chazzy-3 Reviews

The Red House (1947)

Offbeat, strikingly original Daves rural tale

[6 January 2004]

As with many of Delmer Daves' films, The Red House shows originality, flair, and an intense weaving of landscape, theme, and character (rare among American directors working in the studios). He consistently achieves moments of great subtlety as he subverts genre conventions. In addition, Lon McCallister and Allene Roberts deliver striking performances under Daves' sensitive direction. It's no surprise that Scorcese noted this film in his "Personal Journey Through American Movies". Unfortunately, the print of the film used for the extant DVDs is HORRIBLE -- there have to be better prints out there of this film!

Hour of Glory (1949)

Brooding Tale of Redemption

[10/10 · 24 August 2000]

This film is an interesting return to the general subject matter of Powell and Pressburger's black and white war films (49th Parallel, One of our Aircraft, etc..), but, made four years after the end of the war, it is a moody piece that focuses on a man disabled by the war. It is typical of their work in that it features brilliantly well-rounded, truly adult characters without easy answers or one-dimensional poses; it is also a departure from their other films of the period in its lack of flamboyance and otherworldly flair. The gritty style - no music, for example, and wonderfully spare dialogue by Pressburger - is perfectly echoed by the intense performances of Kathleen Byron and David Farrar. As always, Powell's keen visual sense is paramount to the brilliance of the Archers' films, and the bomb-defusing scene on the beach makes great use of the setting in its compositions and editing. Although it is not the best introduction to the work of Powell and Pressburger, this film is a keen testament to the capacity of their storytelling abilities in weaving a tale of a man who finds redemption through work and love. Whether their films are explorations of the power of art or the effects of war, I consistently find their work profoundly moving. Let's hope that it is FINALLY released on video or, better still, DVD. (Attention, Scorcese!!!!)

Family Resemblances (1996)

Superbly observed microcosm

[10/10 · 10 May 2000]

Mr. Klapisch continues to mark himself as one of the finest directors of his generation; with simple means, he tells tales which stick close to the bone of contemporary life, and he knows his territory quite well. This French family could not ring more true, and it is in the subtleties - such as the scenes of the "successful" son who is nonetheless hounded by the biting criticisms of his family - that Klapitch really distances himself from his contemporaries. There is little of the long-windedness or preciousness of some of the current flock of young directors, and his films never glibly mock their characters, which can leave more chilling - or uplifting - conclusions towards the end of their tales. It seems that every time a movie is adapted from a play people seem to harp on its "theatricality" - almost as a matter of course - yet this film works quite well on the screen, and the visual qualities of the storytelling are numerous, while the cinematography is superb throughout. I must also add that, despite the fact that we are discouraged from reacting to existing comments on this page, the comments of the reviewer from Dublin, Ireland are among the most ludicrous I have seen on these pages; Un Air de Famille - it is a superb title in French - is one of the finest films to come out of France in the last decade.

Son of the Pink Panther (1993)

Completely Underrated

[10/10 · 29 February 2000]

The visual wit and warm wrap-up that Blake Edwards' brings to one of the finest comedic series of film history (and, apart from the couple produced in the eighties, they were consistently original and inventive - and changed with each one) is sadly misunderstood and no longer appreciated by our audiences. The manner in which Edwards' uses the entire screen instead of just cutting for quick effects requires a little more patience, and can result in quite a payoff - witness the side-splitting scene with Dreyfus and colleague in hospital beds (but, of course, you need a widescreen version to see it). This movie made me laugh, and laugh, and laugh, but, as I said before, if Edwards' "The Pink Panther Strikes Again" (probably the best in the series) were released today, it wouldn't have gotten the time of day either. It's too bad, because this film, which displays a tenderness to these characters and Edwards' creation as a whole, was never allowed a chance to really be seen without generally jaded eyes.

The Limey (1999)

Another Stirring Triumph for Soderbergh

[10/10 · 21 October 1999]

Steven Soderbergh's latest offering is a further example of status as one of the current masters of cinema. His trilogy of sorts - The Underneath, Out of Sight, and, now, The Limey - presents a powerful portrait of contemporary America, in a series of rich portraits, compelling themes, and deep sub-texts from gambling to amorous commitment to parental love. Ironically, his new film is seen through the lens of a foreigner - the Limey.

Soderbergh has been developing a style which I liken to one described by the ultra-independent director Jon Jost as a "composed film" in the sense that a musical composer works. Soderbergh's films have a lyricism that is beautiful and compelling, and that always works to deepen the characters and situations being presented. I always find it humorous that whenever directors begin playing around with editing, lighting, and the like in a way to pull away from currently accepted styles, the narrative is described as "medium" or "weak" (the classic argument against Touch of Evil). On the contrary, this film displays a superbly written screenplay which offers finely wrought characters and a narrative that is driven by character and not situation.

The aspects of the film that will receive the most attention are the performances, especially Terence Stamp and Peter Fonda. Stamp's portrayal of Wilson is one of the most powerful pieces of acting in recent years, and Fonda's performance should be studied by students of film in relation to his work in Ulee's Gold. They could learn quite a bit.

Go and see The Limey!! This powerful and poignant film is one of the finest examples of the potential of cinematic art in stretching the visual, aural, and emotional potential of the big screen.