film babble blog: Al Pacino

Showing posts with label Al Pacino. Show all posts

Wednesday, January 26, 2022

‘Tis The Season For Some Screenings Part 2

The holiday season may be over, but the season for catching up with movies from the previous year continues, sometimes long into the new year. This sequel to a post by the same title (except for the numbers) from last month, so there may be more entries. Now, I saw very few films in the theater, so these are reviews of three films I watched on DVD or Blu ray. Enjoy!

THE TENDER BAR (Dir. George Clooney, 2021) *

I’ve long maintained that Ben Affleck isn’t a bad actor, he’s just not a very interesting one. He’s a likable guy, unless you’re an avid tabloid reader, but he’s not a very compelling, or vital presence in many of his movies. Here, in George Clooney’s eighth film as Director, he puts in a fine performance as the wise, and wise-cracking Uncle Charlie, a mentor to the film’s protagonist J.R. Maguire (a self-consciously ernest Tye Sheridan).

In flashbacks, J.R. is played by Daniel Ranieri, while Ron Livingston narrates Wonder Years-style as an older J.R. Much of the story is centered around the Maguires Long Island home, where J.R.’s mother (Lily Rabe) brought her son to get away from her ex-husband/his ultra-unreliable father (Max Martini).

And then there’s the always reliable Christopher Lloyd. The gruff iconic actor embodies Grandpa Maquire, who also doles out advice to the young J.R., as well as accompanying him to a father/son breakfast at school. Affleck’s Charlie works as a bartender at a pub named The Dickens, where Sheridan’s J.R. drinks with his Yale schoolmates. J.R. finds love and heartache with classmate Sidney (Briana Middleton), pursues his dream of being a writer, tries to deal with his deadbeat dad, and bonds further with Uncle Charlie.

Beyond those broad strokes, not much happens. The film, based on J.R. Moehringer’s autobiographical novel of the same name, goes through these familiar coming-of-age motions without a lot to say. THE TENDER BAR isn’t a bad movie, it’s just not a very interesting one.

* THE TENDER BAR is available streaming on Amazon Prime.

CYRANO (Dir. Joe Wright, 2021) **

While every adaptation of Edmond Rostand’s 1897 play Cyrano de Bergerac that I’m aware of presents its lead character with an abnormally large nose, this version features the protagonist as a four-foot, five-inch dwarf. Peter Dinklage and his normal-sized nose, reprises his starring role in the off-Broadway production in 2019, as does Haley Bennett as Cyrano’s love interest, Roxanne.

As in every version, Cyrano pines for Roxanne, but believes his physical size makes it impossible for him to win her over. Cyrano masks his heartache with his quick wit, and sword-fighting skills, both of which Dinklage swiftly carries off. Dinklage comes close to carrying the entire film, if it wasn’t for the strong ensemble that includes Kelvin Harrison Jr., Bashir Salahuddin, and Ben Mendelsohn.

What I didn’t know going in is that this adaptation is a musical. Its score, and songs were largely composed by Aaron Dessner, Bryce Dessner and Matt Berninger of the Ohio rock band, The National. I like The National, but although there a few solid tunes, mostly the music is forgettable. Dinklage would be the first to admit that he’s no singer as well, but somehow he, again, carries it off. Director Joe Wright’s filmography is full of polished, elegant films, and CYRANO is no exception due to it being the fourth collaboration between Wright and cinematographer Seamus McGarvey.

The screenplay, written by Erica Schmidt, who happens to be Dinklage’s wife, is faithful to the original story, but constructs its own framework of sharp dialogue, and pleasing poetic stances. Overall, I enjoyed CYRANO, but I don’t think that it’s the definitive version of the classic stage play (not that I’ve seen every other revamping, but Steve Martin’s 1987 take, ROXANNE, is probably my favorite). Dinklage is clearly the reason this film is worth seeing. As lovely as the rest of it is, it’s mere decoration for Dinklage’s irresistible performance.

** CYRANO is set to go into limited release in theaters next month on February 25th.

ATTICA (Dir. Stanley Nelson, 2021) ***

I first became aware of Stanley Nelson at the Full Frame Documentary Film Festival some time ago. A number of his films, which for the most part deal with racial justice, have been a part of the long-running PBS program, American Experience. Nelson’s work is devoid of flashy stylistic packaging, which means that there aren’t animated segues, or glitzy graphics; they’re just collections of the most relevant footage of their subjects’ vital storylines, sometimes augmented with era-appropriate music. They’re bare bones and all the better for it. Nelson’s latest, ATTICA, is summed up in its opening text: “On September 9th, 1971, inmates at Attica, 20 miles from NYC, took over the prison.”

THE IRISHMAN: Marty’s Latest Masterpiece

Now playing on Netflix, and a smattering of indie arthouses:

THE IRISHMAN (Dir. Martin Scorsese, 2019)

Martin Scorsese’s long-awaited mob epic, THE IRISHMAN, has been a subject of controversy since its release for a couple of strong reasons.

