these films are so fully realized that they feel as if they exist independently in a separate dimension. We are transported into a black and white dream of flying dead leaves and blowing dust, stark winter landscapes and old wooden structures. We meet strange old men, twisted evil gangsters and a remarkable wandering samurai who is rough and carefree yet has a deep sense of justice. He wanders into a town that has been blighted by a never-ending gang rumble and declares all-out war on both factions. He wages this war through deception and intrigue, playing both sides against the middle, and its both a glorious and violent spectacle. What a wonderful film to behold! I’m buying it on DVD first chance I get.
Husbands And Wives
1992. Directed by Woody Allen
Husbands and Wives is one of Allen’s first films shot in an experimental fashion, with jump cuts, shaky cameras and improvised blocking from the actors. In an interview I read recently, Allen said that he loved the experience and began shooting more films this way, as evident in much of his later work. The film’s story, about two married couples and their marital travails is well suited to such a style. In classic Woody Allen fashion, marital infidelity abounds and characters confusedly try to work out what exactly it is that they want. One couple gets back together, the other doesn’t, and the film ends with a question: what exactly makes marriage work? The characters being interviewed before the credits roll just shrug and say it’s different for everyone. Though the message is a bit foggy, the storytelling here is quite eloquent. This may be one of Allen’s most delicate films, regardless of the rough camera work.
Son of Rambow
2007. Directed by Garth Jennings
Like Huckleberry Finn, I found this film both incredibly sweet and also harshly realistic and a bit risky. It deals with two young creative minds, one the property of a chain smoking, petty thief who is also twelve and wants to be a filmmaker, the other in the head of an innocent eleven year old dreamer who doodles on everything and is discouraged by his Plymouth Brethren family from enjoying anything in “the world.” After the two boys meet and the rough one encourages the innocent one to “sin” by making a film with him, I was ready for a stereotypical rebellion film. Instead the director delivers a film with heart that is both realistic and stylized, where kids do impossible things yet still act just like real kids, and parents are strict yet loving. Art is made, unsteady allegiances are formed with the “cool” kids, and the concept of “being cool” is wonderfully examined in a funny and sad sub-plot. Rebellion leads back to family love and forgiveness and the film ends with a brilliant VHS film that seems like it really could have been made by pre-teens. I really recommend this film. It was a delightful surprise and reminded me most of another quirky film about growing up, Napoleon Dynamite. This film is more realistic than Dynamite, but just as sweet.
The Simpsons Movie
2007. Directed by David Silverman
I like the Simpsons a lot. The show can be hit-or-miss, and lately it’s missed more than hit, but this was still a fun hour-and-a-half long show to sit through. The film’s visuals are a bit more polished than the show’s and there are a lot of fun cameos by famous actors. The jokes are mostly funny, but the plot isn’t that exciting. Springfield is under quarantine for a natural disaster caused by who else but Homer Simpson. An evil environmental agent has decided to wipe the city off the face of the earth and, of course, only the Simpson family can save it; but first they must go live in Alaska for some inexplicable reason. This film could have had a much better story, but as I said, the jokes are mostly good and I liked how self-aware the script was, constantly mocking itself. In a lot of ways it reminded me of The Spongebob Movie that came out a few years ago. Both films are unnecessary, but still enjoyable.
Ed Wood
1994. Directed by Tim Burton
I viewed a documentary on Ed Wood and his films before I watched this, plus I recently read a book on the history of Dracula, which included much about Bela Lugosi and his tragic life, so this film was a real treat to watch. It documents the early career of Hollywood’s worst filmmaker, Ed Wood, his utter failure to rise to any fame or fortune, and his touching relationship with an aging Bela Lugosi. In typical Burton fashion, we root for the misunderstood outsider who faces incredible odds. In this case our hero, played delightfully by Burton mainstay Johnny Depp, must face an industry that doesn’t think he has talent, financiers that don’t like his ideas, and a public that is bothered by his bizarre obsessions. Martin Landau plays Bela Lugosi so well that I didn’t even recognize him. He actually doesn’t look much like Lugosi, but he captures the spirit of the man so well you don’t notice. Despite it’s occasional harsh language, this is an incredibly sweet and mostly innocent film. Depp’s Wood is a strange, talentless man who nonetheless loves making movies and will do anything to get his visions on screen. His selfless love and care for Lugosi is the heart of the film, and his desire to succeed and make art is contagious. I was inspired.