d-jacobs1 Reviews

The Graduate (1967)

Hilarious, rebellious, and risqué.

[8/10 · 16 December 2010]

This crazily interesting film is a great adventure into the changing mentality of the 60's, full of cleverly funny moments and creative use of editing and sound. The standout moments in the editing comes during the montage of Ben's affair with Mrs. Robinson, where he walks through doors and jumps out of his pool and ends up in the hotel or in bed. The shots create a sense of unity between Ben's monotonous life and his love affair. There is a notable shot which utilizes sound, or the lack of it, to perfectly illustrate Ben's feelings; when Ben is dragged out in his scuba gear by his father, there are cuts to POV shots from inside the suit, these shots include only the sound of the suits re-breather and represent Ben's feelings of his disconnection from the world of his parents. The final scene is also iconic, as Ben and Elaine triumphantly elope, the camera continues to film them for some time during which they seem to realize what radical things they have done and seem a bit uneasy about it all, which is a fitting allegory for the times.

Gun Crazy (1950)

Deadly is the female... and dead are my interests.

[5/10 · 16 December 2010]

A love story revolving around revolvers, this film played out a bit to fast and loose for my tastes. I found some of the dialogue to be a bit to corny or overplayed, and some of the action scenes seemed a bit rough. The film is not without positives though, which include a great long take from the backseat of a car as Bart and Annie perform a heist, and an abrupt closing shot of the two lovers killed in a circle of fog together. The film also is unique and interesting in that it's main characters are criminals. Which was not typical in this age of iconic heroes. Aside from some of these creative technical achievements, I felt the film could have been more strongly developed and left me wishing that I had seen something more.

Criss Cross (1949)

If women are trouble, this one is the worst.

[8/10 · 16 December 2010]

A great Film-Noir in every sense of the term, with a hefty dose of scheming double crosses, and a femme-fatale of the most literal sense. Half the story is told as a flashback, which catches up to where the film begins. Steve's narrations add the classic Noir feel, along with stark lighting and climactic action around every unpredictable turn. His obsession for Anna is made very clear and he is often at odds with himself when it comes to his love for her. Anna plays her manipulative role well, and it's often unclear what her true feelings are and where her loyalties really lie. The films dramatic and poetic end leaves viewers a bit dazed, but is done very well, with Anna and Steve killed in each others arms. I felt Anna may have deserved a bit of a less comfortable death as she was constantly flip flopping between loving Steve and being ready to desert him at the drop of a hat, but her last few moments show her true feelings just as it's too late.

Do the Right Thing (1989)

A film which acts as an open ended question.

[9/10 · 15 December 2010]

An overwhelmingly emotional film, full of racial issues and uniquely interesting photography. The first noticeable aspect of this film was it's color. There is a yellowish red tint to the film which emphasizes both the films setting and its mood. The colors make the film seem hotter and more oppressive, which is appropriate given that the film takes place on an oppressively hot day and many of it's characters are full of hate. The hate begets hate aspect of the film creates wonderful duality alongside the preaching of love and acceptance throughout the film which felt like the main message, with Malcolm X and Martin Luther King Jr. at the philosophical center of the entire work. The style of shooting, with a lot of low angles and wide close-ups, gave the film a nicely unique and extreme look, often echoing the moods of characters. The film is exciting and nicely offensive, with issues and events that are sure to anger some and inspire others, but regardless of personal opinions everyone reaps some benefit from this engaging and questioning philosophical work.

On the Waterfront (1954)

A true contender.

[8/10 · 15 December 2010]

Brando shines in this rebellious and moving picture. His role as a lackey for the corrupt mobsters who run the shipyard is played to near perfection. Full of regret, angst, love, and loss, Brando brings his character to iconic status. The film makes use of the waterfront location very well, incorporating vast rooftop shots, dark alleys, and crowded bars. Terry's pursuit of Edie leads him down a righteous path, and he sees, with new eyes, the wrong which is being done. I felt Terry's obsession with his pigeons was somewhat symbolic of the way Terry himself felt; contained and only let free to return again shortly. His birds being killed, followed by his brother, brought about his climactic and exciting rebellion against the dock mob. After He is beaten up, he stumbles to the dock, leading the inspired workers. While he does this the camera cuts to creative POV shots which wobble and blur, emphasizing his battered condition which was an interesting touch to a film filled with great moments.