First, there’s the use of de-aging VFX (Visual effects) to make its leads Robert De Niro, Joe Pesci, and Al Pacino look decades younger for lengthy flashback scenes.

Second, there’s the fact that the film is a Netflix production and after a brief, limited theatrical release it will be shown on the streaming service starting on November 27.

This reason is the one that heavily irks both the heads of major theater chains like Regal, Cinemark, and AMC, who passed on showing the film; and movie buffs who believe such a work by a world renowned master filmmaker would be best seen on the big screen.

Having seen it on the big screen, I concur with this sentiment as it’s a towering achievement that’s not only one of Scorsese’s best films, it’s a fitting finale to the director’s signature gangster game changers from MEAN STREETS to THE DEPARTED. But mainly it harks back to GOODFELLAS, and, to a lesser extent, CASINO, both of which starred De Niro, and Pesci.

Based on the Charles Brandt’s 2004 true crime novel, I Heard You Paint Houses, the film paints the story of Frank Sheeran (De Niro), who talks us through his tale from a wheelchair in a nursing home, sometimes in voice-over; sometimes talking directly to the camera.

Sheeran, whose nickname was “The Irishman” tells us how he met Mafioso Russell Bufalino (Pesci), and became involved with such mob luminaries as Felix “Skinny Razor” DiTullio (Bobby Cannavale), crime family boss, Angelo Bruno (Harvey Keitel, another Scorsese veteran), and Teamster lawyer Bill Bufalino (Ray Ramano), who was personal counsel for the infamous labor union leader Jimmy Hoffa (a simultaneously under-acting and over-acting) Al Pacino).

In its sequences dealing with Hoffa, the movie treads over a lot of the ground as Danny DeVito’s 1992 biopic HOFFA, albeit in a much more entertaining manner. Overall, many scenes echo those of many a mob epic – the kills, the arrests, the intense exchanges full of dangerous doubletalk, etc. – yet somehow Scorsese and screenwriter Steve Zaillian (who previously worked with Scorsese on GANGS OF NEW YORK) have been able to construct a narrative that makes these strands compelling all over again.

When it comes to the depiction of gangster Joey Gallo Joseph “Crazy Joe” Gallo, oily portrayed by Sebastian Maniscalco, we are treated to the questionable scenario that Sheeran was his murderer. In this scene, I kept wondering if Scorsese was tempted to include Bob Dylan’s song “Joey” on the soundtrack as the track lays out Gallo’s Italian restaurant killing. But I bet since he just put out a three hour concert doc about Dylan, from the same period he put out “Joey,” I can see why he resisted.

As for the women in the cast (yes, there are women in the cast), there’s Stephanie Kurtzuba as Frank’s wife Irene Sheeran, Kathrine Narducci as Carrie Bufalino, and Welker White as Josephine “Jo” Hoffa, but they aren’t given much to do except be concerned on the side.

However, it’s a different matter when it comes to Anna Paquin as Frank’s daughter Peggy Sheeran. Paquin’s Peggy highly suspects her father’s crimes, especially when Hoffa disappears and she is correct in her assumption that her father was involved. This causes a rift that continues well into his old age as we see in the film’s last 30 minutes.

THE IRISHMAN may appear to be daunting as its running time is three hours and twenty-nine minutes, but I never get bored or antsy. The performances are all top notch from the bit players to all of the A-List ensemble. The VFX didn’t distract me much either as it was convincing enough to make me forget about it. There were actually times when I felt like I was watching a De Niro movie made in the ‘80s or ‘90s.

It's a poignant story about aging, but Frank doesn’t appear to have any real regrets. He’s clinging to the old memories as they are all he has left after his family and friends have gone. This adds up to a powerful portrait of pathos and De Niro's finest performance in ages. His partner Pesci, in his first film in nearly a decade, puts in a restrained and measured piece of work that hugely adds to the film’s gravitas.

Sure, it would’ve been nice to see this movie have a wider release so more people could see it on the big screen, but that it exists at all is reason to rejoice (Scorsese went with Netflix because Paramount Pictures back out over the huge expense - the film’s final budget was $159 million).

So whether you can find it at an arthouse *, or settle in for a night for Netflix viewing, you can take comfort that, no matter the venue, you’re in the great hands of Marty’s latest masterpiece.

* The film is getting some independent theater action, so I strongly encourage you to seek it out - it’s no doubt a must see movie on the big screen.

More later...

Friday, January 30, 2015

A MOST VIOLENT YEAR: The Film Babble Blog Review

Now playing at an indie art house near me (and a few multiplexes):

A MOST VIOLENT YEAR

(Dir. J.C. Chandor, 2014)

The poster picture for this movie lists actors Oscar Isaac and Jessica Chastain in succession with the description “New York City, 1981.” That seems to suggest that New York City, circa ’81 is as much a star of the movie of those two leads. But really it’s just the NYC skyline, with the World Trade Center’s twin towers present in many shots, that counts as a principle player here.

