haridam0 Reviews

Gone Baby Gone (2007)

Gone Over With Much of Public

[20 October 2007]

A morally ambiguous tale is told within a quite murky structure. It seems to wander here and there, without the feeling of anything but free form. Rather reminded me a bit of that similar detective yarn of yore, "The Big Sleep," in which Bogart and Bacall danced around a convoluted script--and managed to get away with it.

The acting in "Gone, Baby Gone" is so confident and dedicated, and the production so convinced of itself, that when one "doesn't get" everything, one tends to think it's just their lack of understanding.

I suppose if one would make the effort to analyze everything, much of it would make sense. Indeed, the production is designed to make one think all the ends are tied up. Still I've a suspicion that some of it's a conjurer's trick, through crafty writing and editing manipulation. Director Afflect shows us just what he wants us to see at any one time, leaving other "bits of evidence" either out or delayed, to create a "surprise effect" down the road.

Lead actor Affect slurs and mumbles his way through his lines, I suppose giving a "realistic" performance. Some of the violence seemed a bit gratuitous and pat; still, I admit the plot needs some action from time to time to liven things up.

How long this film will "last" remains to be seen. I've a feeling it won't be among the "great" detective stories, but only time will tell. On the positive side, Messers. Afflect and cast and crew have made a respectable piece of work, and the much of the public and critics tend to agree. ###

For the Bible Tells Me So (2007)

Good, Thoughtful Work

[10/10 · 7 October 2007]

Only days following its New York premiere, "For the Bible Tells Me So" plays Cinematheque, Cleveland Ohio's superb film series.

A capacity audience sits attentively through this informative feature, responding audibly to its content and ending with loud applause. I found the work well prepared and executed, offering varying points of view on the subject of morality and religiosity.

Famed world leaders from far left to far right are given time to express their varied opinions, while the viewer is allowed to reach a personal conclusion. The presentation is comprehensive and fair minded in delineating key points of scripture that are used to judge sexual orientation and practices.

A film worthy of extensive screening, especially in churches of all denominations as well as civic organizations. Ultimately, it's a most valuable addition to any film collection.

Amadeus (1984)

Too Many Notes

[6/10 · 1 October 2007]

. . . That's the way the Director's Cut struck me. Simply too much of a good thing, especially toward the end when the drama should be nearing its wrap up. We have extraneous scenes that only confuse momentum toward a dramatic finale.

As for the film itself, it seems fundamentally skewed, with the author taking what appears little more that a footnote in a Mozart bio, and blowing it up to enormous proportions. The result is long on entertainment, short on history.

Some films benefit from director's cuts; Amadeus does not. Fortunately, the studio cut version remains the better choice.

Hairspray (2007)

What Can I Say?

[10/10 · 1 September 2007]

"Hairspray" 2007 is simply one of the best musicals ever put on celluloid. A perfection of script, songs, orchestrations, casting, directing, choreography, editing and all technical elements. In short, a true masterpiece.

The first time I saw the film I wasn't prepared for so great an achievement. It was only days after that I began to reflect on what I'd seen. Back I went, not once but several more times, and the film just got better and better each time.

Congratuations to everyone who made a contribution to this landmark film musical!

Pan's Labyrinth (2006)

Minority View

[1/10 · 24 February 2007]

What prompted me to see this film was, quite frankly, noting the rating of 98 it received on the MetaCritic website. I've never seen a rating that high here before, and it peaked my interest.

Then, just to be sure, I visited Rotten Tomatoes, and found a rating almost as high. This plus the 8+ general public rating sealed the deal. This film must be pretty good!

Unfortunately, I found it to be murky, muddy and muddled; long on horror, short on fantasy, and filled with brutality, blood an torture.

It didn't help that the multiplex where I saw it had the most ear-splitting volume I'd ever experienced in a theater.

I'm not sorry I'm with the minority on this one. It's a picture I'd rather not learn to appreciate, and one I'd rather forget.

In short, I'm happy to be an outsider here.

The Battle of Algiers (1966)

Unforgettable

[4 February 2007]

There's no doubt that, once seen, "La Battaglia di Algeri" cannot be forgotten. It's stark and horrifying images are forever imprinted on the mind.

