Mon Oncle

Mon Oncle, by Jacques Tati, 1958

The word "delightful" is surely applied to a lot of films, but few embody delight as wholeheartedly as Jacques Tati's gently satirical comedy, Mon Oncle. I think I was probably smiling through the whole film. Winner of the 1958 Best Foreign Language Film Oscar, Mon Oncle is the story of, well, not so much a story as an episodic progression of events, of Monsieur Hulot, played by Tati himself, his signature character. He lives a relaxed life in an old building in a more traditional part of France. He is worshiped as a hero by his nephew, a little boy whose parents take great pride in their ultra-modern, high tech, comically unwelcoming, house of the future. There's a series of events, and a beginning and end, but that simple premise is pretty much the bulk of the story.

Mon Oncle is basically a silent film. There's dialogue, but it's mostly inconsequential. The narrative is carried by elaborate comedy set pieces and sight gags, commenting on, among other things the coldness and lack of function of modern 1950's design, as compared to the warmth and charming inefficiency of the old world. Monsieur Hulot's sister is obsessed with showing off all the pointless flourishes and gadgets of her home to all who visit, eager to impress them and be the envy of her neighborhood with her spitting fish statue, which she noisily turns on whenever somebody walks to the front gate. Her front yard is a labyrinthine series of stones, the lawn is off limits.

Hulot, on the other hand, fumbles through the modern world, never quite in step with it. This is demonstrated as his meddling sister tries to get him out of her son's life by getting him a job and setting him up with a lady. Tati plays Hulot much in the way Buster Keaton played his characters, with a cryptic expression that we the viewer can apply all sorts of emotions to. Is he annoyed or is he just baffled? Or is he amused? He quietly observes, and never seems to judge, or at least is too polite to do so openly.

The comedy set pieces are truly masterful. These aren't big pratfalls and stunts. Tati's physical comedy is much smaller in scale and more mundane. He sets up a plethora of motifs and recurring jokes and then builds them through repetition and slight variation, and they get funnier and funnier as they progress. The timing of the gags are some of the most intricate I've ever seen, and not just the comedic timing of the actors, but also of the world around them. It's like watching a symphony of comedy.

And speaking of music, the music and sound effects are just as important as the visuals. Tati does some truly incredible stuff with sound. Each location has a theme, and each recurring joke has its own recurring sound effects to go with it.

This is the first of Tati's scant six films I have seen, but I have a feeling I'll be seeking the rest out in the coming months. I think Tati is going to join the ranks of my favorite filmmakers.

The Dark Knight Rises

The Dark Knight Rises, by Christopher Nolan, 2012

I probably won't say too much on The Dark Knight Rises, because there's not a whole lot left to say, and if you're like me, you probably got tired of hearing about it weeks ago. I liked it. I like most movies I see, so that's no surprise. I did have the same reservations a lot of you have had about it, though. A bit plodding, a jumbled, overly complex plot, some awkward dialogue. But I still loved the scope and ambition, and appreciated a lot of things about it. I'm just going to list a couple of observations, and then leave you to your day.

- Where was Batman? Bale had very little screen time in the Batman suit this time around. I'm no fan of his ridiculous Bat-voice, but this is a Batman movie, after all.

- Tom Hardy rocked the house as Bane. Nolan really knows how to create a memorable villain. He finds talented, creative actors, and collaborates with them, and together, they find ways to make the villain as menacing as possible, while still having a quality that reminds you of their humanity. For me, it was the way Heath Ledger's Joker always licked his lips that cemented him into a kind of reality. Bane's performance is all in the eyes, but Hardy brings a great physicality to the character, and the fun-to-mimic vocal performance was good fun. The character was under a lot of pressure to live up to the Joker, and while it didn't, it was a nice effort.

- That said, the mixing of his muffled voice into the front and center of the soundtrack was a mistake. I know everybody complained about the mixing in the preview, but they overcompensated in fixing it. I liked really having to listen to work through his accent, and I always got his intent. I don't mind working a little, but I guess the movie-going public does.