Isaac commands the screen with cool, cunning confidence as Abel Morales, a Columbian immigrant who’s looking to close a major waterfront land deal (that happens to have an amazing view of Manhattan) so he can expand his heating oil company.

With his delicately coiffed hair, Armani suits, cashmere camel coat, and cultivated demeanor, Isaac channels GODFATHER PART II-era Al Pacino. Close-ups of Isaac even brought to my mind Mort Drucker’s caricatures of Pacino in old ‘70s issues of Mad Magazine.

But Isaac’s Abel is like if Pacino’s Michael Corleone actually meant it when he told his wife he wanted the family business to be completely legitimate. “I've spent my whole life trying not to become a gangster,” Abel tells his wife Anna, sharply played by Jessica Chastain, dressed in chic ‘80s fashions.

Abel believes in the American dream, but Anna, the daughter of a local mob boss, has a more lived-in cynical perspective, especially since recent events involving their trucks getting hijacked by unknown rivals, and a smooth district attorney (David Oyelowo, in quite a distinctly different persona than MLK Jr. in SELMA) building a case to charge them for white-collar tax fraud, have placed their deal in jeopardy.

Because of the violent hijackings, one of which put a young driver (Elyes Gabel) in the hospital, a Teamster rep (Peter Gerety) tells Abel to arm his employees but he refuses, saying that it “would be the end of everything we worked for. If one of these guys shoots someone, they will bring me down for it.”

Abel also refuses to live in a fortress with guards, even after he chases off a man with a gun lurking outside his new palatial mansion in the suburbs of Westchester.

Albert Brooks, who, like in his Oscar-nominated part in DRIVE (which also featured Isaac), is again playing against type, this time with a wig of thin blonde hair as Abel’s wise lawyer and confidant. Except for a couple of well-worded scenes, notably one in which he asks Isaac: “Why do you want this so badly?”, Brooks isn’t given a lot to do, but his presence is still seriously appreciated.

The pressure is on as time is running out for Abel to raise the needed cash, and find out who’s behind the hijackings, but Abel keeps his cool. That is until he personally involves himself, chasing down one of the hijacking thugs and trying to beat out of them who they work for.

A MOST VIOLENT YEAR, which is only intermittently violent, doesn’t much resemble writer/director J.C. Chandor’s previous films - the financial cliffhanger MARGIN CALL, and the Robert Redford lost at sea drama ALL IS LOST - except in being about practical-minded people trying to survive. Just three films in, Chandor is already building an impressive filmography, one that’s steeped in styles learned from the masters, yet tempered by his own edgy vision.

While Chandor layers his film with echoes of Francis Ford Coppola, Brian De Palma, Sidney Lumet, and Martin Scorsese, the cinematography of Bradford Young, who also shot SELMA, brings to mind the darkness of the late, great Gordon Willis’ camerawork. The spare lighting adds shadowy nuance to the proceedings, particularly in a scene involving the meeting of the oil company heads around a table in the back of an Italian restaurant (yes, another GODFATHER-ish bit).

Sadly this excellent, moody, impeccably acted film was overlooked Oscar nomination-wise. For her tough, take-no-shit, New Jersey-accented performance, I thought Chastain would get one for sure. When she takes charge, like when she shoots a deer that they hit with their car because Isaac was hesitating to kill it with a crowbar or when she calls her husband a “pussy,” she’s completely convincing as a woman who’s been around and knows the real stakes.

But Isaac is the true owner of the film. A simple closing of his eyes in disappointment conveys volumes, and his determination to gain more power and control (witness the aforementioned war council scene) without losing his dignity provides the foundation for Isaac’s finest acting yet. Despite his headlining the Coen brothers’ INSIDE LLEWYN DAVIS and a bunch of other choice roles, Isaac isn’t a household name yet, but while roles in STAR WARS and X-MEN sequels may change that in the next year, this film is the one that really deserves to be his breakthrough.

The film strains to emphasize that this guy is a better, more moral minded man than Michael Corleone, but as much as he feels that he’s immune from corruption, it’s a necessary evil with which he must compromise.

So many New York movies set in the same period shy away from showing the WTC towers in the skyline, but here they are always present – often out of focus, way off in the background, but always present. Chandor’s film doesn’t have to spell out what they represent in Abel’s quest for success in a harsh, dangerous economy; one can feel it every time they are glimpsed.

More later...

Wednesday, September 17, 2014

More Michael Caine Impressions Over Dinner

Now playing at an indie art house near you...

THE TRIP TO ITALY

(Dir. Michael Winterbottom, 2014)

This sequel to the 2010 art house comedy sleeper, THE TRIP, which re-unites Steve Coogan and Rob Brydon as fictionalized versions of themselves is definitely a case of more of the same.

It’s more fine dining – this time in exquisite Italian restaurants with spectacular ocean-views. It’s more neurotic bickering about stardom, or lack of stardom.