What's so utterly striking is that no documentary footage is used, only carefully staged scenes. Sometimes literally thousands of Algerian extras are employed--a remarkable feat for Director Gino Pontecorvo.

Every shot here in this elaborate retelling of one of history's bloodiest battles rings true. The actors are remarkably real, and the black and white cinematography gives an authentic look and feel to every episode.

I'm not sure just how accurate the politics are here (its being banned in France is notable) or exactly what statement Pontecorve is making. It seems to be pro-Algeria, and indeed the use of torture casts a shameful blemish on the French garrison.

Still, one wonders what point of view the French have regarding this terrible conflict. In the end, one ponders what it's really all about. Ownership of a piece of land?

This film undoubtedly prompted Marlon Brando to agree to work with this talented director in "Burn." The director's professional career seems as spotty and uneven as his film folio. In an interview Gino admitted to only making a film when he felt like it, even if years might pass in the interim.

"La Battaglia" remains the high point of his career, and a lasting contribution to the mock-documentary style in cinematic art.

The Killers (1946)

Lancaster's Debut

[27 January 2007]

It's hard to figure just how ex-circus acrobat emerged a superstar in his first film. Notice his name's over the title, not a special "Introducing Burt Lancaster," as normally done. Obviously the studio recognized he deserved this billing and gave it to him.

Where'd he come from and where'd he get his training? According to his bio, he never studied his craft, opting to teach himself on-the-job.

Few actors have enjoyed such above title credit in their first film (Gregory Peck was another, but even he came from the New York stage with formal training).

In film after film thereafter Lancaster scored bull's eyes with his naturalistic style of acting.

Here, in "The Killers," he's joined with young Ava Gardner, who holds her own co-star billing, and the fine Edmond O'Brien.

Miklos Rosza's score enhances this atmospheric production, that was one of 1946's most successful films.

Nothing But a Man (1964)

Well Executed Film

[8/10 · 29 December 2006]

Director/CoScriptor Michael Roemer is responsible for the overall look and feel of this sensitive drama. Part social commentary, this film depicts a touching, often sad portrait of Americana during a challenging historical period.

Heading the talented cast is Ivan Dixon as Duff, who nicely underplays his role, letting his expression emerge from within. Singer Abbey Lincoln is seen in a nice dramatic turn as his girlfriend turned wife, Josie. Julius Harris renders a moving performance as Duff's spent father.

Robert M. Young's atmospheric black and white cinematography is most striking. Having received excellent critical notices, the film apparently never found a wide audience, and has become a "forgotten gem." Fortunately, it's on DVD to be appreciated by a new generation--who will be educated as well.

King of Kings (1961)

Well Crafted Spectacle

[24 December 2006]

MGM must be credited with bankrolling this expensive project. True, their objectives were probably mercenary, hoping to cash in on their earlier commercial success, "Ben Hur." Still, the big studio can't be faulted for choosing Nicholas Ray to head their massive enterprise. Ray's work's always worth watching, and here he proves he can lead a gigantic spectacle to impressive heights.

Miklos Rozsa's "inspirational" score is notable for its prominent use of voices and thematic motifs. Philip Yordan and his writing colleagues fashion a respectable script.

Orson Welles manages to subdue his often florid histrionic tendencies to render outstanding narration.

Further credit to MGM for engaging a more than decent cast of solid professionals, headed by Siobhan McKenna, Hurd Hatfield, Viveca Lindfors, Rip Torn and Robert Ryan.

Kudos to the second unit and art direction, and to the fine photography and striking costumes.

Jeffery Hunter must be given credit for taking on an impossible role and coming out not too badly.

As for the validity of its historicity, that may be an entirely different matter, and each viewer must draw his and her own conclusions on this. With a story as old as the hills, there isn't much room left for many fresh insights, and what gives this interest is the big studio that mounts this ancient tale.

In this case, MGM and crew made a pretty good show.

Pal Joey (1957)

Ring-a-ding Role for Frank

[8/10 · 20 December 2006]

Talk about a perfect cast. This film brings together all the right folk to realize Rodgers and Hart's swinging musical for the screen.

