Let’s get this out of the way quickly. Disney/Pixar’s “Up” is the best reviewed film so far in 2009 for good reason: it is the best film that has come out this year. An animated film, it truly is “fun for the whole family”. (Often when you see “fftwf”, it means the parents are to get some fun out of watching their kids laugh at pratfalls and poop jokes. It this film, there are characters that people of every age [except maybe preschoolers] can relate to and find appealing and humor for sophisticated and innocent tastes.)
So, we’ve established this much: “Up” is a worthy film, and if you go to the theater to see movies, then you should go to this one. If you watch films on DVD, you should put this on the list of films to rent or buy. And if you don’t like it, don’t blame me, blame 98% of the critics at RottenTomatoes.com.
I just want to write something about people watching the film. Shortly after the film came out, I talked to a high school girl about her viewing experience (I’d rather not use your name, Hannah Wycoff, because I wouldn’t want to embarrass you). She noticed a man in her row in the theater began sobbing during a portion of the film. She was baffled because she thought the film was funny throughout. Why was this guy crying?
All right, I’ll admit it. I got misty eyed watching this film. The story of Carl Fredricksen, a 78 year old widower, has a dominant theme of loss: loss of possessions, loved ones and dreams. And it got to me. So here is a question: why do people watch the same film and some cry, while others just laugh or stare like robot automatons?
Obviously, we approach a film with different life experiences. If you come to the film “Up” with loss in your life experience, it may touch you in a different way than those who haven’t experienced loss. Or perhaps the difference in reactions can be accounted for in peoples varied imaginations or emotional make-up or levels of empathy.
Some of it is just a mystery. Art has a way of creeping around our emotional defenses. A simple painting of the sea side can touch some unexpressed inner longing of the heart. A symphonic movement can make us laugh with joy just as a piece of chamber music can make us suddenly somber, and we may have a very difficult time explaining either reaction. The human heart, mind and spirit are complex entities, and we often can’t account for our own responses.
I find these same mysteries come to play in worship. Our reactions to the hymns, choruses, sermons, testimonies and readings can be unpredictable. The same service that bores one person changes the life of another person. That’s all right. Every congregation is an eclectic group of saints and sinners and combinations of the two. So God will work in every person in very different ways (if we allow him to work).
Romans 8:26 tells us that the Spirit of God works in ways that we cannot understand, crying out to God on our behalf for our great and real needs that we sometimes don’t even realize we have. It’s good to know that though we don’t always understand why we cry or why we laugh, why we feel elation or despair, God does. He not only understands our very real needs, He is ready to meet them.
(Addendum: 5 Films That Make Me Cry
I’m secure enough in my masculinity to admit that I get a little weepy watching certain movies. For a great scene about cinematic weeping, watch “Sleepless in Seattle” in which the women talk about crying during “An Affair to Remember” and the guys respond by talking about tears during “The Dirty Dozen”. This is a chick flick, of course, so women can watch the whole film and men can use chapter selection to get to this one great scene. For some reason, I am more likely to get teary at joyful moments than sorrowful ones. Anyway, here’s my top five:
1) “It’s a Wonderful Life” (1946) The end is what gets me, when we find that George Bailey is the richest man in town.
2) “Henry V” (1989) When Henry gives the speech before the Battle of Agincourt (“We few, we happy few, we band of brothers”). That guy Shakespeare wasn’t too shabby a writer. [Rated PG-13 for violence]
3) “Field of Dreams” (1989) Sure, it’s about baseball. But it’s really about bringing together fathers and sons. But I repeat myself.
4) “The Passion of the Christ” (2004) Or just about any film that recreates the crucifixion of Jesus. [Rated R for violence]
5) “Homeward Bound: The Incredible Journey” (1993) Okay, this one is kind of embarrassing. But I used to watch the video of this a lot with my kids, and every time I see Shadow, the old dog thought dead, come over that hill, and the music swells, I just… well…um…sniff…I think we’re done here)
Sunday, June 21, 2009
Thursday, May 28, 2009
Pixar Rankings
With Pixar’s 10th feature film opening tomorrow (Up) I thought I’d rank the nine others. The nice thing about making such a list, is all the films are favorites. Pixar has yet to make a bad film. They average great, but the range is good to masterpiece.
9) Cars – This is the worst Pixar feature film IMHO. Which is like saying this is the list crisp $100 bill in the stack. I love the voice of Paul Newman in the film and Click and Clack. The end segment is awesome with the critique of the film from Pixar’s good luck charm, Cliff from Cheers.
But the story of a race car that learns to be humble is at times a bit sappy and the film drags (not in the speedy drag race way) for me.