It’s more driving down winding roads through the scenic countryside – this time to the accompaniment of an Alanis Morissette CD.

But most importantly it’s more Michael Caine impressions, with a healthy side of Al Pacino as Brydon affects the famous actor’s gruff persona for an audition for an American mafia movie.

Just like in the first one, Coogan and Brydon are on a restaurant tour which they will write about for The Observer. Also like its predecessor, the film is edited together from 6 episodes of a BBC program, which accounts for its overlong length.

Though we see a lot of food – there are many cuts to inside the kitchens of each of the six restaurants they visit from Tuscany and Rome to the Amalfi coast while the duo converse at their tables – the meals aren’t really discussed except to say how heavenly they taste. Again, the meat of the matter is who can do the better impersonation.

At one point, Coogan and Brydon even act out an entire sketch involving the stars of THE DARK KNIGHT RISES – Christian Bale, Tom Hardy, and Caine (of course) arguing on set. This bit is hilarious but the mimicry does get tiresome, especially when they trod on material they well covered the first time around – i.e. the same Sean Connery lines.

The bare bones of the plot involve Brydon getting a part in the aforementioned film, a fictitious Michael Mann project, and having an affair with a British tour guide (Rosie Fellner). Coogan’s only dilemma appears to be that his most recent series, an American TV drama named Pathology (also fictitious) has been canceled.

Otherwise we just basically hang with these guys through their travels as they follow in the footsteps of the great Romantic poets Byron and Shelley, consume copious amounts of food and wine, and make references to many movies including ROMAN HOLIDAY, LA DOLCE VITA, NOTTING HILL (always an excuse for Brydon to do his spot on Hugh Grant impression), and CONTEMPT.

It’s an unruly formless experience that wears out its welcome halfway through. Only hardcore fans of the original or of these guys will find it funny or at least entertaining from start to finish. There's also the case that the more they do some of these impressions - particularly Brydon's Pacino - the less effective they are.

It does help that it looks great. Cinematographer James Clarke, who shot the first one, captures immaculate imagery of Italy in scene after scene. So I'll file THE TRIP TO ITALY with MAGIC IN THE MOONLIGHT under “Slight films of 2014 that have gorgeous scenery.”

While in THE TRIP, Coogan remarked that “behind every little pithy vaguely amusing joke is a cry for help,” here the cries seem to be more for attention. With their aching through their posh lifestyles and showbiz entitlements, the only help these guys will really need will be at the box office if they try to pull off a third one of these.

More later...

Wednesday, December 03, 2008

10 Slapped Actresses

“Sometimes fake fights turn out bad/Sometimes, actresses get slapped.

Some nights, makin’ it look real might end up with someone hurt.

Some nights, it’s just entertainment, and, some other nights, it’s real.”

These lines from the track “Slapped Actress” from the latest album, Stay Positive, by New York rawkers The Hold Steady call upon the neo-realism of the films of the independent film innovator John Cassevettes. Written and sung by feisty front-man Craig Finn, who was influenced by watching a friend’s Cassevettes DVD box set, the song shines a theater spot-light on the hazy line between art and real life.

For those of you unfamiliar with the song here is a live clip from YouTube (albeit crudely recorded, but you should know how that goes) of The Hold Steady performing it live.

Since the impact of a slap in the face can not be easily faked and such a dramatic device is so effective yet so still such a common place cliché (think soap operas) I thought it would be somewhat insightful to look at the case studies of:

10 Slapped Actresses

1. Gena Rowlands in OPENING NIGHT
(Dir. John Cassavetes, 1977)

The Hold Steady’s “Slapped Actress” directly references all the principles of this film: “We are the actors. The cameras are rollin’. I’ll be Ben Gazzara, you’ll be Gena Rowlands” and “We’re the directors - our hands will hold steady. I’ll be John Cassavettes—let me know when you’re ready.” Finn in an interview with Uncut Magazine elaborated: “I was really taken by the scene where Cassavetes wants to slap Gena Rowlands, and he says, ‘If I don't really slap you, it won't look real for the performance.’

And she says ‘It’s a play, why would you have to actually slap me, that's the whole point.’ That kinda connected with the way I think people are preoccupied with my relationship with the characters I write about. I’ve always said no one really cares whether Quentin Tarantino kills people or does karate but for a songwriter there’s this question of a perceived honesty, that your songs are the story of your life.”

A slap is one of the potent forms of delivery, so to speak. Rowlands after protesting is told by Manny (Gazzara): “It’s a tradition. Actresses get slapped. It’s mandatory you get hit.” Rowlands does eventually get hit but as convoluted as it may be it’s on her own weird terms. Rowland’s Myrtle goes through the motions of a dying diva later commnented on by The Hold Steady’s sing-along concluding chorus which says of this brand of “perceived honesty”: “we make our own movies, we make our own movies...”