Butch Cassidy and the Sundance Kid (1969)

Whimsical outlaws.

[9/10 · 11 December 2010]

I was immediately taken with this film when I saw the transition from the sepia tone to standard color. Cassidy and the Kid form a perfect comedic combination but don't shy away from being classic western bad-asses. their chemistry works excellently and it's clear why they are one of the great big screen partnerships. The montage in the middle of the film, showing the pair's journey to Bolivia with Etta, is done quite well using only pictures which each image looking authentic and iconic. The film is shot in a retrospective style, making the work seem like a story or tale. The end of this tale is represented perfectly in the frozen image of the duo rushing out of their cover, which fades to the sepia tone and closes their legend in iconic fashion.

In Cold Blood (1967)

A well done and interesting crime film.

[8/10 · 11 December 2010]

Filled with expert match cuts, elegant dissolves, and great shots this film is equally interesting both in its photography and plot. The main characters, Dick and Perry, create an interesting dynamic. At first Dick seems like the nicer, more controllable side of the alliance. But by the conclusion we find him to be the one who is truly disturbed. Perry, while haunted by his past as shown in well handled flashbacks, develops into a character with humanity and conscience. The style of the film I found interesting as well, made during the mid 60's but shot with the feel of classic 40's Hollywood. The editing, lighting, and photography are all handled terrificly, with standout moments such as when Perry throws something off a bridge and there is a cut to the impact of a crane dropping a magnet into a river. But the greatest shot of all comes during Perry's final monologue, with rain running down a window which projects the illusion of tears on Perry's face as he looks out and speaks about his estranged relationship with his father.

The Killing (1956)

That damned dog!

[7/10 · 7 December 2010]

An interesting journey through the conception and execution of a brilliantly planned heist, full of anticipation and surprises. I felt the narrator was a bit much, or a bit too documentary in style, but admit that I would have been lost without him. The editing I found quite effective, showing what happens at different locations during the same time. There are many interesting shots used, like the long tracking of a character as they walk through multiple rooms, or the dazed stylized shot from George's point of view after everyone dies in the apartment shootout. I felt it appropriate that George be the lone survivor of his own wifes double cross, and was even more satisfied when she was shot by the very man she was manipulating and scheming against. The final disastrous turning point for Johnny was foreshadowed nicely, with the faulty suitcase, and the obnoxious woman with her little dog. It seemed that irony played an important role in the film, epitomized in the shot where a lucky horseshoe ruptures the tire of the fleeing hit-man resulting in his death.

East of Eden (1955)

A moving Steinbeck adaptation.

[8/10 · 7 December 2010]

This poetically themed and shot picture does tremendous justice to Steinbecks work, which deals with a lot of human loss and emotional discovery. These themes were brought out wonderfully in this film with aspects like a skewed camera angle whenever Cal confronts his father, and elegant framing of subjects which incorporates emotion and deeper meaning into the shots. Dean's performance is also one of the highest merit, transforming Cal from a rebellious teen desperate for his fathers affection, into an emotionally satisfied and healed man. I found the role reversal between Cal and Aron very powerful, with Aron running away from the truth which he couldn't handle and Cal stepping up as the stronger son. The final scene is by far the most moving, featuring super effective editing and the greatest moment of the film, when Cal screams for the nurse to "GET OUT!"

The Big Sleep (1946)

The Noir James Bond.

[8/10 · 6 December 2010]

Bogart completely steals the show in this clever and suspenseful mystery title. With expertly crafted, and even more expertly delivered dialogue its easy to get washed away in the charisma and presence Bogart portrays. Full of sly confrontations and a constantly growing mystery this film captures your attention and holds it even if you didn't know what was happening. Marlowe's constant manipulation and observation of others was brought out perfectly by Bogart, who gives the character profound respect and power. I couldn't decide if id rather watch a gunfight, or watch Marlowe probe for information, which were both equally as tactful and exciting. But underneath Brando's commanding character lies an intense web of secrets, lies, and love. Uncovered gradually, and with a fair share of twists, the plot constantly is answering questions all the while presenting new inquiries, and doing all of this with suspenseful photography and perfectly lit subjects.