Firstly, here's a role Sinatra's born to play. Made during the period of his greatest album recordings, like "Song for Swinging Lovers," his voice, manner and attitude is perfect for George Abbott's A-1 heel.

His singing and acting are on the ball here, and Sinatra throws himself into the part with cool abandonment.

Secondly, Rita Hayworth (reportedly replacing Marlene Dietrich) turns in a dazzling performance. Wise, worldly, and sophisticated, her "former stripper" number's a knockout.

Thirdly, Kim Novak enjoys one of her best ever roles. Often in other films she acts as though the camera's hurting her. Here, she uses her discomfort to advantage, making for a fascinating persona. (Often one can see the vague, distant and ethereal qualities Alfred Hitchcock must have spotted to cast her in his haunting "Vertigo.")

Behind the scenes is Sinatra's favorite music director/arranger/conductor Nelson Riddle. Jean Louis designs some fabulous gowns for the ladies, and George Sidney's direction and Hermes Pan's choreography likewise hit the bull's eye.

In short, this "Pal Joey's" a real gasser.

Miracle on 34th Street (1947)

An Irresistible Delight

[10/10 · 6 December 2006]

It began with Valentine Davis' charming story, followed by George Seaton's most witty and engaging screenplay-- then adding his deft direction.

The casting is absolutely perfect: Edmund Gwenn excels himself as Kris Kringle. Maureen O'Hara and John Payne are great as the adults, and Natalie Wood gives one of her best screen performances.

Outstanding in the production department are Cyril Mockridge's effervescent score and Ed Powell's expert orchestral arrangements. The music here really sparkles and shines, bouncing cheerily from scene to scene.

I'll admit to being somewhat of a "bah-humbug-grouch" when it comes to this particular period; still, am a real "pushover" for the ingratiating sentimentality and optimism of "Miracle on 34th Street." It's all too precious and irresistible to ignore.

Borat (2006)

Brilliant

[9/10 · 30 November 2006]

Thanks to sharp satirists that came before, like Lenny Bruce, Andy Kauffman, Norman Lear, Redd Foxx and Eddie Murphy, Sacha Baron Cohen and his colleges create a sensation with "Boart." Co-scripter Anthony Hines and Director Larry Charles join forces with Cohen to satirize every sacred cow they can conjure. This includes nationalism, racism, politics, sex and religion.

One outrageous joke after the next leave some audiences in stitches throughout. Indeed, it would be good to have nurses in the lobby to treat those whose sides ache (or have upset stomachs).

Not that this is everyone's cup of tea; far from it. Like much avant garde and underground humor, there is much here that could be construed literally, and be downright offensive.

I suspect this will play better in larger cities and more hip cosmopolitan regions than in more conservative provinces. Well, if some folks don't "get it," that's their problem.

The rest of the younger, hip set will, and laugh themselves silly over the stinging satiric thrusts taken at so many folks' ridiculous prejudices.

There's never been a film quite like "Borat," and it lifts the humor bar several notches higher (or lower, depending on your point of view) -- daring others to "top this." As for "bad p/r," what's scandalous today will be tame turkey tomorrow.

"Borat" is a brilliant piece of work, powerful and unforgettable.

Aparajito (1956)

Superior Film-making

[9/10 · 29 November 2006]

Although Satajit Ray was to old, sick and spent to fully appreciate his special Oscar, it was to the Academy's credit that it finally did recognize this supreme artist.

It's often been said that "Aparajito" is the lesser of the three film that comprise "The Apu Trilogy." I personally don't buy that. Here is a finely etched portrait of a young man as he leaves his primitive Indian village and widowed mother to better himself through education at a Calcutta University.

The relationship between mother and son are beautifully presented, with their differing values representative of passing generations. The circumstances may be specific, while the story is universal.

It is about the age-old tension between human choices and challenging environments, about the balancing of values in achieving one's heart's desires.

The emotional fluctuations felt by both mother and son are sharply depicted, including the loss of one's parents as a unique, one-time experience. One must pick up the pieces and move on, as Apu does.

Viewing "Pather Panchali," "Aparajito" and "The World of Apu" in one continuous sequence is the proper way to get the full impact of this incredible piece of work.