2. Faye Dunaway in CHINATOWN

(Dir. Roman Polanski, 1971)

(Major Spoiler!) “She’s my daughter [slap]...my sister [slap]...She’s my daughter [slap]...my sister [slap]...my daughter [slap]. She’s my sister and my daughter!” Dunaway gets multiple slaps from Jack Nicholson as not so hard nosed (he had his nose sliced by the knife of Polanski playing a small time hood) detective Jake Gittes who had no possible patience left.

According to the IMDb: “After several takes that never looked quite right, Dunaway told Nicholson to actually slap her. He did, and the scene made it into the movie.” Dunaway got her slap happy revenge years later in MOMMIE DEAREST playing Joan Crawford - who I’ll get to later.

3. Diane Keaton in THE GODFATHER PART II
(Dir. Francis Ford Coppola, 1974)

In arguably one of the most powerful confrontation scenes between a husband and a wife in cinema history, Michael Corleone (Al Pacino) reacts violently upon being told Kay (Keaton) not only wants a divorce but that she had an abortion because she feels this “Sicilian thing” must end. This sends him over the line in what looks incredibly like the real thing – his incensed slap sends her reeling back onto a hotel sofa.

No quotes from Keaton on whether it was authentic but this passage from Deborah C. Micthell’s biography “Diane Keaton: Artist And Icon” is pretty noteworthy: “When her parents saw Godfather II in Los Angeles, the audience applauded when Michael slapped Kay in the confrontation scene. She (Keaton) defensively explained: ‘he was a horrible character…I say to Hell with those people who applaud. My parents were with me.’” Watch the scene on YouTube here and see if you would applaud.

4. Charlize Theron in HANCOCK
(Dir.Peter Berg, 2008)

This is from a mediocre summer superhero-with-a-twist Will Smith vehicle, mind you - but to be fair I liked the first half of said film with the slap appearing to perfectly divide it. Theron went on the record: “He tried to fake slap me one time, but the fake one just didn’t happen. We’re still debating this one. I think he just hit me! But Will claims I leaned into his hand and that’s how it happened. I was so shocked! I was like, ‘He just slapped me!’”

Then to another source she said: “But he said, ‘I did not slap you. I had my hand there and you turned into it’” Theron, however, insisted that the incident did not sour their relationship. “We’re just like kids, it’s so much fun. He’s not a woman beater!” she said. Whatever the case, the Will Smith bitch slap will no doubt echo through out the ages...

4. Michelle Pfeifer in WOLF (Dir. Mike Nichols, 1994)

This was another incident that inspired this post - recently Christopher Plummer revealed in his new memoir (“In Spite Of Myself”) : “I had to lose my temper and slap [Michelle] in the face . . . Gazing into those deep, limpid eyes of hers, I was so hypnotized, my expertise at faking a slap utterly deserted me and I let her have it with full barrels.” He lamented that it was: “one of the worst days of my life.” Again I believe, Arthur Christopher Orme Plummer, should just take comfort in the “sometimes actresses get slapped” clause.

5. Brigitte Bardot in CONTEMPT (Dir. Jean-Luc Godard, 1963)

I recently saw this again, for the first time on the big screen, and I had forgotten about the slap Michelle Piccoli lays on Brigitte Bardot's face during their lengthy domestic argument. The sequence which takes place at their flat is a painful but compelling series of break-ups and make-ups with the slap coming midway as Phillip Locate in the New York Times noted: “In any film today, a man slapping a woman would end the scene, but in Contempt we keep watching the sequence for 25 more minutes, as the adjustments to that slap are digested.” It is indeed startling how Bardot brushes off the abuse, to her character Camille it seems like just yet another daily indignity.

6. Marisa Tomei in IN THE BEDROOM (Dir. Todd Field, 2001)

File this under “when actresses slap other actresses”. In what Roger Ebert called “the most violent and shocking moment in a violent film” Sissy Spacek slaps a hysterical Marisa Tomei. According to IMDb: “There were 15 takes of Sissy Spacek slapping Marisa Tomei. The final version of the film used the first take.” Looks like Tomei sure was a trooper in the “slapped actress” department there!

7. Anne Baxter in ALL ABOUT EVE (Dir. Joseph L. Mankiewicz, 1950)

Joseph L. Mankiewicz’s Academy Award winning screenplay describes the action between Addison (George Sanders and Eve (Anne Baxter) as follows: She smiles. Then she chuckles, then laughs. A mistake. Addison slaps her sharply across the face.

Actually there are many comparable slaps from movies from this era and it’s a quick cold one but it’s a personal favorite because I (and I’m sure many audiences) so wanted to slap Eve throughout the whole movie. Incidentally there was a little known semi-remake called SLAP HER...SHE'S FRENCH.