8) Ratatouille – Yeah, it may be one of the five best films made the year it came out, but that isn’t good enough for top ranking on this list. I love the message of exceptionalism in the film, but I think Brad Bird works the theme even better on another film on this list. Very well developed action sequences, but it doesn’t have the emotional punch some of the other films have.
7) Monster’s Inc – I love monster movies. And this is one of the great one. Sure, the monsters prove to be lovable old fuzzballs, but wasn’t King Kong as well? And Frankenstein’s Monster? And the Wolfman? And Hanibal Lector? (Um…Scratch the last one.)
John Goodman and Billy Crystal do great voice work in this film, but they may be out acted by the Pixar kid who voices Boo.
6) A Bug’s Life – Many people consider this the least of the Pixar films, but I’m a sucker for the team recruited for a mission films (Seven Samurai, Magnificent Seven ) and the variation on the theme of incompetents on a mission (Three Amigos, Galaxy Quest) which this film is. Plus, Dave from News Radio has had very few opportunities to star in major motion pictures.
5) Toy Story – The first Pixar feature is a masterpiece. The rest of the films on this list are masterpieces. Who but Hitchcock, Kurosawa and a few others do the kind of work these Pixar folks have achieved? Of course, here they had the help of Joss Whedon, the great creator of Buffy and Firefly.
Anyway, this film touches on themes of identity and loss in ways that are funny and emotionally devastating at the same time. Some of the best work Tom Hanks has done (which is really saying something) and some of the best work Tim Allen has done (which is saying a lot less, Galaxy Quest excepted.)
Don Rickles in this rules.
4) Finding Nemo – Albert Brooks has done a couple of my favorite comedies (Lost in America & Modern Romance) but this is what he’ll be remembered for decades from now. Same with Ellen Degenerous who is hilarious and heartbreaking as Dori.
But as a dad, the best part is the way the film plays on the themes of protecting and releasing a child.
3) Toy Story II – Okay, we’re talking the rarest of the rare here. A sequel better than the original. We have this and Empire Strikes Back and um… No, the second Godfather is not better than the first. You’re just wrong about this. As funny as the original and even more poignant. Plus it adds a Republican with Kelsey Grammer as the Stinky Prospector. (Along with the ever present John Ratzenberger – the other conservative Cheers vet.)
2) Wall-E – My son thinks this is the best film, but he’s wrong. The first half hour, though is hard to beat. Up with the best slapstick of Keaton and Chaplin. Love the message against the Nanny State, but it’s the robot romance that really touches the heart.
1) The Incredibles – It just is the best. We’ll see how Up compares. But, come on, the best James Bond film in forever and it’s family friendly? How did they do that? The Spirit of the best comic ever, The Fantastic Four, as well? A great score, vocal work, art design, everything. So much better than that animated Mr. Incredible show that played on TV in the 60’s.
9) Cars – This is the worst Pixar feature film IMHO. Which is like saying this is the list crisp $100 bill in the stack. I love the voice of Paul Newman in the film and Click and Clack. The end segment is awesome with the critique of the film from Pixar’s good luck charm, Cliff from Cheers.
But the story of a race car that learns to be humble is at times a bit sappy and the film drags (not in the speedy drag race way) for me.
8) Ratatouille – Yeah, it may be one of the five best films made the year it came out, but that isn’t good enough for top ranking on this list. I love the message of exceptionalism in the film, but I think Brad Bird works the theme even better on another film on this list. Very well developed action sequences, but it doesn’t have the emotional punch some of the other films have.
7) Monster’s Inc – I love monster movies. And this is one of the great one. Sure, the monsters prove to be lovable old fuzzballs, but wasn’t King Kong as well? And Frankenstein’s Monster? And the Wolfman? And Hanibal Lector? (Um…Scratch the last one.)
John Goodman and Billy Crystal do great voice work in this film, but they may be out acted by the Pixar kid who voices Boo.
6) A Bug’s Life – Many people consider this the least of the Pixar films, but I’m a sucker for the team recruited for a mission films (Seven Samurai, Magnificent Seven ) and the variation on the theme of incompetents on a mission (Three Amigos, Galaxy Quest) which this film is. Plus, Dave from News Radio has had very few opportunities to star in major motion pictures.
5) Toy Story – The first Pixar feature is a masterpiece. The rest of the films on this list are masterpieces. Who but Hitchcock, Kurosawa and a few others do the kind of work these Pixar folks have achieved? Of course, here they had the help of Joss Whedon, the great creator of Buffy and Firefly.
