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We Talk Films

In an attempt to get a little ahead of things, let me give you more than a day's notice about the next Wednesday Film Series conversation over at New Critics: this week, it's Bonnie and Clyde, part of the series of 1967 Academy Award nominees for Best Picture. My copy just arrived via Netflix, so I can't say too much... but Lance has his thoughts up, and they are some interesting thought starters. He also mentions the problems that New Critics had over the past week, and that lack of comment-ability may mean we go to Lance's for conversation... but it's all good. Check out the movie, and I'll see you there.

The Color Saffron

After a rousing Fourth of July concert (which I hope to make a separate post), Mom and I still had time for dinner and a movie... so of course we went with the easy feminist polemic.

Based on the novel by Monica Ali, Brick Lane offers the latest in a series of female empowerment stories, this one related mostly to women and Islam, as well as the tension between British and Bangladeshi immigrants.

Brick Lane is the story of Nazneen, a Bangladeshi woman who loses her mother early, and then is separated from her sister and her village in an arranged marriage. When the story begins, Nazneen has been in London for 16 years, living in Council Housing with her husband and two daughters. A son they also had died in infancy.

Strapped for money, Nazneen follows a neighbor's example and begins to take in sewing work from a local factory. That is how she meets Karim, a young man who works for his uncle ferrying garments to workers like Nazneen.

Sweet Angie's Badassss Song

Jennifer and I joked that a lot of Angelina Jolie movies blend into one - you know, the one where she plays the tough badass... spy... who uses a lot of... knives and stuff... while wearing kickass outfits...

Quick, name the movie. :)

At this stage of her career, Jolie gives great movie star; that's not necessarily the same thing as acting (which, I think, explains why her earnest attempts at such tend to fall flat, these days). And the apotheosis of her movie star presence may be Wanted, the movie where mostly, she just stands there, being badass Angie.

Based on a "graphic novel" (that's "high end comic book" to us older folk), Wanted is one of those "dumb as a box of hammers" movies that can still thrill, mostly by keeping all of the hammers in motion.

Wanted is ostensibly the story of a group of assassins with an ancient history who recruit a shy neophyte mousy geek when his father is apparently killed. The neophyte, names Wesley Gibson (it's always a Wesley) becomes a great fighter... and then learns his true identity.

Interracial Couples, Dining Everywhere

Bit of a traveling day for me, running here and there... but just a reminder that tonight is another NewCritics movie night, continuing the 1967 film series with Guess Who's Coming To Dinner. You might guess this movie has some meaning for me (oh, try here or here)... but it may not be what you think. Meanwhile, Jennifer and I are planning to have a coooking and dining advernture. More to come.

I Sing The Trash Compactor Electric

Personally, I think one of the hardest challenges for a critic is high praise; when you love something, it's hard not to go overboard. It's easy to write a savage pan - just ask Rex Reed - but much harder, I think, to praise a work without drifting into the tendency to make something more than it is. This thought initially occurred to me when I was writing a praise-ful review of the movie Starter for 10 on my own blog, but it comes back to haunt me as I think about writing a review of WALL-E. Critics are falling over themselves to lavish praise on Pixar's latest film (much as they have with... well, pretty much every Pixar flick); and the danger, I think, is that such praise overstates what's really happening in a light, charming summer film.
WALL-E is a visually rich, almost dialogue free film that does, yes, amaze. But suggesting, as some do, that the film is a searing indictment of corporate greed and waste, or a stunning eco-parable about our stewardship of the planet... is probably a stretch. At its heart - and it really does have one - WALL-E is all about love and the connections between all of us, man or machine.

And really, isn't that enough?

It's Like I Waited My Whole Life, For This One Night

Hi - apparently lots of people come here looking for info or some link to the Chris Brown song Forever. You could try here. Or, feel free to check out more of my writing. Thanks for visiting. :)

Tonight, finally, it looks as though I will be able to participate in the NewCritics Wednesday Night Film Series. Tom and the gang conceived of an idea to hold a weekly film conversation (hosted, this month, by Lance Mannion) each Wednesday night, and started with five weeks of films from 1967 (the idea come from the book by Mark Harris, Pictures At A Revolution). So far, there have been conversations about The Graduate and In The Heat Of The Night, and tonight is the original Dr. Dolittle (suggested by Self Styled Siren).