- I love Christopher Nolan's commitment to maintaining the cinematic integrity of his films. He shoots on film, uses these amazing IMAX cameras. He steadfastly resists the dreaded 3-D takeover. I would love if more directors fought back against it, but very few have the power to do so, if Spielberg and Scorsese are on board, I'm sure it's here to stay. His special effects are virtually seamless, and he uses them sparingly.

- Another thing I like about Nolan's films, is that he doesn't hold back. He throws everything into the pot. It's common practice these days to save the good stuff for the sequels. Franchise movies are often seeded with foreshadowing and hints for later entries, more often than not, entries that haven't even been conceived yet. Conversely, Christopher Nolan and company have put all of their ideas into each individual movie. This leads to big payoffs, a real sense of scope, and full arcs for his characters. Yes, it also leads to things getting a little too complicated, but I still think it's refreshing.

That's all I have to say about The Dark Knight Rises. It's a flawed beast, but it's ambitious, full of big ideas, and special in its way. Christopher Nolan has built his name up to mean a certain kind of movie, a kind that nobody else is making. Now that his Batman epic is complete, I'm eager to see what new worlds he will create under his unique brand.

Picnic at Hanging Rock

Picnic at Hanging Rock, by Peter Weir, 1975

With films such as The Mosquito Coast, The Truman Show, and Master and Commander under his belt, I've long held that Peter Weir is among the most talented and under-appreciated filmmakers in the world today. Picnic at Hanging Rock, Weir's second film, is another great film to add to that list. The movie not only put him on the map as a talent, but also made the world take notice of Australia and their then-burgeoning film industry.

Picnic at Hanging Rock is the story of a class of school girls on a day trip to Hanging Rock in the year 1900, the tail end of the Victorian era. Four of the girls wander away from the group, traveling deeper and deeper into the mountain, drawn to it as though they were mesmerized. Only one of the girls comes back. One of the teachers goes in to look, and she disappears as well. The townsfolk, in the wake of the incident, begin to have a harder and harder time keeping themselves together. No explanation is ever given to the disappearance, only tantalizing and unsettling clues. When one of the girls is returned, with no memory of what happened, it's all the more disturbing that there is still no sign of the others.

Picnic at Hanging Rock is a horror movie unlike any other. Nothing jumps out at you. There's not even anything tangible for the viewer to be scared of. Instead, there's a near overwhelming sense of dread and anxiety just beneath the surface. It is a ghost movie without a ghost.

But there's more to it than that. The movie is also about these mannered, put-together Victorian people trying to keep themselves civilized in the face of the overpowering, pervasive wild of the Australian Outback. From the virginal schoolgirls in white dresses being lured into Hanging Rock by a force beyond their control (the one who returns is later seen in a red dress, we all know what that means), to the fact that the teacher is last witnessed running into the mountain in her knickers, the movie is brimming with primal and sexual overtones, with dreamlike cinematography and symbolic nature imagery throughout.

Picnic at Hanging Rock is a beautiful and thought-provoking film. It gets under your skin. I found myself thinking about it for days. Peter Weir began a long and amazing career with this movie, and it's among the best of his films that I've seen. I can't recommend it enough.

Ip Man, Ip Man 2

Ip Man, by Wilson Yip, 2008

Biopics, as a whole, just might be my least favorite genre. There are good ones out there. I love Ed Wood, and Bound for Glory, and Amadeus, for example. But for the most part, we in America get Oscar bait that glorifies rather than humanizes the subject, plays fast and loose with historical accuracy, and throws just about every cliche in the book at us.

Well, in Hong Kong, they appear to make biopics pretty much the exact same way, but for one thing: a real sense of fun. Ip Man is the story of the great 20th century martial arts master: Ip Man, best known as the teacher of Bruce Lee. Donnie Yen plays Ip Man, a peaceful, mannered family man in 1930's China. He is frequently visited by other masters eager to prove themselves for a fight, and he takes it in stride, though he refuses to teach his trade, which is the Wing Chun style. That all changes when the Japanese invade and occupy China. Ip Man trains his people in self defense and face off against the invaders.