Hollow Reed (1996)

Excellently Crafted Drama

[8/10 · 15 November 2006]

The script for "Hollow Red" is finely written, with fully dimensional characters, believable situations, and sharp plot twists.

The acting is faultless, with the entire cast bringing poignant character realizations to their work.

The direction, editing, and scoring all contribute to a moving drama. One is absorbed from beginning to end, and experiences a cathartic feeling at the finale.

The only aspect which may date this film a bit is the British courtroom attitude toward the homosexual lifestyle. In that respect, it roots itself in the late '90s. However, even that element is historically honest and truthful.

A fine film from English contemporary cinema.

Conversations with God (2006)

Rags to Riches Bio

[3/10 · 8 November 2006]

For the millions of readers of Neale Donald Walsch's superb trilogy, "Conversations with God" and his sequel, "Tomorrow's God," this film might have special meaning.

It chronicles in dramatic form, highlights from Author Walsch's rise from a struggling wannabe to a best-selling writer.

I've no idea how much of this is fact and how much dramatic license that Scriptor Eric DelaBarre took in fashioning his screenplay. However, I'm sure that structurally he spent too much time with Neale's rags and not enough with the transition to riches.

For over an hour our hero struggles bitterly, becoming an outcast homeless person. Then rather abruptly he's getting his writing inspiration and turning into a great success. This imbalance is probably because Eric saw the poverty part as more dramatic and emotion-driven.

Still, for those unfamiliar with Walsch and his writings, the movie may come off as not too interesting. Only when one is familiar with the writing product (for myself, the books should be included in "Great Books of the Western World" Series) that the bio takes on special meaning.

Fortunately, fine Canadian actor Henry Czerny is cast in the lead role. (Who can forget his mesmerizing performance in "Boys of St. Vincent"?) Yet, Czerny can't save the tedium of DelaBarre's script.

As for the film title, it has little to do with the book per se (how can one make a film of a book that consists entirely of dialog . . . Qs&As?).

In the end, it's appropriate that the film be judged as film and, according to that criteria, it deserves a less that satisfactory rating.

King Kong (2005)

Enough of this ape, already

[5/10 · 21 October 2006]

Hasn't the world gotten enough of this over-sized gorilla, going through its laboured, creaking shenanigans? Apparently not, judging by box office returns of this too-oft-remade warhorse. This time, we sit through lots of intro material and florid appetizers before the real hairy beast appears.

It's a long wait, but not for lack of action. Trouble is, it all seems overwrought, overblown, and overdone. Actors and crew take everything very seriously, though, and special effects folk have a field day revamping this tired chestnut. Their technical efforts are laudable.

Too, the score takes its cue from Spielberg's John Williams, with full orchestra constantly playing hurry-up music to generate undercurrent excitement.

Still at its core is a tepid conceit, designed to attract big bucks from mass multiplex audiences, yet without much artistic revelation.

I must admit fast-forwarding DVD Disc One often and finally stopping before it ended, never getting to Disc Two.

Personally, I've had quite of Kong to last one lifetime at least. For newer boomers, it may be another matter.

Brian Wilson on Tour (2003 Video)

Healthy and Inspiring

[7 October 2006]

The last time I saw Brian Wilson was in a special some years ago focusing on The Beach Boys. Wilson was last seen in a large four-poster bed in mid-day, propped up with pillows, and covers pulled up to his chin.

He rarely spoke, and when he did it was with the corner of his mouth, in speech resembling one who'd had a stroke. It looked like the end of Brian--at least career-wise.

The Beach Boys had such a tumultuous career, tossed asunder by internal bickering and external management. Wilson looked like he simply retreated from all this mess by going to bed and staying there.

What a delight, then, it was to see "Brian Wilson on Tour," with Brian carrying lead vocal, playing keyboard, conducting, narrating, swaying, and jumping to the music! It was truly a revelation, and a sight I really never expected to see.

The original five boys has been expanded to twelve, with some cute girls performing in the group. Harmony parts are likewise expanded, as are the instrumentals. While the original group's tessitura tended toward higher pitches, the expanded group sings lower, relieving voices from the demands of more continuous falsetto.