Anyway, this film touches on themes of identity and loss in ways that are funny and emotionally devastating at the same time. Some of the best work Tom Hanks has done (which is really saying something) and some of the best work Tim Allen has done (which is saying a lot less, Galaxy Quest excepted.)
Don Rickles in this rules.
4) Finding Nemo – Albert Brooks has done a couple of my favorite comedies (Lost in America & Modern Romance) but this is what he’ll be remembered for decades from now. Same with Ellen Degenerous who is hilarious and heartbreaking as Dori.
But as a dad, the best part is the way the film plays on the themes of protecting and releasing a child.
3) Toy Story II – Okay, we’re talking the rarest of the rare here. A sequel better than the original. We have this and Empire Strikes Back and um… No, the second Godfather is not better than the first. You’re just wrong about this. As funny as the original and even more poignant. Plus it adds a Republican with Kelsey Grammer as the Stinky Prospector. (Along with the ever present John Ratzenberger – the other conservative Cheers vet.)
2) Wall-E – My son thinks this is the best film, but he’s wrong. The first half hour, though is hard to beat. Up with the best slapstick of Keaton and Chaplin. Love the message against the Nanny State, but it’s the robot romance that really touches the heart.
1) The Incredibles – It just is the best. We’ll see how Up compares. But, come on, the best James Bond film in forever and it’s family friendly? How did they do that? The Spirit of the best comic ever, The Fantastic Four, as well? A great score, vocal work, art design, everything. So much better than that animated Mr. Incredible show that played on TV in the 60’s.
Saturday, May 16, 2009
Boldly Going Where Bill Shatner Went Before
One out of every three children ages 6 to 11 is afraid the Earth won’t exist when he or she grows up. If I was to guess a single reason why “Star Trek”, the movie recreation of the forty year old TV show, is so popular, I’d guess it was because of the film’s optimism.
Chris Pine stars as the young, yet to be Captain, James Tiberius Kirk growing up hundreds of years from now in the state of Iowa where there the skies are still blue and the fields are still green. San Francisco has not been flooded by the rising oceans of global warming. Nations haven’t destroyed each other with nuclear weapons, but instead, in the world of Star Trek, not only are nations and ethnic groups no longer at war, but there is also peace with a variety of planets, races and civilizations.
There are many things to appreciate in the world of the new Star Trek. Exciting action sequences, some very funny lines and the warm relationship that develop between the characters (that are like family to many viewers): Dr. “Bones” McCoy, Scotty, Uhura, Chekhov, Sulu and especially the half human/half alien, Spock.
Many people relate to the personal struggles of Spock. His Vulcan race insist that all decisions and actions should be made using reason and logic alone. In the film, we see the beginnings of his friendship with Jim Kirk, someone who bases his decisions often on feelings and instinct. Learning to balance the mind as portrayed through Spock and the heart as portrayed through Kirk is a constant struggle in all of our lives.
That balance reason and emotion is called wisdom. The book of Proverbs is all about the pursuit of wisdom in life. Proverbs 2: 1 & 2 says, “Store up my commands within you, turning your ear to wisdom and applying your ear to wisdom and applying your heart to understanding.” We need the balance between the teaching of Scripture for our minds and the prompting of God’s spirit in our hearts.
But back to that optimism in the world of Star Trek. So many science fiction films show a world without hope. In the world of the Terminator films and TV show atomic war destroys millions of lives and war is ongoing. In the world of “The Day After Tomorrow” and this summer’s “2012” ecological disaster looms to destroy us all. Let alone that coming zombie invasion.
In the world of Star Trek there is hope. There will be peace (well, except for those pesky Romulans). There will be prosperity; everyone’s needs will be met and everyone will have a job to do. And people get to fly in cool space ships. People love the thought of such a world.
But that’s just science fiction. The problems this world faces are real. Jesus said those troubles would come. Mark 13: 7 & 8 says “When you hear of wars and rumors of wars, do not be alarmed. Such things must happen, but the end is still to come. Nation will rise against nation, and kingdom against kingdom. There will be earthquakes and famines.” And He said that was just the beginning.
Scripture tells us this world will eventually come to an end. Hebrews 12:26 we have God promises as much, “Once more I will shake not only the earth but also heavens.”
There will be a world of peace, hope and incredible riches. Revelation chapters 21 and 22 describe God’s new heaven and new earth. It will be greater than the optimistic world Gene Rodenberry imagined with the old Star Trek and even J. J. Abrams’ new Star Trek.
(The film is rated PG-13 and does include scenes of sensuality, violence and language.)