8. Shirley Maclaine in THE APARTMENT (Dir. Billy Wilder, 1960)

As Dr. Dreyfuss, Jack Kruschen really strikes Maclaine’s face exactly as written in Wilder’s and I.A.L. Diamond’s screenplay (also an Academy Award winning script):

With his free hand, Dr. Dreyfuss slaps Fran viciously across the face. Bud winces. Dreyfuss, still holding Fran by the hair, takes a box of ammonia ampules out of his bag. He crushes one of the ampules in his hand, passes it under her nose. Fran tries to turn her head away. Dreyfuss slaps her again, hard, crushes another ampule, repeats the process.

9. Joan Crawford in WHATEVER HAPPENED TO BABY JANE? (Dir. Robert Aldrich, 1962)

Bette Davis and Joan Crawford famously did not get along so there is absolutely no doubt this slap is real. Apparently mere slaps were the least of their worries according to Wikipedia: “During a scene after Blanche makes a desperate attempt to call Jane's doctor, Blanche is kicked around by Jane. In reality, Crawford had several broken ribs from the scene, as Davis had really kicked her." Crawford also felt pretty symbolically slapped later when she wasn't nominated for an Oscar for the film while Davis was.

10. Lee Bryant in AIRPLANE! (Dirs. Jim Abrams & Jerry Zucker, 1980)

Thought I’d end on a comical note with definitely the fakest slaps not just on this list but possibly in movie history. As frightened passenger Mrs. Hammen (but probably better referred to as “hysterical woman”), Bryant starts freaking out: “I can't stand it anymore...I've got to get out of here!” A stewardress tries to restrain her then another passenger takes over, then Dr. Rumack (Leslie Nielson) all repeating “calm down, get a hold of yourself!”

Soon enough just about everybody on board is lining up to slap (or worse) the troubled traveler. Watch the clip here. There are hundreds, if not thousands more slapped actresses out there but that’s my top ten and I’m sticking with it. Of course, there are many slapped actors as well but I was keeping with The Hold Steady song that inspired the post. Still may do a “slapped actors” post someday – so stay tuned.

More later...

Monday, June 23, 2008

Time For A Re-Appraisal - GODFATHER PART III Is The Best Of The Series

This is definitely NOT my contribution to the BIZARRO BLOG-A-THON (June 23-25th) hosted by LazyEyeTheater or EnergeticEyeTheater or whatever:

We all can admit now that both GODFATHER PART I & PART II were just overrated populist mock epics that got overwhelming acclaim because of early 70’s pop politics and they got Oscars because producer Robert Evans scored a deal with the Devil that would make Joseph Kennedy proud.

The series was only redeemed when GODFATHER PART III arrived in 1990. It featured re-casting of the highest order and a script that out has Mario Puzo out-Shakespeare-ing Shakespear

e mounting in a grand sweeping sense of neccessary closure.

When we last saw Michael Corleone (Al Pacino) it was the late 50’s and he was left all alone by those who once loved him sitting on a bench at his Lake Tahoe estate – with dead eyes and a cold withdrawn demeanor.

If you’re like me, and I know I am, you’d want to see more of the decline of this guy, right?

Made to order, GODFATHER III picks up 20 years later as Michael tries to finally go legit with a deal with the Vatican, harasses his ex-wife, destroys his children’s dreams (or maybe just his children), and ends up yet again on a bench now much older and still alone but this time we get to see him die!

Yep, all necessary events that solidify once and all Michael Corleone into the classic character we all love and make us completely forget the first 2 films.Michael’s snazzy new look - the spiky bleached hair-do and more stylish attire show that the man has gotten hipper - see how he puts down Sinatra stand-in Johnny Fontane (Al Martino) with this crack: “I’m just gonna go into the kitchen and listen to some Tony Bennett records.” Snap!

His voice is gravely to the extreme and his arm motions are more flailing - while the old Michael was stoic and subtle, new Michael is in your face with his bug eyes and exclaimations: “Just when I thought I was out... they pull me back in!”

Then there's the case of the recasting of one of the main members of Michael’s posse - previously D-lister Robert DuVall barely registered as lawyer Tom Hagen so it’s a major improvement to bring in the grand gentleman actor George Hamilton to be the consigilere.

Hamilton, with his ultra-tan and slick lovable posing, alone provides a gravitas that the early entries were sorely missing. It only gets better - when Winona Ryder was too ill to participate, director and co-writer Francis Ford Coppola drafted his daughter Sophia to take on the role of Michael’s daughter Mary.

Sophia Coppola’s performance was originally derided but in recent years it has been re-evaluated to be considered one of the best in all cinema. Her death scene (sorry Spoilers!) when she realizes after a few seconds that she has been shot and says “Dad?” in an unaffected blank manner is as heartbreaking as it gets. I get choked up just blogging about it.

It’s well known that Joe Mantegna as a Armani suitted John Gotti-esque competitor of the Corleone’s parlayed his role into the beloved long-running character Fat Tony on The Simpsons but how many know that Andy Garcia parlayed his role into playing a bunch of other likewise thug but still charming parts in a bunch of other notable films I’m too lazy to look up right now.

