Category: Actors

“To Live and Die in LA” (1985) starring William Petersen, Willem Dafoe, & John Pankow

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A federal agent is dead. A killer is loose. And the City of Angels is about to explode. -Tagline

A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner. -Synopsis

LA-based Secret Service agent, Richard Chance (William Petersen), becomes obsessed w/ finding counterfeiter, Eric Masters (Willem Dafoe), responsible for the killing of his former partner/friend, Jimmy Hart (Michael Greene). Chance loves the thrill of base jumping (similar to bunjee jumping); he is in a (complicated) relationship w/ a beautiful/blonde parolee, Ruth Lanier (Darlanne Fluegel). Chance gets a new partner, John Vukovich (John Pankow- best known for comedy)- who comes from a family of cops. Masters, a painter-turned-criminal, knows that the Secret Service is after him. Chance takes more… and more risks while conducting the investigation. Masters is NOT hesitant to use violence- even kill!

[1] I consider myself just another member of the crew, the highest paid member of the crew.

[2] If you’re going to make a film or an album of music or a painting, you cannot afford to stop and think what other people will think of it. You’ve got to take into consideration what your editor thinks, if, say, you’re a writer. But I don’t have anyone to answer to. I make a film because I want to. Sometimes they’re successful, sometimes they’re not, but the way I think about my films is always very personal. [2018]

-William Friedkin, filmmaker

The screenplay was written by Gerald Petievich (who worked mainly on police TV shows/movies) and William Friedkin (who also directed). Known as a filmmaker who stays on-budget and on-time, yet goes his own way, Friedkin (who passed away in 2024) grew up in a working-poor family in Chicago. His mother was a nurse; his father worked many different jobs (yet never made enough to support the family). After watching Citizen Kane (1941), he fell in love w/ movies. Friedkin went to work for local (WGN) TV after graduating HS; he started making docs (one of which won the Golden Gate Award at the 1962 San Francisco Film Festival). In 1965, he moved to Hollywood and started directing TV, incl. an ep of the The Alfred Hitchcock Hour (1962). Hitchcock (famously) chastised him for NOT wearing a tie- LOL!

Richard Chance [to Ruth]: Guess what? Uncle Sam don’t give a shit about your expenses. You want bread, f***k a baker.

This neo noir is called “very 80s”; it was influenced by TV’s Miami Vice. The clothes, music, and production design reflect that time period well. There are several tense stunts/action scenes; one fan commented watching Ronin (where you’ll see how this movie influenced a car chase). The dark tone of To Live and Die in LA is NOT a big surprise when I recall an interview where Friedkin commented policemen in his neighborhood were never friendly. The baddies are just as interesting as the (NOT so heroic) cops!

Here we see (hot/young) Petersen in his 1st film role; he is locked-in to the role (incl. w/ physicality of running, jumping, fighting, and… more). Some viewers/critics wondered: “Was he an athlete?” Yes, Petersen played football growing up, then became interested in acting in college. As Chance interacts w/ Ruth, you see just how much of a cold bastard he can be! Masters seems to have a much better relationship w/ his love interest/avant garde performer, Bianca Torres (Debra Feuer). Fans of (veteran character actor) Dafoe, will get a kick out of seeing how young he looks here. Though he stands at just 5’7″- he dominates (larger) scene partners w/ his intensity/screen presence. You see John Turturro (young) and Dean Stockwell (who passed away in 2021) in small/memorable roles.

[1] “To Live and Die in L.A” is an excellent non-stop action movie, having an excellent pacing and being a politically incorrect police story.

[2] The film works on many levels. Yes, it is about counterfeiting and superficial (re: counterfeit) relationships. It is about greed, survival, justice and morality. It is also about human beings using and laying to waste other human beings.

[3] The good guys are flawed. This isn’t really new, since the mid 1960s there were plenty of flawed heroes in Westerns or police thrillers. The difference is that not only their characters are flawed, they are vulnerable, destructible, they make mistakes. And they pay for their mistakes. Similarly the villains: yes, they are formidable and glamorous… They make mistakes too. And they pay too.