All of this has caused me to break down and finally join Netflix. Apparently, you can (with a PC) watch movies instantly on your pooter anytime. So there's still time to watch Dr. Dolittle (except for you Mac people - my Mom's PC never seemed so handy and useful), and get ready for tonight's discussion. Hope to see you there...

...And A Diamond's Worth

Last week, a little lost amidst the political roilings, I noted the passing of Sydney Pollack over at NewCritics. Pollack was one of preferred directors, classy and tasteful, the very notion of Hollywood Establishment, at least to me.

As I mentioned there, I think Tootsie remains one of the great screen comedies; and one reason for that, besides his assured direction, is Pollack's sharp performance as Michael Dorsey's agent.

There's a lot of great moments in there, but the one that I still think of first is the moment, at the height of the craziness, when Michael, having been groped by one man and proposed marriage by another (as Dorothy), goes to his agent and explains all of it to him. As he says in passing that he got a marriage proposal and oh yeah, even got a ring, the two of them stop and check out the ring. And Pollack compliments the ring and asks how he plans to handle it, and for a moment, they both fall into discussing Dorothy's life as if it's real.

In the comments there, Steve Barnes reminded me that Pollack's acting was, in many ways, as key to him as his direction:

There’s a good reason why Mr. Pollack was known as and actor’s (or star’s as the case may be) director. He was a very good actor himself. From appearances in several of his own films, to roles in Woody Allen’s “Husbands and Wives,” Stanley Kubrick’s “Eyes Wide Shut” to the final season of “The Sopranos,” he put a pretty solid string of performances on screen. He deserve to be remembered for those, too.

I agree with Steve, and it's very true that Pollack was a wonderful, underrated and subtle performer, often the best thing in the works he's in. And I think his sensitivity as an actor does explain volumes about the trust he got (and deserved) from his actors, especially stars - like Redford - who were not necessarily famous for talent first (don't get me wrong, I love Redford as an actor... but let's not pretend the blonde and the baby blues aren't key).

In any case, this is a good time to recommend Steve's equally informative and thoughtful post over at his own blog, which I think merits regular visits. And to remind anyone in a position to schedule film festivals (like, say Film Forum) that a retrospective of Pollack, as an actor, would I think be a revelatory thing - like another facet on a diamond.

Diamonds On The Soles Of Her Shoes

If you need it in brief: The Sex and The City Movie is fabulous. Go. Now.

If you need it longer, then perhaps you are more like Samantha.

I'm not; but beyond all of the "which SATC girl are you" (the quizzes where the gay boys wind up choosing between Carrie's Stanford and Charlotte's Anthony), is where the heart of the matter actually lies. The Sex and The City Movie succeeds best - and it frankly exceeded every expectation I had - because it's all about not believing your own press. Because it's not about Cosmos, or Manolos, or gay pals, or even man candy.

It's about love. And what we'll do for it.

We Don't Have To Take Our Clothes Off (To Have A Good Time)

Prince Caspian largely lives up to the promise started with The Lion The Witch And The Wardrobe: that is, it's a safe, largely wholesome, family entertainment with so many dark overtones it's a wonder it can't seem to rouse itself to actually be deep.

Not knowing enough about the whole Catholic allegory that animates the series, I can't say how faithfully the films recreate the themes of the books (nor am I one to explain the benefit or losses sustained by leaping ahead 3 novels in the series to pluck this book for the second film). What I can say is that to a lay-person, it's not the Catholic-ness that's a problem. It's the snoozy, predictable Lord of the Rings-lite quality to the proceedings.

Prince Caspian starts with Caspian fleeing the royal castle of the Telmarines, the humans of the Narnian universe. Caspian has become superfluous now that his Uncle, the villain of the piece, has a son and heir of his own. Caspian is rescued by his tutor, keeper of legends and lore of Narnia, where it has been 1300 years since the four children came through the wardrobe and defeated The White Witch. The tutor hands Caspian a magic horn (which belonged to eldest sister Susan), which, when blown, summons the four Penvensie kids back to a Narnia they no longer recognize.

So What's The Use (Wow, Bam) Of Falling In Love?

Meanwhile... though it seems I wrote nothing today,that's just because you don't check me out at New Critics, as I try to tell you... and this one, about the lead-up to Sex And The City... well, it's not bad. :)

-- Weboy