Easy Rider (1969)

Hippies, bikers, hippies... and the south.

[7/10 · 5 December 2010]

It would seem from this films message, that the more freedom someone has the more trouble they accumulate, be them communists in the desert, or just two men looking for a nice place to be. This film embodies the counterculture adventure of the late sixties in a way thats revealing and very fun to watch, full of comedy, beautiful landscape shots, and a double barrel dose of surprise. I found the best part of the film to be Jack Nicholson's reasoning for why people are offended by the film's stars. Nicholson's character was an integral part of the film, who brought out themes and ideas that would have been missed otherwise. While most of the film held a coherent and consistent style, the acid trip scene threw me off. It was interesting, creative, and held cryptic meaning, but completely interrupted the movies flow for me. Thankfully the film succeeded in not only bringing me back in, but leaving me with profound shock at the abrupt and meaningfully violent close.

The Lady from Shanghai (1947)

Great to look at, but a bit slow to watch.

[5/10 · 5 December 2010]

While this film didn't particularly capture my interest, it did feature some very interesting moments and themes. The most notable of which was the scene shot in a hall of mirrors. I felt this scene captured the nature of this pseudo-noir, in which no one is who they seem, and everyone is after everyone else. The allegory of the sharks that Michael presents during the picnic plays a central role in the theme of the story, and brilliant foreshadowing is achieved when Elsa, the worst shark of them all, chooses an aquarium as the meeting place for her and Michael. Aside from Wells' expert use of photography and space, the movie did little for my interest. Something about the story's haste and jumpiness left me spinning for the first half of the film, and not until the scene in the courtroom was my interest in the film revived.

One Flew Over the Cuckoo's Nest (1975)

A crazy good romp through human personalities.

[9/10 · 5 December 2010]

With all the elements of a masterfully crafted film, this title does its part to expose the nature of man and the ends to which he will go and be pushed. Nicholson's role as a patient pretending to be mentally ill seems perfect for him, and he plays the part with humor, violence, and tenderness when appropriate. His antics in the institution inspire real growth and therapy for the other patients, as opposed to the iron fisted order imposed by the loathsome Nurse Ratched, who's name i found particularly appropriate as she was always manipulating the patients. I found her strangulation to be particularly satisfying, no doubt a product of the great performances and writing of the film. Aesthetically not too much caught my eyes from an artistic point of view, although certain scenes, like the fishing scene and the closing scene with the chief walking over the hills as a silhouette, were done with profound meaning. Overall this film works as a commentary and study into the lives of some mentally unstable people, and shows the cycle of craziness begetting craziness.

Foreign Correspondent (1940)

Searching for a good story, saves the life of an important statesman.

[6/10 · 19 October 2010]

An enjoyable movie overall, I found the reporter turned espionage agent plot to be an interesting story. Full of suspense and twists the film does a good job keeping all the characters and their loyalties straight. The romance between John and Carol seemed a bit rushed, it seemed all of a sudden they were madly in love and engaged no less. The film uses light and camera angles nicely to portray suspenseful moods and suspicious behavior. While the film's action may be slow to start, it builds to a climactic finish, in which the plane carrying the characters is shot down, and perhaps the most enjoyable scene, where John covertly gives his story to his newspaper over the phone, is shown. The film also leads to an inspirational and patriotic broadcast to America by John, which i felt added a nice touch and leaves the audience with a sense of inspiration in a time of coming war.

Flying Down to Rio (1933)

Better bring a parachute, and dancing shoes.

[6/10 · 18 October 2010]

An overly simple story lacking much real conflict, but still enjoyable to experience. Fred Astaire skillfully imbues the musical numbers with terrific life, and the choreography of the larger dances creates elegant movement within the shots. The last number of the film is creatively conceived, while a little far fetched, but is interestingly and enjoyably different from other musical acts. The love triangle between Belinha, Julio, and Roger is the main focus of the film, and could have strengthened the picture if it was developed further, instead of sharing time with the irrelevant subplot involving a scheme to takeover the Hotel Atlantico. The plot is redeemed in the end by Julio, who gives up Belinha to Roger in a noble and selfless twist, the likes of which leaves a happy and accomplished taste in your mouth.

Casablanca (1942)

Here's lookin' at this film again, kid.

