poetamelie

A trio of tales by classic authors entertains with taste and well within the context of today's mores in each tale's examination of foibles within matters of the heart. All three stories have endured the test of time, and each unfolds a compelling, updated study of classic conflicts between people. I was surprised to find Edgar Allan Poe's THE CASK OF AMONTILLADO in the mix, but let's say that this well-worn study of revenge claimed during a descent into the wine cellar from hell made a fitting nightcap for the collection.

The first tale, D. H. Lawrence's short story RAWDON'S ROOF, is a wistful examination of how a man's drive to feel independent ultimately deprives him of the love of his wife, his mistress, and the mistress's two daughters, whom he claims to love most. Jamie Askew as Janet, Rawdon's mistress whose spendthrift husband vanishes whenever debt collectors close in, imbues her character with dignity, patience, and grace as Rawdon trots out arguments for his rule about never allowing any woman to sleep under his roof. In the end, he gets to keep his roof, his way, and a sustained lifetime of regret. It is a love story without love, a paean to the wages of male selfishness and hollowness.

In Guy de Maupassant's A BEDTIME STORY, the stunning wife of a philandering husband cleverly conspires to lure him back into the marriage using every weapon in her considerable arsenal of beauty, wit, reason, negotiation, and seduction. While doing absolutely nothing wrong within the traditional bonds of wedlock, she seems primed to put the horns on him, turning each of his cynical choices back on him. On the surface, this is a French farce, but Hélène Cardona puts her character Margot through complicated changes and gyrations a wife must commandeer to seduce a husband to return. Hers is a challenging part, and despite the comic overtones, one understands that her husband's betrayal has wounded her deeply . It takes unimaginable life mastery to parlay such pain and disappointment into Margot's rapier of wits which keep her spouse off balance and sometimes off his feet. I was shaking my head in amazement and delight with her nimble performance. I wish more people could see Cardona at work. She is a formidable actress, and her character, well, I want to be that woman in my next life, if God is kind.

A promising debut from first-time filmmaker Jack Littman, RUMBLE STRIP is a stripped-down thrill ride that sends a former mercenary on a desperate race to rescue his kidnapped lover. Set in an eerie, toxic future, our ex-merc and his gal wander a rusty, paved-over America which grows more landlocked each day as the water disappears. Here, one pedals refurbished wheels to try and save the day. Earnest and engaging lead Jack Littman (who wrote, directed, and scored the film) carries the story capably, evoking bruised innocence, grit, and courage. He gets accomplished support from graceful newcomer Autumn Randolph as his missing girlfriend, Gregory Littman (THE LONELY ONE) as a cold-blooded CEO who trafficks the world's dwindling H2O to the highest bidder, and Anna Khaja (THE GOOD PLACE, MADAME SECRETARY) as the CEO's right hand--she has her hands full forestalling the next major earthquake. If you like indie thrillers, this one is worth your time. Be sure to hydrate well before watching.

I didn't realize John Milius had this fine film in him (after all, he gave us RED DAWN). I stand corrected. I liked the film so much, I had other members of my family watch it, and they loved it, too. How pleasantly surprised I was by Tom Berenger's superb performance as Teddy Roosevelt. Watch for Berenger as he stands at the back gate of the caboose of a train he's commandeered to transport his troops. He has no dialogue, but get a load of the look at his face and his bearing. He just stands there, beaming, so gloriously alive with the spirit of the man and his times. Look for standout work by Gary Busey (I really wanted him to say "Mr. Roosevelt! Look at the firepower!") as the feverish Southern general Joe Wheeler, Illeana Douglas (a fresh surprise as Alice Roosevelt), Brad Johnson (who has easily the most beautiful smile in Hollywood) as the outlaw-turned-hero Henry Nash, Nick Chinlund (a fave "X Files" creep) in a great scene as Frederick Remington, and Chris Noth as the privileged Craig Wadsworth. All are tremendous. Sam Elliott turns in both subtle and commanding work as Captain Bucky O'Neil, a man as heartbreaking when he bids his wife goodbye as he is terrifying and awesome when he breaks his troops in to the concept of killing. My quibbles with the production are few: silly, Attenborough-style casting of George Hamilton as a too-handsome William Randolph Hearst, cheesy use of the "St. Crispin's Day" speech from Shakespeare's KING HENRY V, very little information on what the war was actually about from both sides (the opening credits block the vintage headlines that supposedly bring us up to speed). Still, the battle sequences are masterfully staged (watch the horses run by Remington while he paints--gorgeous shot!), the training sequences are fascinating, and Berenger's expression once the Battle for San Juan Heights is over is simply heartwrenching.