Sunday, August 28, 2016
SECONDS. His last film of that decade was THE GYPSY MOTHS, a nearly unknown film now which apparently never got much of a release by MGM at the time and went mostly unseen for several decades until it came out on DVD in 2002, soon after Frankenheimer’s death. But it’s a lovely, sad film, almost like the end of the road for the world he was portraying in the 60s, much of which was an outgrowth of what he may have thought of as ‘the 50s’ and the America that was being represented. It certainly recalls a few of his other films in what it wants to say about fate, about where you’re going in life, how far you try to get away from yourself and if it’s too late to ever change. That question of can you transform into something else or is the path you’re on already set. Not all of the answers in THE GYPSY MOTHS are ones you want to hear. But sometimes those wishes are just impossible. Film Score Monthly CD of Elmer Bernstein’s music contains a few cues of carnival-like excitement that mostly went unused. It’s almost something that can’t be put into a subtle speech revealing why they do it since they can barely put it into words themselves. There’s a lot here you have to take on faith—the sadness, the feeling of loss, with the unspoken thoughts of what didn’t happen. Warner Archive. In a subtle, heartbreaking touch near the end—much of THE GYPSY MOTHS is subtle, or maybe ‘subtle in a direct way’ to quote a line of dialogue from it—a handshake between two characters turns into an embrace by the end, yet it still feels like it’s holding back, just like too often we hold things back ourselves in life, much to our everlasting regret. But you can’t get the past back after those times when you’re not very observant, you can’t get what you really want and maybe that one small embrace is the best you can ever hope for. I can’t put the reasons for some things that happen in THE GYPSY MOTHS into words even if I do understand. Sometimes you just don’t have the answers. Frankly, there’s a lot I don’t have the answer to right now.
Wednesday, August 17, 2016
anything positive about it at all. Maybe it was the wrong film at the wrong time, maybe people aren’t looking for that sort of tortured glamour these days, even, or maybe especially, if it does involve Brad & Angie. Now that the Blu-ray is out there, I’m already finding myself returning to it over and over, to a film which is clearly nakedly personal but also, let’s face it, a dream of films that just aren’t made anymore. And I’m finding myself more than willing to live inside it. In many ways, we have no choice but to live in the past, to return to those moments we have guilt over, that we know deep down are our own fault. That’s part of what films are anyway. CONTEMPT seen through scope imagery thanks to cinematographer Christian Berger who revels in the lusciousness of this tiny bay hidden away from the world. Along with the celluloid ennui to make us think of Elizabeth Taylor & Richard Burton in their late 60s yachting-around-the-world prime (embarrassing admission: I’ve never actually seen BOOM! but have somehow made it all the way to the end of THE VIPs) there’s also, somewhat surprisingly, a certain amount of WHO’S AFRAID OF VIRGINIA WOOLF? in its portrayal of games between two married couples and of the specific secrets that get revealed. It’s almost a version of VIRGINIA WOOLF not written by Edward Albee or set in academia but somewhere off in the Mediterranean in that late 60s Liz & Dick world although in this case we’re the only ones who find out the secret that the two leads already know. The other couple is much more incidental in this film because these secrets are just for Roland and Vanessa, the sort of things you only find out about somebody past midnight and it sets them apart from the rest of the world. There’s some of Woody Allen’s ANOTHER WOMAN in the basic plot as well (the Blu-ray special features include a visit to Gena Rowlands by the lead couple to receive her blessing, no doubt because of the Cassavetes connection but her lead role in that film certainly comes to mind) and even a slight Hitchcock vibe, not just in the peering next door reminiscent of PSYCHO but in the always careful placing of point of view, particularly through that peephole or even how Jolie Pitt places the hotel and cafe always in relation to each other in the frame, continually keeping the two leads together when all they want to do is stay apart.
Thursday, August 4, 2016
diaries (highly recommended) from around this time where he writes about her, forever compulsively. He admits to jealousy of Beatty during the filming but also at one point while musing on Taylor’s health issues wonders, “Elizabeth’s endless operations are the natural successors of indifferent eating and drinking habits and no exercise at all, or are they?” No matter how affecting her work here is at certain moments, that’s the woman we’re seeing, sitting around waiting for her boyfriend like he’s Burton returning from location in Prague or, even worse, waiting for MGM to call and tell her that the old studio days are back on again, framed in big close-ups with soft focus. She never looks bad, she just looks like late 60s Elizabeth Taylor so she never looks very much like a Vegas showgirl.
Thursday, June 30, 2016
LABYRINTH and John Carpenter’s all-holy BIG TROUBLE IN LITTLE CHINA which wasn’t just a flop but a flat-out disaster, opening in 12th place at the box office on opening weekend. Some of the big hits of that summer now seem emblematic of the 80s rot that was really setting in by this time, away from what we think of as the comparatively simpler enjoyments of RAIDERS, E.T. and GREMLINS from earlier in the decade. TOP GUN. COBRA. FERRIS BUELLER’S DAY OFF. Even the enjoyable RUTHLESS PEOPLE is deliberately about that ugliness. BEING THERE and THE THING is another stereotypical jerk in the D.A.’s office and Roscoe Lee Browne as the presiding judge offers some of the best comic timing in the film, making me wish it really were more of a courtroom movie. When he makes his entrance there’s such confidence in how he takes over the scene that I relax a little, happy to see him until I realize the character isn’t actually going to be around for very long. Elmer Bernstein composes the last of his four scores for Reitman and it plays like the composer knew all too well how much the film was depending on whatever excitement he could manage to bring to it. His music at least gets to make more of an impression here than in GHOSTBUSTERS where his work got buried by the pop songs--as anyone who was watching MTV at the time will remember, even if they don’t want to, Rod Stewart’s “Love Touch” was the one single for this movie and it plays over the end credits. PSYCHO III and HOWARD THE DUCK so I guess it wasn’t one of their better seasons but chalk that up to karma from not wanting to release BRAZIL the previous year, I suppose. But hey, it was the 80s. At least that decade is over with even though for me when I spot extras in front of the art gallery during the big climax or the shot of Debra Winger driving the wrong way into traffic it gives me a hit of nostalgia as I close my eyes and imagine a film being shot in NY back then. As for LEGAL EAGLES itself, it’s really only memorable in the sense that you remember movies you saw during the summer when you were 15. Which is better than not remembering it at all, I suppose.
Monday, June 27, 2016
FEDORA, to actually take a second look at ALOHA. To be totally honest, I didn’t have a strong dislike for the film a year ago—mostly what I remembered were the pleasant Crowe hangout vibes more than anything else. I didn’t think it was good but it seemed modest and amiable enough, nothing to get too upset over. So what I discovered on this revisit felt like a splash of cold water on the face within the first ten minutes, an unfortunate discovery where almost nothing seemed to work as if I was watching an abbreviated intermediate cut of material that was never correctly focused to begin with. There’s talk in ALOHA of what the past and the future can mean so when it comes to Cameron Crowe maybe those two things are what we should focus on as well. Maybe with this film we need more time for the present to become the past. Unfortunately, I’ve already started writing about it so I guess I have to continue.