Chris Pine stars as the young, yet to be Captain, James Tiberius Kirk growing up hundreds of years from now in the state of Iowa where there the skies are still blue and the fields are still green. San Francisco has not been flooded by the rising oceans of global warming. Nations haven’t destroyed each other with nuclear weapons, but instead, in the world of Star Trek, not only are nations and ethnic groups no longer at war, but there is also peace with a variety of planets, races and civilizations.
There are many things to appreciate in the world of the new Star Trek. Exciting action sequences, some very funny lines and the warm relationship that develop between the characters (that are like family to many viewers): Dr. “Bones” McCoy, Scotty, Uhura, Chekhov, Sulu and especially the half human/half alien, Spock.
Many people relate to the personal struggles of Spock. His Vulcan race insist that all decisions and actions should be made using reason and logic alone. In the film, we see the beginnings of his friendship with Jim Kirk, someone who bases his decisions often on feelings and instinct. Learning to balance the mind as portrayed through Spock and the heart as portrayed through Kirk is a constant struggle in all of our lives.
That balance reason and emotion is called wisdom. The book of Proverbs is all about the pursuit of wisdom in life. Proverbs 2: 1 & 2 says, “Store up my commands within you, turning your ear to wisdom and applying your ear to wisdom and applying your heart to understanding.” We need the balance between the teaching of Scripture for our minds and the prompting of God’s spirit in our hearts.
But back to that optimism in the world of Star Trek. So many science fiction films show a world without hope. In the world of the Terminator films and TV show atomic war destroys millions of lives and war is ongoing. In the world of “The Day After Tomorrow” and this summer’s “2012” ecological disaster looms to destroy us all. Let alone that coming zombie invasion.
In the world of Star Trek there is hope. There will be peace (well, except for those pesky Romulans). There will be prosperity; everyone’s needs will be met and everyone will have a job to do. And people get to fly in cool space ships. People love the thought of such a world.
But that’s just science fiction. The problems this world faces are real. Jesus said those troubles would come. Mark 13: 7 & 8 says “When you hear of wars and rumors of wars, do not be alarmed. Such things must happen, but the end is still to come. Nation will rise against nation, and kingdom against kingdom. There will be earthquakes and famines.” And He said that was just the beginning.
Scripture tells us this world will eventually come to an end. Hebrews 12:26 we have God promises as much, “Once more I will shake not only the earth but also heavens.”
There will be a world of peace, hope and incredible riches. Revelation chapters 21 and 22 describe God’s new heaven and new earth. It will be greater than the optimistic world Gene Rodenberry imagined with the old Star Trek and even J. J. Abrams’ new Star Trek.
(The film is rated PG-13 and does include scenes of sensuality, violence and language.)
Monday, April 27, 2009
Hitchcock Films I Haven't Seen
Some of these first films might not even exist anymore:
Silent
NUMBER 13 (1922)
ALWAYS TELL YOUR WIFE (1923)
THE PLEASURE GARDEN (1925)
THE MOUNTAIN EAGLE (1926)
THE RING (1927)
DOWNHILL (1927)
THE FARMER'S DAUGHTER (1928)
EASY VIRTUE (1928)
CHAMPAGNE (1928)
SOUNDTEST FOR BLACKMAIL (1929)
THE MANXMAN (1929)
Sound
ELSTREE CALLING (1930)
JUNO AND THE PAYCOCK (1930)
MURDER! (1930)
MARY (1931)
WALTZES OF VIENNA (1934)
War films
BON VOYAGE (1944)
AVENTURE MALGACHE (1944)
THE FIGHTING GENERATION (1944)
WATCHTOWER OVER TOMORROW (1945)
and finally
UNDER CAPRICORN (1949) with Ingrid Bergman and Joseph Cotten, the film I need to see most on this list.
So 41 films and 21 films I haven't seen.
Silent
NUMBER 13 (1922)
ALWAYS TELL YOUR WIFE (1923)
THE PLEASURE GARDEN (1925)
THE MOUNTAIN EAGLE (1926)
THE RING (1927)
DOWNHILL (1927)
THE FARMER'S DAUGHTER (1928)
EASY VIRTUE (1928)
CHAMPAGNE (1928)
SOUNDTEST FOR BLACKMAIL (1929)
THE MANXMAN (1929)
Sound
ELSTREE CALLING (1930)
JUNO AND THE PAYCOCK (1930)
MURDER! (1930)
MARY (1931)
WALTZES OF VIENNA (1934)
War films
BON VOYAGE (1944)
AVENTURE MALGACHE (1944)
THE FIGHTING GENERATION (1944)
WATCHTOWER OVER TOMORROW (1945)
and finally
UNDER CAPRICORN (1949) with Ingrid Bergman and Joseph Cotten, the film I need to see most on this list.