Yes, the movie glorifies Ip Man. He's treated as almost saintly. The only character flaw I could really find was that he loved Martial Arts so much that he didn't have much time for his wife and children, a trope not too different from the heroes in our rock and roll biopics. And no, I don't know much about the historical Ip Man, but I doubt his life really played out like this, a perfectly structured Martial Arts movie. I really don't mind, though, because none of it feels cynical. It doesn't feel like a product manufactured for awards. What Wilson Yip made was an entertaining and reverent action movie based on a life of an interesting 20th century Chinese figure. The fight scenes are great, and Donnie Yen is extremely charming in the lead. The movie was very successful in China, making tons of money and winning tons of awards, and it led to...

Ip Man 2, by Wilson Yip, 2010

That's right, a sequel! How many biopics get sequels? I guess Che was split into two movies, but usually all the greatest hits of someone's life are covered in one movie, but the first Ip Man only covered a few years in his life, and the sequel picks up right where it left off. Master Ip Man has fled the Japanese occupation in mainland China for Hong Kong, where he opens a school.

The problem is, all the heads of the other schools run a tight racket on the Martial Arts business. He must first prove himself in battle with these guys before they allow him to teach Wing Chun in their territory. There's a great fight sequence between Yen and Sammo Hung where Yen must stay on top of a wobbly table for the entirety of the duel in order to keep teaching.

Then, Ip Man is roped into fighting an English boxer, boxing vs. Wing Chun. The fight seems a little absurd. Seems to me since Ip Man is fighting with his bare fists instead of with gloves, and is allowed to use kicking, that it should be no problem. But the English guy is apparently super strong and nigh-invulnerable, and a big mean jerk to boot, endlessly spouting out swipes at the Chinese.

Like the first entry, Ip Man 2 is a lot of fun. It doesn't try to make things realistic, it's a purely movie world these characters are living in. I didn't think it was quite as good as the first one, but they do play great as one big movie. I'm again impressed with how entertaining and watchable Donnie Yen is as the hero. Oh, and by the end of this movie, Ip Man is still well shy of meeting and teaching Bruce Lee. There's a knowing nod and a wink to the audience at the end that would seem out of place in a serious Hollywood biopic, but works great for the popcorn fun of the Ip Man movies. Maybe someday they'll make an Ip Man 3 with Bruce Lee as a character. I'd watch that.

Switchblade Sisters, You're Gonna Miss Me

All I've wanted to do lately is watch movies. I don't really know why, but I've just been experiencing a hunger lately to take in as many films as I possibly can. I'm sure that's what those of you who know me think I'm like all the time, but truthfully, until fairly recently, I was happy to watch three or four movies a week, mixed in with countless TV shows, comic books, novels, video games, and websites, not to mention what passes for my piddling social life.

Suddenly, in July, I started watching a movie every single day, sometimes more than one. I watched close to 40 in that month alone, and that was even with me prepping a cross-country move! It looks like I'll come close to that again in August. In the last month and a half, I've watched 1/3 of the total movies I've watched all year!

Why am I telling you this? I have no idea. I just have so many movies to talk about right now, and the list of films I want to see keeps getting longer. The last couple months have felt quite fulfilling in that respect. I don't know how long I can keep up this momentum. Probably not long, since I'll be back to working full time by September. But I'll try to drag it out as long as I can.

The Switchblade Sisters, by Jack Hill, 1975

Watching old exploitation movies can often be a squirmy, unsettling affair. The violence doesn't usually take me aback very much, but the sex often can. Not that I'm prudish, I just don't really like it when things get rapey, as they often did in the 70's. In those cases, you usually just have to try to look past those scenes and try to appreciate the movie within the context it was made in.

Jack Hill's The Switchblade Sisters is actually a pretty well made film, despite the scenes that make you feel like a creep for watching them. It's about a gang of tough, kick-ass high school girls known as The Dagger Debs, who are like a sister sorority to a man gang called The Daggers. Maggie, a new girl in town, manages to work her way into the Debs, befriending the leader, Lace. Over the course of things, Maggie takes over the gang, throws out the guys, and changes the name to the much cooler sounding The Jezebels, and eventually, it all comes down to a big gang fight, with Maggie going up against her old friend Lace. Lots of violence and titillation along the way.

