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Walk the Line (2005)
An emotionally triumphant film
One reason that Walk the Line is so good is that I can watch it multiple times without ever getting bored (four viewings so far.) In my opinion, there are no flat parts in this story, and the music is always compelling, like a good album. What is so good about Walk the Line? A: The principal actors are completely facile, their characterizations are so translucent, that it's like knowing John and June personally. B: The editing is very tight and tells the story succinctly with no superfluous scenes. C: The emotions portrayed are those of real people, and are entirely convincing. The camera focuses on the faces a lot, and that is where the story is conveyed. D: Good character is proved to be triumphant in the end, and weak character is overcome, i.e. good morals, patience, and real love are rewarded.
For Love of the Game (1999)
Predictable, but Liked It
I really liked Kelly Preston's role in this, it's the first time I've seen her perform. She played off Costner very naturally. She does wonderful things with her face. KC's character was less understated than usual, with a sensitive portrayal of emotion. The supporting cast was great, especially J. K. Simmons as the Tiger's manager. The flashbacks worked well as a plot device, and provided good character development.
In my opinion this was a better love story than a baseball story. The "Yankees" were boorrring (though not the stadium). They could have been written into the plot enough to make them real people. Somehow KC doesn't look like a pitcher to me, although he threw plenty of great pitches, and made some good plays. He was a little too buttoned down.
For overall thematic excellence, I'll take Field of Dreams (never seen Bull Durham) but for romantic spark, I'll take FLOTG. My favorite KC flick is "A Perfect World". DWW was OK too.
Conspiracy Theory (1997)
This Movie is a Trip
Conspiracy Theory is a tasty blend of a plausible love story mixed with totally outrageous(and funny)suspense thriller elements. Mel Gibson is wonderfully eccentric and sympathetic as Jerry, the hyper-observant, resourceful, New York cabbie who has a very strange past. Jerry sees a malevolent plot under every rock and has made diligent preparations to survive any calamity. He also does pretty well shooting from the hip.
Roberts gives just the right nuances to Alice the restrained Justice Department attorney who indulges Jerry's mania, not suspecting that he knows a whole lot about her. Her enlightenment comes in small doses as she discovers that he's not 100% psycho, and that their bonds go deeper than she can imagine. Julia lights up a fire at the end, giving a heart-rending emotional display.
This movie is filmed in a claustrophobic, darkly surreal NYC, with constant SWAT Team helicopters hovering about and dropping commandos to the streets. The action scenes are probable, but humorous, like Jerry's wheelchair escape from Dr.Jonas's lair, the spook raid on Jerry's apartment and the Queensboro Bridge escape.
The story line is a little murky (what has Holden Caulfield got to do with it?), easier to understand the 2nd time, but in the end it doesn't detract. This film turns out to be more than the sum of its parts, like a light form of Forrest Gump. In the end, enduring, faithful love triumphs over Jonas's "Day without Hope".
The Postman (1997)
Original and compelling
Except for about 20 minutes out of the last hour, Postman was a joy to watch. I found it very original and compelling, especially the Holnist camp images and the escape scenes. If this film hadn't preceded the Lord of the Rings trilogy, I would say that it had copied the style and themes of LOR, in its musical score, photography, set locations, battles, etc. Since it came first however, I just applaud its artistic integrity and accomplishments. I haven't read the book, and the story wasn't written by Tolkein, but the picture of menacing evil ambition is consummately portrayed. I've never seen Will Patton before, but his General Bethlehem is an eye-opener. The movie's general insight into men's (and women's) conflicting motivations is quite good.
I found the first 2 hours spotless and exhilarating, even if the insemination scene ruled out the possibility of my kids watching the whole film. Where does it come up short? I found Costner's postman not to be likable in the end. He seemed to be shamed into the good things he did. He had some kind of "conversion" at the Bridge City dam when a child demanded to know "What's a postman?" but did his character change? or just adapt? I tended to agree with General Bethlehem that the postman didn't believe in anything worth fighting for, and when the postman cried out, "I believe in the United States of America" (or whatever) it rang a little hollow, even if it won him the fight. So, the postman movement was over-emphasized (although Ford Lincoln Mercury was great) and the postman himself was too ambivalent about it.
I think of this as one of Costner's concept movies, like Field of Dreams and Dances with Wolves. I really appreciate them, and the fact that they take you for an exciting ride, opening up new visions of our reality. Will he ever produce, direct and star in Cooper's "The Red Rover"? I hope so.
Another Man's Poison (1951)
Recommend for tight structure
I appreciate this terse movie's smart script, staging, and tight editing, especially upon second viewing. Of course the nosy neighbor veterinarian serves mainly as a plot vehicle, but the role is well acted. Gary Merrill's George Bates seems lacking some refinement of expression. He plays it like an open book, and makes Bates a totally sympathetic character. The story hinges on the power plays between Bates and devious Janet as, chained together by their crimes, they struggle for the upper hand via her scheming and his brute force. Their tortured relationship could have a plausible chance for success, given the plot circumstances, but the secretary's fiancé Larry is in the way, creating a tension that draws the characters to the unhappy climax. Davis is in good form, and this is an entertaining film.
Since there is a finite number of Bette Davis films available for viewing in 2006, one has to value each for what it is. Although "Poison" may not be in her top 10, Davis is the master, and it is infinitely preferable to experience it than not.