Oh, wait - the OCEAN’S 11 movies - see, pretty much the same type guy, right? W

e've got GODFATHER III to thank for that. The involving plot with the Pope dying and a montage of murders, which the other GODFATHER films concluding murder montages hold nothing on, also rule.

Diane Keaton returns as Kay to do some more much needed finger waging at Pacino and reportedly they resumed the set romance they had during the first 2 flicks - good for them.

For comic relief we’ve got Don Novello who while he never says anything funny is still amusing to see because we can say ‘hey it's Father Guido Sarducci!’

So disregard what everyone says about I and II being ‘all that’ and savour this saga statement that is up there with SON OF THE PINK PANTHER, LICENCE TO KILL, STAR TREK V, and THE PHANTOM MENACE as being the undeniable best of their respective series. Just when you think you’re out, GODFATHER III pulls you back in - again and again.

More later...

Wednesday, November 29, 2006

"Yippie-kye-ay, Mister Falcon!" And Other EDITED FOR TV favorites

"This town is like a great big chicken just waitin' to get plucked.” - Tony Montana (Al Pacino) from the edited for television edit of SCARFACE (1983) * (If you need to know the original line email the address below)

Usually I avoid when movies are shown on broadcast television because they're edited-for-time full-screen versions - I mean it's almost like they don't count. But sometimes when I come upon a movie I like when changing channels I've found they are sometimes worth watching for the re-dubbing of profane lines.

SCARFACE above, and THE EXORCIST are famous for their creative hilarious for-all-audiences re-toolings. Not content to just use 'freak' or 'freaking' the censors picked every other f-word (frozen, fruitful, foolish, etc.) in the dictionary to cover all the 'fucks' in a recent airing of FARGO. It's quite a different movie when you see Steve Buscemi yelling "you foolish people!" after being shot in the face you know? These are some other funny examples:

TH E BIG LEBOWSKI (1998) Original line : "You see what happens Larry, when you fuck a stranger in the ass?" - Walter (John Goodman) Edited line : “You see what happens Larry when you find a stranger in the Alps?”
Also : "This is what happens when you pump a stranger's gas!" and “What the frog?” – Barry (Jack Black) HIGH FIDELITY (2000)

THERE’S SOMETHING ABOUT MARY (1998) “Froggin’ ashpole” - Ted (Ben Stiller) to Pat (Matt Dillon)

PLATOON (1986) “Come on maggot farmer, move!” - Pvt. Chris Taylor (Charlie Sheen)

SCARFACE (1983) Original Line: "How'd you get that scar? Eating pussy?" - Immigration Officer (Garnett Smith) Edited Line: “how’d you get that scar? Eating Pineapple?” (also “pudding”)

THE USUAL SUSPECTS (1995) Original Line: : "Hand me the keys you fucking cock sucker" - spoken by all 5 suspects (Kevin Pollack, Stephen Baldwin, Benicio Del Toro, Gabriel Byrne, and Kevin Spacey) in the police line up. Edited Line: "Hand me the keys you fairy godmother."

DIE HARD (1988) Original Line: "Yippee-ki-yay, motherfucker!" - John McClane (Bruce Willis) Edited Line: "Yippie-kye-ay, Mister Falcon!"

LETHAL WEAPON (1987) 2 lines both spoken by one of the candidates for MAN OF THE YEAR 2006 - Mel Gibson as lovable suicidal cop Martin Riggs : "We bury the funsters!” and "I'm a real cop, this is a real badge and this is a real firing gun!"

GOODFELLAS (1990) Original Line : "You're a fuckin' mumblin', stutterin' little fuck" Tommy (Joe Pesci) Edited Line : "You're a friggin' mumblin', stutterin' little fink."

THE EXORCIST (1973) Original Line: "Your mother sucks cocks in Hell!"- Regan (Linda Blair) possessed by Pazuzu (voice - Mercedes MacCambridge) Edited Line: "Your mother sews socks that smell!"

PULP FICTION (1994) Original Line : "I got my eyes wide fuckin' open!" - Jules (Samuel L. Jackson) Edited Line: "I got my eyes wide focused open!"

ROBOCOP (1987)

"You're gonna be a real mothercrasher!" - Bob Morton (Miguel Ferrer)

Send your favorite 'edited for TV' lines to: Boopbloop7@gmail.com

So if Peter O'Toole was pulled over and arrested for drunk driving would his mug shot look an better or worse than the poster for his latest film?
Discuss.

And all I want to know about this movie is - does it have a montage?

More later...

Sunday, July 23, 2006

Appreciating Jack Warden (1920-2006)

"I happen to love this country. You know, we're not a bunch of zanies trying to bring it down!" - Harry Rosenfeld (Jack Warner - ALL THE PRESIDENTS MEN, 1976)

“Gruff but lovable” may be a cliched description befitting many a character actor but it seems today like it was coined solely for Jack Warden.