As always, the emphasis is on guy's love of chicks, while laying about the beach sunning and surfing. The whole tenor is California-based, and brings back fond memories of the early BB years. Wilson's skill is evident in every number, in which all the parts are integral to the total fabric, rather than only the main vocal line. Brian is seen singing songs he wrote, arranged, produced and directed.

What a treat for the audience! Makes one want to get up, shake, rattle and roll for days.

(harry-76)

The Wonderful, Horrible Life of Leni Riefenstahl (1993)

In-Depth Look at Leni

[4 October 2006]

She was first and foremost a visual artist. What comes across here is her being duped, along with so many Germans, by the aim of the Nazi party.

Her two most famous documentaries were made under the delusion that the prevailing party had a worth mission. This documentary helps to explain this perspective from Riefenstahl's eyes.

Her true awakening came toward the end of the war, when she saw Hitler not visiting bombed out cities to witness the devastation. The final blow was her visiting the concentration camps and seeing the horror there.

This documentary shows many shots of Leni sharing things from her perspective, and denouncing the Nazi regime.

It goes on to show her film work during the war, followed first by her African trip to Nubian tribes, then to her fascinating under water film work. In all cases, her interest comes across as artistic and apolitical.

This is a most informative documentary on one of cinema's most controversial figures.

Molokai (1999)

Sooner or Later . . .

[7/10 · 29 September 2006]

this story, one supposes, had to be told. The depiction here is historically accurate and quite factual.

There are many who would look upon the work of Father Damien and his associates as most courageous and heroic. Others would scoff and label him slightly deranged to take on a project working intimately with dying lepers.

The story here does seem a bit one-sided. True, there are some higher ups that would like to curtail Damien's enthusiasm. Yet no one ever challenges him on the philosophical premise that sacrifice and suffering are prerequisites to salvation and grace.

For myself, these concepts are merely something to buy into, having no validity in truth. As for Damien's ultimate demise, I say, when one lies down with dogs, the chance of getting fleas is increased.

Damien was merely a man who made choices for reasons he thought important. Since we are what we do, he bonded and became one with his lepers.

The acting is quite good, and the production values adequate. There's not all that much dramatic conflict here, which gives a slow pace to the story.

Hud (1963)

Once a Louse . . .

[21 September 2006]

This thoroughly depressing Larry McMurty story of a womanizing, manipulative and lonely ranch hand is given superlative screen treatment.

Under Martin Ritt's sure direction, Paul Newman offers one of his most effective performances. Long taken for granted, Newman's work is so good one can't readily see the amazing ability behind it.

Oscar winners Patricia Neal and Melvin Douglas fully earned their accolades in powerful characterizations.

Edith Head's costumes and Elmer Bernstein's sparse score are both just fine.

However, it's James Wong Howe's work that gives "Hud" its distinctive look. Every brilliant black and white shot is eye popping. Likewise, his supporting crew of special photographic effects and processing are exemplary.

This slice of life film, for all its skill, however, to me lacks a sense of poetic and philosophical enlightenment and enrichment. I don't come away from it at all energized. It's too lazy and lacking in energy to be called a tragedy and too pedestrian and humorless to be considered a gateway into the human condition.

It sits there a piece of technical brilliance from 1963.

La haine (1995)

Dark Urban Thriller

[8/10 · 16 September 2006]

Called France's answer to "Do the Right Thing," 20-year old Matthiewu Kassovitz rocks the screen with this opus.

Technically dazzling, the black and white photography, editing, and acting come together in a remarkable piece of social commentary.

The underlying issues here speak to a universal audience. Here's a film that moves, with some notable tracking shots. Where other directors would have cut, Kassovitz's camera continues with fluidity.

The film reflects the youthful energy of its director, cast and crew, and makes an indelible statement.

Special thanks to Jodie Foster for her support in bringing this striking French film to us.

The Girl of the Golden West (1938)

That Fabulous Baritone

[8/10 · 3 September 2006]

Focusing on Nelson Eddy, it was with some astonishment to read his pre-film operatic bio. A remarkable 33 total repertoire which he essayed during the late 20s and up to that "fateful" 1920 concert when he stepped in at the last minute to replace an ailing Lotte Lehmann.