The Switchblade Sisters walks kind of a weird balance. The girls in the gang are strong, independent, three-dimensional characters, which is pretty impressive for its time. But the movie must also give in to the demands of its financiers and its target audience, so there's a lot of pretty tasteless stuff mixed in. You could almost say this movie is kind of feminist. You could also say it's not in the least bit feminist, and you would not be wrong. Overall, I did like The Switchblade Sisters. It has an entertaining story, and the lead girls were actually really badass. It's worth watching if you know that you're getting into some pretty gloriously trashy stuff. I know Quentin Tarantino is a big fan, if that's any indication.

You're Gonna Miss Me, by Keven McAlester, 2005

Rock and roll history and lore is riddled with stories of success and highly publicized accounts of tragedy. But along the paths of those famous stories are tangential stories of bands that almost made it, or artists who burned out before they even began. Bands who disintegrated after recording one ahead-of-its-time album. Artists who couldn't stand the attention. These stories are often just as, or more, interesting than hearing about The Beatles, Led Zeppelin, or Kurt Cobain again.

You're Gonna Miss Me is a documentary about Roky Erickson, lead singer of a 60's rock band called The 13th Floor Elevators, and apparently, the man who coined the word "psychedelic". They have some songs you might recognize, look them up. Erickson took too much LSD, was diagnosed schizophrenic, and committed. But when he gets out his guitar and sings, he still can make phenomenal music. A very interesting and pretty sad documentary, and an important side story in the Annals of Rock.

Mad Max: Beyond Thunderdome

I'm a huge fan of Mad Max and it's even-better sequel, The Road Warrior. I don't like making lists, but if I did, I just might rank The Road Warrior in my top 10. I was a little worried about the third installment, 1985's Mad Max: Beyond Thunderdome, since you just don't hear people say too many good things about it. I was pleasantly surprised. While I think it's the worst of the series, there's a lot of really cool stuff in it anyway, and it's still worth watching if you love Mad Max like I do.

The first act of the movie follows Max Rockatansky as he finds himself in the middle of a (literal) power struggle between Auntie Entity, the leader of Bartertown, a last ditch effort to keep some semblance of civilization in the wake of the apocalypse, and Master-Blaster, the megalomaniacal dwarf-and-giant combo who control Bartertown's electrical supply. These are the movie's best sequences.

It takes a turn for the worse as Max finds himself as a savior to a bunch of child survivors of an age-old plane crash. The kids are sort of smack in the middle between the Ewoks and the Lost Boys from Hook, and just as annoying as both. It's as if the studio said to George Miller, "Hey, people really liked the Feral Kid in Road Warrior. Do more of that."

The third act picks up a bit as it finally delivers the car chase action that Mad Max movies should deliver up front. I think that was my biggest concern with the movie for the first two thirds. Where the hell are those crazy souped-up cars? Well, you just have to wait.

It's really the inclusion of annoying kids that bugs me. And the toned down violence, but I can get past that, I guess. If they all had razor boomerangs that cut the bad guys' fingers off, maybe they'd be fine.

There's a lot to like, too. Mel Gibson is great. Bruce Spence returns as a pilot, though it's unclear if he's actually the Gyro Captain from Road Warrior. It's safe to say he probably is. Like he did with Road Warrior, George Miller shoots Thunderdome to look like a radiation-burned Akira Kurosawa movie. Max is a post-apocalyptic Yojimbo. I love how vivid and detailed the Mad Max universe is at this point. Miller has deepened and expanded it with each movie, and the amount of detail in the production design is insanely impressive. This place looks funky and lived-in. And hey, how many movies can boast Tina Turner in a weird wig? Or a dwarf who rides on a giant's back who consider themselves one unit?