So 41 films and 21 films I haven't seen.
Sunday, April 26, 2009
Hitchcock Films I've Seen: Day Eight, Last Day
Six films today, rather than five to finish it up.
THE BIRDS (1963) - This is the only film Hitchcock made that verges on the supernatural. The attack the birds (birds of all kinds) make on the human race is never explained. This is the closest thing he made to a monster movie. And for many people, this is all they think of when they think of Hitchcock. I grew up watching this film, it seemed to be shown more than any other Hitchcock film on TV. And it takes place in Bodega Bay, near my home town. We would go there when we went to the beach. I loved hearing them mention "Santa Rosa".
There are odd things about this film. Tippi Hedron seems stiff and her interactions with Rod Taylor do seem poorly written. But something about the artifice of the human relations make the bird attacks seem more real, more terrible. And almost as iconic as the cropduster scene from NORTH BY NORTHWEST and the shower scene from PSYCHO, it the scene in the film of the birds gathering on the jungle gym.
MARNIE (1964) - I remember reading a Hitchcock book by Donald Spoto in which he argued that the awful rear projection in this film was intentional. Later, I read somewhere that he admitted he was being too defensive of Hitchcock and this was just a weak film. I'd have to agree with the latter accessment. Hitchcock's sexual perversity is quite strongly on display in this film. It's unpleasant but not very insightful. Sean Connery gives one of his worse performances in this film. Tippi Hendron was not great in THE BIRDS, but in the last scenes of that film she really comes through. She is out of her depth in this film. And the Freudian phychology, that might have seemed cutting edge in its time now seems dated and superficial.
TORN CURTAIN (1966) - Paul Newman was from the method school of acting, a school Hitchcock did not care for. It is said when asked by an actor for motivation, Hitch replied, "Your paycheck." Newman is not at his best in this film, and neither is Julie Andrews (she isn't ever given the opportunity that Doris Day was given to sing.) It is a weak effort by Hitchcock, but it does have some things worth watching. It is a cold war story in which the Commies are truly the bad guys. It has powerful scene in which Hitchcock tried to show how hard it is to kill a man. And there are other moments of geniune tension.
TOPAZ (1969) - This may well be Hitchcock's worst film (especially if you exclude all his silent work.) It is amazing that before THE BIRDS, Hitchcock made three straight masterpieces and this is the third bad film that Hitchcock made in a row. This film was forced on the director by Universal Studios, and Hitch reported this adaptation of a Leon Uris novel was his most unhappy effort.
FRENZY (1972) - Throughout most of his career, Hitch had to find was to weasel content around the censors. In this R rated film, Hitch did not need to restrain himself. He able to depict graphic violence and nudity. I think this often led to great creativity and ingenuity on Hitchcock's part. But this is still a very good serial killer film. I hear that Michael Caine had been asked to play the role of Barry Foster's role but Caine turned him down. It is one of those tantalizing could have beens.
FAMILY PLOT (1976) - Hitchcock's last film. And it is a good one. I'm glad he went out with a suspense comedy, which he made more often than pure horror films. A kidnapping film that pits flakey con men versus cold blooded killers. Karen Black, who I usually consider an inexplicable star of the 70's, was good in this film. And Bruce Dern is very good. And it has Coach from CHEERS. Soon,if anyone cares, I'll list the Hitchcock films I haven't seen.
THE BIRDS (1963) - This is the only film Hitchcock made that verges on the supernatural. The attack the birds (birds of all kinds) make on the human race is never explained. This is the closest thing he made to a monster movie. And for many people, this is all they think of when they think of Hitchcock. I grew up watching this film, it seemed to be shown more than any other Hitchcock film on TV. And it takes place in Bodega Bay, near my home town. We would go there when we went to the beach. I loved hearing them mention "Santa Rosa".
There are odd things about this film. Tippi Hedron seems stiff and her interactions with Rod Taylor do seem poorly written. But something about the artifice of the human relations make the bird attacks seem more real, more terrible. And almost as iconic as the cropduster scene from NORTH BY NORTHWEST and the shower scene from PSYCHO, it the scene in the film of the birds gathering on the jungle gym.