That success led to his film contract, a new career as a film star and a semi-end to his exhaustive operatic career.

Yet, he may have done his most impressive singing during his leading stint with the Philadelphia Civic Opera. I was impressed to discover he sang under the distinguished batons of Stokowski, Reiner, Respighi and Toscannini. And reading his press reviews online pointed to his having critics and public alike in the palm of his hands.

By the time his film roles came around, his voice seemed to have taken on a slight strain and occasional throaty quality. But his first rate musicianship never let down.

He, along with Jeanette MacDonald, respected the legato line, shaping each vocal phrase with sensitivity and beauty.

Their solo and duo renditions in "The Girl of the Golden West" show their artistic integrity. Tenutos, ritards, and fermatas are all given their due, all the while integrating their vocalism with their character and dramatic situations.

As for Eddy, he went on to make some nineteen films, then did the impossible: sustained a triumphant fifteen year post-film career as a nightclub singer. The public apparently couldn't get enough of this fine baritone, who worked as a true star with nary a career lull until he literally dropped dead onstage.

In "The Girl of the Golden West" Eddy is seen to advantage, along with MacDonald, and what could be a dated piece turns into an tender romance.

Sigmund Romberg's original songs are fetching, particularly the love ballad, and Herbert Stodart's orchestrations are rich and luminous.

Another Gay Movie (2006)

Mary Poppins It Isn't

[1 September 2006]

Nor is it just "another one." It's an unabashed, silly comedy where being gay is strictly a non-issue.

It's also a non-stop string of sex jokes from beginning to end, rather like a queer "American Pie" or "Porky's." In the showing I attended, it looked like a 100% gay audience, so it was interesting to take a laugh-meter reading of their response. I'd say about a third belly-laughter, another third moderate chuckles, and the rest sort of just sat there.

Director-screenplay writer Todd Stephens attempts spoof every sex situation imaginable, with varying degrees of success. There's a dramatic scene from his own "Edge of Seventeen," along with other pop film and TV sitcom episodes. All become grist for Stephens' raunchy, horny mill.

It's a loud, insane, in-your-face frolic that at times assaults the senses. The result: a new low--or high--in bad taste, depending upon your point of view.

For sure, it's not just another gay movie; rather, a compendium of how far we've come and where we now are in colloquial film comedy.

Makes one wonder, what's next?

Who Killed the Electric Car? (2006)

Clean and Efficient

[9/10 · 26 August 2006]

A fine companion to "An Important Truth," "Who Killed the Electric Car" is an informative, absorbing, and disturbing documentary on a most important issue.

Objective and factual, this report does not shy away from taking a point of view. When it comes time to level charges, it does so with an authority and conviction of a "Consumers' Report." The only thing missing are 'high spokespersons'from oil companies and related industries. Its focus is skewed toward that of the average consumer. This takes on a perspective of viewing things from the 'outside.' Of course, it may be no oil CEO would participate (which makes a statement right there.)

Fine narration, writing, directing, and editing make this a very fine documentary. It's a film that needs to be viewed by the mass public, business and government alike.

We're pumping far to much carbon dioxide into the atmosphere, and reaching a 'breaking point.' The electric car offered a fine solution, yet profit took precedence over pollution. Now, as the hydrogen cell models are an unlikely choice, what's left are the hybrids.

That is, unless there's large a grass roots push toward resurrecting the electrics. This film is a spark towards lighting that fire.

On the Beach (1959)

Doomesday Epic

[8 August 2006]

So this is how the world ends, not with a bang but with Ava Gardner standing on a hill waving goodbye to Gregory Peck.

Stanley Kramer's cautionary film, released in the late 50s and set in the early 60s, had a built-in "window of pertinence." After 1964, however, the tale tended to become somewhat dated and passé. Not that there isn't the threat of nuclear disaster hovering today; it's just that Kramer's signal now seems more historical than contemporary.

This dated quality tends to diminish the film's effectiveness, despite fine cast work and production values. Also, Kramer likes to take a particular musical theme and play it for all its motivic effect. Sometimes this can be done to the breaking point.

As always, Kramer's work is clean, well balanced, and thought provoking.