Reviled by the original Beats, most notably Allen Ginsberg, and now virtually unobtainable in video form (let alone DVD) from any source, The Subterraneans has been derided as a Hollywood hatchet job bearing very little resemblance to the Kerouac book on which its based. The plot is simple, disillusioned writer, George Peppard, explores the 'subterranean' depths of San Francisco's North Beach district circa 1959 looking for anybody who will share his jaded perspective on life and finds romance amongst the Beatniks in the form of slightly touched Leslie Caron (original book's black female love interest is replaced by a French girl for Hollywood palates). Script is similarly lightweight, with intermittent nods to the language of the Beats and a clumsy attempt to re-create the famous Ginsberg "Howl" reading, but nevertheless the movie as a whole is stangely compelling in a historical sense, not as a faithful representation of Beat culture, but rather as a view on how the Beats were commoditized and became 'Beatniks'. If you have an interest in the popular culture of the time, daddio, then like, seek this flick out, if you're a serious Beat scholar, stay away.
Reviews
5 Reviews
The Red House
(1947)
Versatile Ed G.
4 December 2001
The Red House is unique not just for the incredible versatility
displayed by Edward G Robinson, but also the dark subject matter
that is dealt with here. A lot of the true meanings are hidden in
subtext, but after a while, the viewer begins to grasp the potential
horror of the situation as the true psychology of Ed G's character is
slowly revealed. Like the previous reviewer stated, the film
precedes Lynch in introducing us to the picture perfect exterior of
the little farming town and its inhabitants as they go about their
business before we are introduced to the darker secrets hidden in
their pasts and the lengths they go to to cover them up. One of the finer films of the period.
displayed by Edward G Robinson, but also the dark subject matter
that is dealt with here. A lot of the true meanings are hidden in
subtext, but after a while, the viewer begins to grasp the potential
horror of the situation as the true psychology of Ed G's character is
slowly revealed. Like the previous reviewer stated, the film
precedes Lynch in introducing us to the picture perfect exterior of
the little farming town and its inhabitants as they go about their
business before we are introduced to the darker secrets hidden in
their pasts and the lengths they go to to cover them up. One of the finer films of the period.
Moulin Rouge!
(2001)
Awful.
1 November 2001
I lasted about 50 minutes in this movie until Jim Broadbent's leering ginger mug repulsed me so much I had to leave. There is no denying the beauty of the art direction here, but it really is the proverbial purse made from a sow's ear. The script is appalling, the plot paper thin. In the grand tradition of all those terrible puppet shows your parents made you sit through when you were a child, there are characters who exist for no reason other than to add a sort of aural punctuation to the main characters songs and sentences. John Leguizamo's entire dialogue seems to consist of beeps and squeaks at appropriate moments. Then there are the songs...ah yes...the songs. If you want to shake things up a bit and "re-invent" genres, which Luhrman is no doubt trying to do, is dull radio fodder like Elton John really the way to go? The choice of such songs smacked of product placement. Beyond this, add the fact that Ewan Mcgregor cannot sing, Kidman's voice was flat, and both of them gave up trying to act before the movie had even begun, and you have an undeniably excruciating experience.
Jamaica Inn
(1939)
A classic for Laughton fans
24 May 2001
While this picture is not one of Hitchcock's more memorable pieces, it is nevertheless well worth a look simply to view the acting genius of Charles Laughton. The man is larger than life as the revolting yet oddly fascinating Sir Humphrey and provides the audience with far more insight into the character than a lesser actor might have done. This is not simply a one-dimensional villain that we are so used to seeing in British movies of this period. In addition to a superb reading of the script, Laughton is clearly ad-libbing in various scenes, further breaking down hitherto scrupulously maintained boundaries between audience and actor. I urge anyone who is weary of today's usual line-up of blockbuster big names to observe a true master at work and wonder where it all went wrong!
Eight Days a Week
(I) (1997)
something a bit surreal here.
29 March 2001
There's something quite surreal about Eight Days. The 'burb that Peter lives in seems just a bit too perfectly constructed, the lawns are greener than green, and the personalities just that bit larger than life, however I think that was the intention, and it works. I loved the scenes of Peter musing to himself as he lies on his back outside Erica's window hoping to lure her out on to her balcony. What young man hasn't been through this stage of slavish devotion to an icon of the opposite sex? The casting is also great, with Joshua Schaefer making a perfect choice as Peter. He displays none of the ham-fisted self-consciousness reminiscent of other actors his age or younger, and handles the role with effortless charm, endearing himself to the viewer more and more as the film progresses. I didn't laugh a hell of a lot at the script , but that didn't shake my enjoyment of it, as I think the film is more a light hearted comment on adolescence than an "American Pie" style gag-athon.
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