MARNIE (1964) - I remember reading a Hitchcock book by Donald Spoto in which he argued that the awful rear projection in this film was intentional. Later, I read somewhere that he admitted he was being too defensive of Hitchcock and this was just a weak film. I'd have to agree with the latter accessment. Hitchcock's sexual perversity is quite strongly on display in this film. It's unpleasant but not very insightful. Sean Connery gives one of his worse performances in this film. Tippi Hendron was not great in THE BIRDS, but in the last scenes of that film she really comes through. She is out of her depth in this film. And the Freudian phychology, that might have seemed cutting edge in its time now seems dated and superficial.
TORN CURTAIN (1966) - Paul Newman was from the method school of acting, a school Hitchcock did not care for. It is said when asked by an actor for motivation, Hitch replied, "Your paycheck." Newman is not at his best in this film, and neither is Julie Andrews (she isn't ever given the opportunity that Doris Day was given to sing.) It is a weak effort by Hitchcock, but it does have some things worth watching. It is a cold war story in which the Commies are truly the bad guys. It has powerful scene in which Hitchcock tried to show how hard it is to kill a man. And there are other moments of geniune tension.
TOPAZ (1969) - This may well be Hitchcock's worst film (especially if you exclude all his silent work.) It is amazing that before THE BIRDS, Hitchcock made three straight masterpieces and this is the third bad film that Hitchcock made in a row. This film was forced on the director by Universal Studios, and Hitch reported this adaptation of a Leon Uris novel was his most unhappy effort.
FRENZY (1972) - Throughout most of his career, Hitch had to find was to weasel content around the censors. In this R rated film, Hitch did not need to restrain himself. He able to depict graphic violence and nudity. I think this often led to great creativity and ingenuity on Hitchcock's part. But this is still a very good serial killer film. I hear that Michael Caine had been asked to play the role of Barry Foster's role but Caine turned him down. It is one of those tantalizing could have beens.
FAMILY PLOT (1976) - Hitchcock's last film. And it is a good one. I'm glad he went out with a suspense comedy, which he made more often than pure horror films. A kidnapping film that pits flakey con men versus cold blooded killers. Karen Black, who I usually consider an inexplicable star of the 70's, was good in this film. And Bruce Dern is very good. And it has Coach from CHEERS. Soon,if anyone cares, I'll list the Hitchcock films I haven't seen.
Saturday, April 25, 2009
Hitchcock Films I've Seen: Day Seven
Okay, so I missed a day. Sue me.
THE MAN WHO KNEW TOO MUCH (1956) This is the remake I was talking about. Hitchcock remade one of his English suspence films with the advantages if a big studio budget, special effects and stars. Most any film is improved with Jimmy Stewart. And Doris Day, in spite of her reputation in some circles as a lightweight, proves herself again here as a very good dramatic actress. This is the film she introduced what became her theme song, "Que Sera Sera". Speaking of music, I believe this is Hitch's first film to use the great Bernard Herrmann (of "Citizen Kane" and the shreiks of the PSYCHO theme.) Herrmann is the conductor in the Albert Hall sequence of the film.
THE WRONG MAN (1956) - I'm watching this film as I write this. This film was made during an incredibly prolific time in Hitchcock's career. In this year and the two previous he made six films (including REAR WINDOW, a masterpiece). This is a very film good film, quite different from any other. It tells a true story of a man wrongly accused of a robbery. That man is played by Henry Fonda, his only performance in a Hitchcock film. It's not hard to spot Hitchcock in this film. He introduces the film, as himself.
VERITGO (1958) - This is one of Hitchcock's most critically acclaimed films (Total Film ranked this as the second best film of all time and #9 on the American Film Institute List.) But then again, this was not always one of Hitch's more popular films. It's kinda "arty". But James Stewart is very good as a police detectiove who thinks he is seeing a woman he thought he saw die. Kim Novak has had her critics, but I think she provides an earthiness that many of Hitch's blondes are lacking. And it is a great way to do sight seeing of the San Francisco of fifty years ago.
NORTH BY NORTHWEST (1959) - Maybe the most fun Hitchcock film, Cary Grant goes on a trip of nonsense. Howard Hawks said you only need three great scenes in a film and stuff to hold it together to make a great film. Okay, so you have the great drunk driving scene (with dated rear project effects, but Grant still makes it fun), the crop duster scene (maybe the greatest action scene of all time), the sexy dialouge with the incredible Eva Marie Saint, the very funny auction scene, the Mt. Rushmore chase, one great scene and sequence after another. It's tense and very funny. James Mason is rates with Claude Raines in NOTORIOUS as one of the all time great sauve villians. Yeah, it's worth seeing. Our family watched this on the van DVD player as we drove to Mr. Rushmore this summer. Oh, and my high school drama teacher, Mike Pryor, says he is the one who yelled in the U.N. scene ("He's got a knife!")