Mad Max: Beyond Thunderdome is an imaginative, watchable sequel, but it seldom reaches the heights of its predecessors. For a great down and dirty, low budget exploitation film, watch the first Mad Max. For a bigger, better, more intense, downright crazy action movie, watch The Road Warrior. Thunderdome is like the family friendly, 80's Steven Spielberg version of those movies.

Grab Bag: Fist of Fury / The Chinese Connection, The Lion in Winter, Alice

Look at me! I'm back! Writing about movies once again, now with an all-new, all-Chicago-y backdrop. I still don't have the internet yet, so updates may still be sporadic, but I haven't stopped watching movies in my absence. I think I have like 30 movies piled up to talk about, including some real-deal classics.

Fist of Fury / The Chinese Connection, by Lo Wei, 1972

Much like Enter the Dragon, I'm pretty sure I watched The Chinese Connection when I was a kid, but I don't really remember it. Bruce Lee plays, well, a Bruce Lee-type who returns to his home town to find his master murdered by Japanese bad guys. Bruce Lee then kicks everybody's ass to avenge his teacher and prove Chinese superiority. I can't think of too much more to say about it right now because I'm a bad writer, but it's good stuff.

The Lion in Winter, by Anthony Harvey, 1968

Well, I didn't have much to say about Fist of Fury, so hopefully I can make up for that with the next two.

I said I watched some true classics, and this is one of them. Peter O'Toole and Katherine Hepburn star as King Henry II and his wife Lady Eleanor in this vicious adaptation of the play of the same name.

The Lion in Winter follows the machinations and maneuverings of an aging Henry and Eleanor, their three children, Richard, Geoffrey, and John, in determining the succession of the British Crown. Henry wants his youngest, the snivelling John on the throne. Eleanor wants the eldest, the kingly Richard (Anthony Hopkins in his first movie role). Geoffrey, the middle child, wants Geoffrey on the throne, but nobody else seems to care. Backstabbing, eavesdropping, and manipulation abounds. It's like watching two hours of the most epic domestic dispute of all time.

The characters are all thoroughly wretched people who care for little outside of themselves, but they're thoroughly wretched interesting people, especially O'Toole's Henry. Hepburn won a well-deserved Oscar for her performance.

I didn't know what this movie was going to be like when I started it, and I did not expect it to be so dark and filled with such acidic dialogue. I assume it's a fairly straight adaptation of the play. The family kind of reminded me of the Lannisters in A Game of Thrones. The Lion in Winter is thoroughly engrossing. The writing and the performances pull you in and don't let go for the entire 2 hour plus running time.

Alice, by Woody Allen, 1990

When I was 21 or so, I discovered the films of Woody Allen and never looked back. Like most comedy guys, I prefer the early, zany stuff, but I still appreciate a lot of his later work, all the while yearning for the Woody Allen of old. I've seen the majority of his films, though I've fallen off in recent years. Every once in a while, I look into one of the movies I've overlooked. Alice is one of those movies.

Alice is one of his whimsical fantasy comedies, along the lines of The Purple Rose of Cairo or Midnight in Paris, two of my favorite post-Manhattan Allen films. It is the story of Alice, (Mia Farrow) an unhappy rich housewife who lives a boring, struggle-free life. When she is recommended to a Chinese holistic healer, he gives her all sorts of magic herbs that allow her to fly around the city, speak to ghosts, turn invisible, and so on. Through these she is able to see herself and others in a new light and can make the changes that will allow her to live the life she had intended for herself.

Alice was a decent enough movie, but I wouldn't even put it in my top 10 Allen films. I guess it was said to be a riff on Alice in Wonderland, but really, the only similarity is that she ingests things that give her powers. I also found Allen's take on the mystical Chinese healer to be pretty outdated and borderline racist, in that way where grandpas are racist even when they don't realize it. Still, it has some really fun and funny moments, and it's better than some of his films. I would say check out Alice, but only if you have already seen all the really great Woody Allen films and feel the need to watch more.

-------------------------------------------

I was hoping to have time for more reviews but this entry alone has taken me days to put together! Things will be calming down in the next week or so, and hopefully I can get back to a regular schedule by then. See you soon!