Warden, who died in a New York hospital a few days ago of heart and kidney failure at 85, leaves behind 50 years of TV and movie work including Oscar nominated turns in 2 of Warren Beatty’s seminal 70’s films – SHAMPOO and HEAVEN CAN WAIT, a gracefully befuddled President in BEING THERE, and acted as newspaper editor over not only reporters Woodward and Bernstein (Robert Redford and Dustin Hoffman in ALL THE PRESIDENT’S MEN) but also performed the same task over reporters Kermit, Fozzie and Gonzo (THE GREAT MUPPET CAPER). A former boxer, Warden epitomized the best friend/mentor role in many films. If a movie needed a rough on the outside – soft on the inside coach, agent, former army man, or any weathered wizened figure of authority he was the go-to guy. A few TV shows tried to bottle his charisma – he took Walter Matthau’s role on the short lived BAD NEWS BEARS TV show and had a 4 year run as a wacky detective on CRAZY LIKE A FOX but it is his film work that will be his true legacy. That is if we respectfully forget the dreck –like his appearances in all 3 PROBLEM CHILD movies for instance. In memory of one of the greatest character actors in film history here’s:

5 Essential JACK WARDEN Roles

1. Mickey Morrissey (THE VERDICT Dir. Sydney Lumet 1982) The ultimate best friend/collegue part played to perfection. His raised voice advice to his tragically flawed lawyer friend Frank (Paul Newman) - "He's a good man? Heh, he's the Prince of fucking Darkness! He'll have people testifying they saw her waterskiing up in Marblehead last summer. Frank, don't fuck with this case!"

2. Roy L. Fuchs/Luke Fuchs (USED CARS, Dir. Robert Zemeckis 1980) Sure this is a rude crude barely memorable Kurt Russell vehicle (didn't mean to make that pun) but Warden plays two roles - brothers. One good/one bad - the evil twin premise in early glory.

3. Judge Francis Rayford (...AND JUSTICE FOR ALL, Dir. Norman Jewison, 1979) His crazy helicopter-piloting Judge character was an effortless yet edgy piece of work. Crusty insights abound as evidenced in this exchange with yet another disallusioned lawyer : Judge Rayford - "I found out what the meaning of life is." Arthur Kirkland (Al Pacino) - "What's that?" Judge Rayford - "It sucks."

4. Julian Marx (BULLETS OVER BROADWAY Dir. Woody Allen, 1994) Warden did great work in 3 Woody Allen movies (the others being SEPTEMBER & MIGHTY APHRODITE) but his timing and presence as theater producer Julian Marx makes this list for ace delivery of lines like : "That dame doesn't have a nerve in her body. I don't think her spinal cord touches her brain."

5. Harry Rosenfeld (ALL THE PRESIDENTS MEN Dir. Alan J. Pakula 1976) Famous Washington Post editor Rosenfeld was a great fit for Warden's mentoring mania - admonishing Woodward (Robert Redford) - "Sit down. You know I'm glad you asked me that question. The reason I'm glad you asked me is because if you had asked Simons or Bradlee they woulda said, "You know we're gonna have to fire this schmuck at once because he's so dumb".

His brisk appointing was classic Warden as well - "Woodward. Bernstein. You're both on the story. Now don't fuck it up!"

R.I.P. JACK WARDEN 9/18/20 - 07/19/06

More later...

Tuesday, March 30, 2004

DVD Review: SEA OF LOVE (Collector's Edition)

The golden age of the “erotic thriller” genre was undoubtedly the '80s with the glossy ilk of such hits as FATAL ATTRACTION, NO WAY OUT, and the immortal BODY HEAT, but it became a joke in the '90s with such embarrassments as BASIC INSTINCT, BODY OF EVIDENCE, and well just about everything that has Joe Eszterhaus's name on it. My personal favorite of the genre was:

SEA OF LOVE (Dir. Harold Becker, 1988)

This was originally embraced as a return to form for Al Pacino after such forgetful fare as AUTHOR, AUTHOR and REVOLUTION in the first half of the '80s. It was indeed great to see him in a gritty sometimes even pathetic part as a hard drinking police detective dealing with divorce and obsessed with tracking a serial killer. The schlubby Pacino compares notes with partner John Goodman and they drunkenly decide to set up a sting operation through meetings with possible suspects made from personal ad connections.

Ellen Barkin's character is the outgoing as Hell is-she-a-vixen?-is-she-not? parable that the plot hinges on. A lot of this is predictable and at times can be awfully generic plotting, but the amount of well placed and well paced humor, good acting, and sharp dialogue makes this still in 2004 a good watch.

Also just about everyone in it is somebody you will surely know from something else: Samuel L. Jackson has a small part at the beginning, The West Wing actors John Spencer and Michael O'Neill, Six Feet Under's Richard Jenkins, and the always intensely creepy Michael Rooker from JFK and HENRY: PORTRAIT OF A SERIAL KILLER all add to the must-see value of this mostly overlooked time-killer. Available on a Universal special edition DVD with Special Features including a commentary by director Becker and a few scratchy deleted scenes.

More later…

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