PSYCHO (1960) - Okay, this is like crazy. Hitchcock made three films in a row that are on the American Film Institute (this film is #14 and NBNW was #55.) There are a few streaks like that by other directors, but not many. And this set the templet for horror films for years to come. There are some that say the film owes much to Michael Powells's PEEPING TOM, which I saw recently, and PSYCHO is so much better than that film. I remember watching this film alone at home with the lights out and I nearly quit watching because I was so scared. Anthony Perkins gives one of the most scary and funny and iconic performances of all time here. One of the greatest plot twists of all time is in that shower scene. One of the greatest bits of editing ever is in that shower scene. This is simply the best horror film ever made.
Let's see if I get back to this list tomorrow.
THE MAN WHO KNEW TOO MUCH (1956) This is the remake I was talking about. Hitchcock remade one of his English suspence films with the advantages if a big studio budget, special effects and stars. Most any film is improved with Jimmy Stewart. And Doris Day, in spite of her reputation in some circles as a lightweight, proves herself again here as a very good dramatic actress. This is the film she introduced what became her theme song, "Que Sera Sera". Speaking of music, I believe this is Hitch's first film to use the great Bernard Herrmann (of "Citizen Kane" and the shreiks of the PSYCHO theme.) Herrmann is the conductor in the Albert Hall sequence of the film.
THE WRONG MAN (1956) - I'm watching this film as I write this. This film was made during an incredibly prolific time in Hitchcock's career. In this year and the two previous he made six films (including REAR WINDOW, a masterpiece). This is a very film good film, quite different from any other. It tells a true story of a man wrongly accused of a robbery. That man is played by Henry Fonda, his only performance in a Hitchcock film. It's not hard to spot Hitchcock in this film. He introduces the film, as himself.
VERITGO (1958) - This is one of Hitchcock's most critically acclaimed films (Total Film ranked this as the second best film of all time and #9 on the American Film Institute List.) But then again, this was not always one of Hitch's more popular films. It's kinda "arty". But James Stewart is very good as a police detectiove who thinks he is seeing a woman he thought he saw die. Kim Novak has had her critics, but I think she provides an earthiness that many of Hitch's blondes are lacking. And it is a great way to do sight seeing of the San Francisco of fifty years ago.
NORTH BY NORTHWEST (1959) - Maybe the most fun Hitchcock film, Cary Grant goes on a trip of nonsense. Howard Hawks said you only need three great scenes in a film and stuff to hold it together to make a great film. Okay, so you have the great drunk driving scene (with dated rear project effects, but Grant still makes it fun), the crop duster scene (maybe the greatest action scene of all time), the sexy dialouge with the incredible Eva Marie Saint, the very funny auction scene, the Mt. Rushmore chase, one great scene and sequence after another. It's tense and very funny. James Mason is rates with Claude Raines in NOTORIOUS as one of the all time great sauve villians. Yeah, it's worth seeing. Our family watched this on the van DVD player as we drove to Mr. Rushmore this summer. Oh, and my high school drama teacher, Mike Pryor, says he is the one who yelled in the U.N. scene ("He's got a knife!")
PSYCHO (1960) - Okay, this is like crazy. Hitchcock made three films in a row that are on the American Film Institute (this film is #14 and NBNW was #55.) There are a few streaks like that by other directors, but not many. And this set the templet for horror films for years to come. There are some that say the film owes much to Michael Powells's PEEPING TOM, which I saw recently, and PSYCHO is so much better than that film. I remember watching this film alone at home with the lights out and I nearly quit watching because I was so scared. Anthony Perkins gives one of the most scary and funny and iconic performances of all time here. One of the greatest plot twists of all time is in that shower scene. One of the greatest bits of editing ever is in that shower scene. This is simply the best horror film ever made.
Let's see if I get back to this list tomorrow.
Thursday, April 23, 2009
Hitchcock Films I've Seen: Day Six
Okay, so I didn't post yesterday because, um, it was Earth Day. Yeah, that's right. I saved the planet by not conserving enery and not posting yesterday. So if they is a Planet Earth existing as you read this, it's because I saved it by not posting yesterday. Or the day before. Because people who REALLY love the planet conserve energy on Earth Day Eve as well.
I CONFESS (1953) - This is a rather odd film that highlights the Catholicism of Hitchcock. The plot centers on a man who confesses a murder to a priest. But when the priest refuses to devulge the confession to the police, they suspect the priest of the murder. The weak link in the film is Montgomery Cliff, a great actor, but he does not give a great performance in this film. Rumor has it that Hitch didn't get along well with Method Actors who would want to discuss motivation and character backgrounds. It's said he had similar problems with Paul Newman in TORN CURTAIN. Anyway, the result is a merely average film.