Undercurrent (1946)
Pretty Good
Upon first viewing, Undercurrent is an unexpected treat, commanding full attention for almost 2 hours. Hepburn in the role of Ann, manipulated, insecure, feeling under-dressed and overwhelmed at a social event, terrified and claustrophobic as her new husband's character is revealed, is not to be missed. As others have noted, the plot has "Rebecca-esque" qualities, but a character completely its own.
Taylor's tormented Alan is also perfect, darkly ruminating and possessive, always on the edge of losing control, driven mad by his wife's interest in his hated and absent brother, and jealously afraid of losing her love.
While the ending is somewhat predictable, the plot also amazes, as it progressively reveals a person not present (for example, using the rebound book of prose with the underlined Robert Louis Stevenson poem, innocently quoted by Ann, believing it to be her husband's) and destroys the covetous, deceitful and murderous Alan.
Macao (1952)
Spicy, Short and Sweet Noir
Macao is entertaining and moves quickly (but ends too soon). Mitchum plays his typical laid-back, fearless, charming, unmotivated protagonist. The treat of this movie is seeing Jane Russell sling her one-liners, sing two low octave blues numbers, and saunter around the set. I think she and Mitchum hit it off just fine. The sets and camera work are first rate, but the plot could have used some more development. Since I have to add four more lines for submittal, let me add that the Chinese band was novel (I'm not sure if they were really playing, but it looked like it, and they were having a good time). Also, the blind man sure got around, and I'm glad he didn't turn out to be faking blindness.
The Age of Innocence (1993)
Can't recreate Wharton's novel.
I am sad to say that this movie, while beautifully filmed, has little of the interest of Edith Wharton's novel. Why is this? First, because we can't get into the soul of Newland Archer, as Wharton does, to understand his secret cravings and fears. While Mr. Lewis tries admirably, this movie is just not a vehicle for the expression of mens' inner visions, as Wharton provides with her written words. (See her Ralph Marvel character in "Custom of the Country" for inner visions.)
The second reason is that the persona of Ellen Olenska is not developed in a way that makes her compellingly attractive. To me, Madam Olenska of the novel is a dark enigma, at the same time impetuous and patient, plain and yet beautiful, fair, honest, compassionate, compromised and yet virtuous, strong willed and yet vulnerable, possessing her own style, self-effacing, but not ashamed. She is a person who seeks to satisfy her own desires but is also willing to sacrifice all for those she loves. Newland Archer becomes hooked on her integrity. The Ellen of the movie doesn't portray the powerful, exotic, alluring presence of Wharton's Ellen.
I agree with those who take exception to the screenplay, and think it could have been better adapted to the screen venue, more oriented toward character expression.
I wonder about the casting decisions to embody Ellen with Ms. Pheiffer's light hair and complexion, and wide features, and to portray May with Ms. Ryder's dark hair and smaller person, reversing their personal qualities from the novel. While a delight for the eyes, this film misses the essence of the tale.
Deception (1946)
Thrilling Ride
You have to go along for the ride with this well crafted psychological thriller and you won't regret it. The buildup is a tad slow, but once the trap is sprung, one waits, mesmerized, for it to snap closed on Christine (Davis) and her jealous new husband (Henreid). Basicallly a morality play (Oh what a tangled web we weave....) the excellent script builds a sharp edged tension between the spurned Hollenius (Rains)and his duplicitous former mistress. Like the cat suffering a mouse to wander about between his paws, the gracious Hollenius plays with his prey, encouraging it to dash for safety, only to be brought back again.
***SPOILER*** Eventually the tortured Christine snaps and commits murder, only to finally realize that the wily Hollenius has out-smarted her again.***
Davis seems unusually pretty here, although thick-waisted. Somebody else said she was pregnant. Guess that brings out a "glow". Her wardrobe is stupendous. Since everyone else extols Rains, I won't have to, but the screen play and production are A+.
Bus Stop (1956)
8 of 10
Heartwarming, comedic, story is a wonderful framework for Monroe to reveal her commanding talent. This is tongue-in-cheek entertainment, not "realism". Don Murray is charming in a simplistic, but necessary role as the naive, goal-oriented, frisky cowboy, looking to bring home an "angel", against which Marilyn can play the confused, semi-willingly manipulated girl who isn't sure she knows what real love is, or how to give in to it when it comes. The subtilty of this story (and the tour-de-force of Monroe's performance) is the balancing act of her desire for his sincere affections and her repulsion from his presumptuous manner. Will one of the characters come to their senses, before its too late?
Monroe makes sparks fly, especially in the "first kiss" scene, and as others have mentioned, at the end of the Old Black Magic number, and when she is given the coat at the end. With an excellent supporting cast, and one of Monroe's best serious performances, this is 8 of 10.
Hush...Hush, Sweet Charlotte (1964)
A Haunting Love Story
Forty years after its production, I have seen this movie for the first time. What a delicious treat! Is this Bette Davis at her most innocent and lovable? She makes it look easy, as always. With ultimate professionalism, Davis creates a totally believable and engrossing Charlotte, still heart breakingly in love with John, 37 years after his demise. The hopeful, expectant look in her face every time she thinks he is near, just on the other side of the door, is breathtaking. And, as his music box convinces us, he is still in love with her. How an old woman and a 26 year old dead man can carry on a love affair is one of the beautiful enigmas of this story.
Of course Davis's is not the only tour de force performance, as many others have mentioned, all of the actors are perfectly fit for the story. Even the '63-4 Buick Electra is so appropo.
Camera work, lighting, and sequencing are all top notch, if not original, and are a joy to watch. The only mystery: Why the young people at the party in 1927 make no attempt to look like they are not dressed and coiffed for 1964?