[9/10 · 17 October 2010]

Full of romance, suspense, glamor, and comedy, "Casablanca" achieves a level of quality not easily beaten. The films writing and allegorical themes are strong, with Bogart's performance leading the way. Beautifully shot, the film delivers strong meaning visually, utilizing such shots as when the camera tilts down from the slogan of the French revolution as the usual suspects are rounded up, or when Captain Renault discards the Vichy French water bottle. The characters are nicely and methodically developed over the course of the movie, and the acting reinforces this. The strongest aspect in my opinion was the writing, which skillfully provided thematic aspects like Rick's allegorical isolationist policies, clever comedic situations, and moving romance.

Stagecoach (1939)

If plot is a stagecoach, the characters are driving.

[8/10 · 17 October 2010]

A highly character driven film, "Stagecoach" boasts beautiful shots, climactic action, and great comedy. The diverse and colorful range of characters is the obvious focus with such archetypes as a drunk, an outlaw, a sheriff, a gambler, and a prostitute present among others. The characters begin their journey with obvious prejudices and feelings towards one another, but develop and change as they travel and fight together. The drunken Doc Boone and Buck the driver splash comedy throughout the film, while Ringo Kid and Ms. Dallas provide the romance. Ringo Kid shows Ms. Dallas respect and care when no one else does, but Dallas is afraid he will no longer have interest in her once he discovers she is a prostitute. Ms. Dallas shows compassion and care to Lucy Mallory, whose disdain for Dallas grows into respect after Dallas protects her newborn baby. Sheriff Curley also changes his opinion of Ringo, who was to be arrested, but is set free to enjoy a new life with Dallas. The dynamic range of characters and their interactions in different situations provides an interesting and enjoyable experience. The film seemed a bit rushed, leaving certain details undeveloped. But the richness of dialogue, and elegant photography support an otherwise great western.

The Grapes of Wrath (1940)

A masterfully engaging and moving a-bomb of hardship.

[8/10 · 15 October 2010]

An enormously powerful and moving narrative of the hardships and perseverance of one poor farming family during the great depression, this film beautifully blends expert cinematography and moving dialogue. The Joad's struggle is hauntingly foreshadowed at the beginning in the Joad's abandoned house, where a mood of tragedy is established. Throughout the film, use of deep contrast and shadow is appropriately used to emphasize moments of despair and sullenness, the preacher often comes in and out of shadow and plays a key role in Tom Joad's development. I found the mother to be exceptionally engaging, owning most of the emotional power and meaning in the dialogue. While the film is mainly a constant bludgeoning of sadness, and it feels as though the Joad's will never be at peace, there are moments of relief. The grandpa serves a dose of comic relief, and the government run housing camp is the only place happiness seems to exist. Over the course of the film you begin to feel connected to the Joads, and start thinking like them. As the Joad's enter the displaced farmers' camp, you feel a sense of apprehension along with Tom, and you find yourself waiting for the next injustice to present itself. You then grow attached to this haven, and feel accomplished when the police scheme against it is thwarted. The beautiful photography, top tier dialogue, and moving story all blend to produce an engaging style typical of great movies; a category in which this film rightly fits.

Frankenstein (1931)

A brilliantly humanitarian monster movie

[8/10 · 11 October 2010]

More of a philosophical question than a horror film in my eyes, this film beautifully weaves suspense and intrigue with creepy darkness. The film is constantly setting the perfect visual mood for all of it's situations, like Dr. Frankensteins hermit like madness, or the monsters raw ignorance and aggression. I felt the greatest depth of character came surprisingly from the monster, who had no speaking lines. Karloff brilliantly plays the monster with a confusing and tragic sense of humanity. I felt the scene where the monster is first introduced to light to be very metaphoric. After being kept in complete darkness and knowing nothing else he is teased with light and desperately wants it back, but he is denied and is exposed to fire. This theme holds true for the monster throughout the film, he is constantly subject to abuses and misunderstanding and is then punished after the obvious ill consequence.

My Man Godfrey (1936)

There's more to Godfrey than meets the eye.