DIAL M FOR MURDER (1954) - I would love to see this film some day in 3-D as it was originally meant to be presented. But by the time the film came out, that wave of 3-D was dying, so even at the time most saw the film in standard format. This is another adaptation of a stage play (as was ROPE which featured a different gimmick) but it works. Ray Milland turns in a solid slightly sinister performance and Grace Kelly is gorgeous and Robert Cummings is bland as ever. The oddest thing about the plot is it is kind of pro-adultry. The scissor murder scene is great and would have been cool in 3-D (seems to have influenced Kenneth Branaugh's "DEAD AGAIN".)
REAR WINDOW (1954) - Back to masterpiece territory with this Jimmy Stewart/Grace Kelly classic. Hitchcock again takes a limited area (a man's apartment and what he can see of other apartments from his window) and presents us with a full and rich world. We join Stewart in the vice of voyeurism, sharing the thrills and guilt. We follow the lives of several of Stewart's neighbors, including one who may be a killer. There are great moments of tension in the film as well as much black humor. A pre Perry Mason Raymond Burr turns in a wonderful dark and yet sympathatic performance.
TO CATCH A THIEF (1955) - This film seems to have been made just so people could gaze on Cary Grant, Grace Kelly and the French Riveria. Which isn't a bad reason to make a movie. The plot of finding the jewel theif usually takes a back seat to the romance in this film. Full of Freudian imagry (kissing disolves to fireworks, it was a new cliche, then) and double entrendres ("Do you perfer legs or breasts?" refering to chicken, of course) this is a slight, but fun film.
THE TROUBLE WITH HARRY (1955) - Before there was WEEKEND AT BERNIES, there was TTWH about a corpse that keeps popping up in unexpected and inopportune place around a small New England town where every had a motive to kill Harry. It hasn't age terribly well, but it did open the door for more cinematic black humor. It features an early performance from the talented Shirley MacLaine.
Back tomorrow or sometime sone with a remake that is actually an improvement on the original.
I CONFESS (1953) - This is a rather odd film that highlights the Catholicism of Hitchcock. The plot centers on a man who confesses a murder to a priest. But when the priest refuses to devulge the confession to the police, they suspect the priest of the murder. The weak link in the film is Montgomery Cliff, a great actor, but he does not give a great performance in this film. Rumor has it that Hitch didn't get along well with Method Actors who would want to discuss motivation and character backgrounds. It's said he had similar problems with Paul Newman in TORN CURTAIN. Anyway, the result is a merely average film.
DIAL M FOR MURDER (1954) - I would love to see this film some day in 3-D as it was originally meant to be presented. But by the time the film came out, that wave of 3-D was dying, so even at the time most saw the film in standard format. This is another adaptation of a stage play (as was ROPE which featured a different gimmick) but it works. Ray Milland turns in a solid slightly sinister performance and Grace Kelly is gorgeous and Robert Cummings is bland as ever. The oddest thing about the plot is it is kind of pro-adultry. The scissor murder scene is great and would have been cool in 3-D (seems to have influenced Kenneth Branaugh's "DEAD AGAIN".)
REAR WINDOW (1954) - Back to masterpiece territory with this Jimmy Stewart/Grace Kelly classic. Hitchcock again takes a limited area (a man's apartment and what he can see of other apartments from his window) and presents us with a full and rich world. We join Stewart in the vice of voyeurism, sharing the thrills and guilt. We follow the lives of several of Stewart's neighbors, including one who may be a killer. There are great moments of tension in the film as well as much black humor. A pre Perry Mason Raymond Burr turns in a wonderful dark and yet sympathatic performance.
TO CATCH A THIEF (1955) - This film seems to have been made just so people could gaze on Cary Grant, Grace Kelly and the French Riveria. Which isn't a bad reason to make a movie. The plot of finding the jewel theif usually takes a back seat to the romance in this film. Full of Freudian imagry (kissing disolves to fireworks, it was a new cliche, then) and double entrendres ("Do you perfer legs or breasts?" refering to chicken, of course) this is a slight, but fun film.
THE TROUBLE WITH HARRY (1955) - Before there was WEEKEND AT BERNIES, there was TTWH about a corpse that keeps popping up in unexpected and inopportune place around a small New England town where every had a motive to kill Harry. It hasn't age terribly well, but it did open the door for more cinematic black humor. It features an early performance from the talented Shirley MacLaine.
Back tomorrow or sometime sone with a remake that is actually an improvement on the original.
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