[8/10 · 28 September 2010]

Beautifully done, from a wonderfully creative opening credit sequence, to a strong social message, this film is as successful as its main character. The crazy and eccentric Bullock family adds wonderful color and range to the film, while also creating hilarity at every turn. Godfrey is immediately brought into the mind of the viewer as a noble and educated individual, while his opposite, Irene, is shown to be an immature and simple character. The two form a wonderfully odd couple, the likes of which I didn't want to see together but couldn't help rooting for. The social message in the film is hard hitting. One of charity and morality for those hit hard by the depression , is beautifully explained in the film by Godfrey himself, who is the linchpin for all the good in the film.

The Palm Beach Story (1942)

An almost indecent proposal.

[7/10 · 28 September 2010]

A hilarious movie centered around two characters who's love for each other overcomes logic and hardship. While I enjoyed this picture for what it was worth, I couldn't help but feel my morality start to decay. I appreciated how committed to his wife Tom was, but as the film progressed I found myself becoming annoyed with Gerry. Probably because she wanted to find a sugar-daddy for her husband, which I found a bit whorish for lack of a better word. Gerry's salvation rightly came however, when her love for her husband Tom finally put the kibosh on her plans. The scene with the Gun Club in the train was by far the high point of the film, but the ending I found a bit ridiculous. But what could I expect from a classic, and wonderful, screwball comedy,

I Am a Fugitive from a Chain Gang (1932)

A noble citizen harshly effected by a crooked justice system and economic hardships

[7/10 · 21 September 2010]

A very emotional and moving picture, this film portrays Paul Muni as James Allen, a noble citizen harshly effected by a crooked justice system and economic hardships. James Allen who quits his job in search of happiness during the great depression, struggles to earn anything and is falsely accused of robbery and sent to a punishing chain gang. This film is full of moments that seem unfair to Allen and infuriated me, which is what I think this film was made to make viewers feel. Like when Allen foolishly runs out of a dinner with stolen money, or when he is extorted into marriage by his (for lack of a better word) bitchy wife, or the worst of all when Allen receives word that he will not be pardoned. The emotions in this film are strong and extreme, and work in the best ways to represent a man who is ironically left with no other options but to become a criminal.

Scarface (1932)

Grade A gangster movie

[8/10 · 21 September 2010]

Paul Muni's portrayal of a prohibition era gangster is a great investment of time. While this picture is a great cinematic work, it also serves as a social call to arms against organized crime. The beginning of the film asks viewers to think and reflect on the crimes committed and to try and put a stop to them. The film even has a scene in which several city officials explore options to try and eradicate organized crime. I couldn't help but wonder if the sign outside Muni's apartment displaying the words "The World Is Yours" is actually a message to the audience. Aside from the powerful social commentary the film stands on solid legs, with dramatic lighting and Muni at the helm the film embodies gritty gangster life. The strongest aspect of the film I felt was the use of an "x" mark whenever someone was killed, and with an "x" on his own face Muni meets an appropriate foreshadowed death.

The General (1926)

A constant chase along a set path couldn't be more exciting

[8/10 · 13 September 2010]

Starting off slow and sad, building excitement, and ending in a happy new place "The General" has a plot much like the vehicle it's centered around. The story of a southern civil war era engineer who singlehandedly foils a northern attack, this film is as enjoyable as it is rewarding. Keaton creates an exciting and suspenseful chase throughout the film, full of funny moments. The best are the interactions between Keaton and Mack. The two form a dysfunctional and comedic pair while they are escaping the north in a stolen train, but work well as romantic interests. Keaton's heroic actions against the North are creative and resourceful, and his fitting promotion at the end of the film leaves viewers feeling fulfilled.

The Gold Rush (1925)

Fun, full of feeling, and enjoyable. A good show of Chaplin's range

[6/10 · 13 September 2010]

The Gold Rush is a showcase of sorts for Chaplin. In it, he provides audiences with a wide range of cinematic elements from his signature slapstick routines to dramatic relationships. The rags to riches plot was interesting and witty, but felt dragged out. While Chaplin is good at emotionally engaging the audience with relate-able situations, like getting stood up or competing for a woman, the lack of serious conflict makes the film seem simple. The special effects were handled nicely even by todays standards, but the true enjoyment in the film comes from watching the tramp endure hardship as he accidentally progresses into wealthiness, and sees his life fall together by favorable coincidence.