-Excerpts from IMDb reviews

“The Riot Club” (2014) starring Sam Claflin, Max Irons, & Douglas Booth

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Filthy. Rich. Spoilt. Rotten. -A tagline for the film

The Bullingdon Club (founded in 1780) was notorious for booking a restaurant, trashing it, then handing the owner a check for damages on the way out. The unofficial club (which still exists today) consists of a group of male elites at Oxford. This film is based on the play Posh (by Lauren Wade); it premiered at the Royal Court Theatre (2010), before transferring to the West End. The Danish director, Lone Scherfig, was at the helm of An Education (2009) and The Kindness of Strangers (2019). Alistair (Sam Claflin) and Miles (Max Irons: son of Jeremy Irons and Sinead Cusack), both come from the British aristocracy. They start their 1st (freshman) year at Oxford. Miles appears relaxed w/ a down-to-earth personality; he starts dating a (middle-class) student, Lauren (Holliday Grainger). Alistair is uptight and wants to emulate his uncle (played by Tom Hollander)- a Tory Minister of Parliament (MP). These two young men end up being tutor partners and pledge to join the Riot Club.

This title came up as I was looking up films of Josh O’Connor; he plays Ed- goofy, naive, yet snobby. George (Jack Farthing- in his 1st movie) is quiet, wide-eyed, and eager to please. The president of the club is James (Freddie Fox: recently on S2 of House of the Dragon); the cast referred to him as “the most posh one” (in press interviews). Fox is the son of 2 veteran British character actors- Edward Fox and Joanna David. Harry (Douglas Booth) has a model-like face and eye for women; his family has a country estate (recently opened for tours). Hugo (Sam Reid- currently on Interview with the Vampire) is confident, titled, yet cash poor. Each of the young actors gets their moment to shine; all give believable performances.

This film could’ve been titled Toxic Masculinity: UK College Edition; it delves into issues which are timely and timeless. What happens when (rich/white) males grow-up w/ (unchecked) privilege? When any problem comes up, their 1st solution is to throw money at it! Women are seen as conquests, NOT friends or potential love interests. Isn’t the time of these type of clubs over? some may ask. Well, there are college boys who die still in hazing rituals at fraternities! College (late teens-early 20s) is time when we become adults (under the law), yet are still forming our identities (and susceptible to peer pressure). This story will take you on an emotional journey. At first, there are a LOT of laughs from witty one-liners; these kids are smart after all. Then, it becomes darker w/ some shocking scenes (which will make you tense/uncomfortable).

[1] As most will know, The Riot Club is inspired by the Bullingdon Club, an Oxford University dining society infamous for its destructive hedonism that boasts alumni such as David Cameron, Boris Johnson and George Osborne. The film’s main target of attack isn’t the purported anti-social behaviour of such people, the obnoxious decadence we witness is not endemic to the highly disagreeable “Riot Club,” what it attacks is rather the characters’ raging, blue-blooded superiority complexes that causes it.

[2] My only complaint about the movie would be the main character (Miles Richards) being a flawless Mary Sue – rich, handsome, witty, intelligent, kind and well meaning, as well as some of the other positive characters being presented as these morally superior beings. That felt very strange for a movie, the main idea of which is that not everything is as black and white as it seems, and we all just try to justify our own actions while doing what we feel (not think) is best.

-Excerpts from IMDb reviews

“The Messenger” (2009) starring Ben Foster, Woody Harrelson, & Samantha Morton

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An American soldier struggles with an ethical dilemma when he becomes involved with a widow of a fallen officer. -Synopsis

While deployed in Iraq, US Army Staff Sgt. Will Montgomery (Ben Foster- aged 28) was injured by an IED. He’s back on base (Fort Dix, NJ was a shooting location) recovering from injuries to an eye and leg. Will reconnects w/ HS sweetheart, Kelly (Jena Malone). With just 3 mos. left in his enlistment (typically for 5 yrs), Will is assigned to the Casualty Notification Team. Not having a background in grief counseling, he’s unsure IF he can fulfill this role. He’s partnered w/ a career military man, Capt. Tony Stone (Woody Harrelson), who tells Will re: the strict protocols to be followed. Tony (who never saw much combat) warns Will that this job has its own dangers. The next-of-kin (NOK) who Will and Tony visit come from different social classes and races (reflecting today’s Armed forces). One day, Will meets a single mom, Olivia Pitterson (Samantha Morton- who is British); her reaction to her husband’s death is unusually calm.

This indie drama/romance (streaming for free) was the debut of director Oren Moverman (who is Israeli). It received 2 Oscar noms in 2010: Best Supporting Actor for Harrelson and Best Screenplay for Moverman and Alessandro Camon (who is Italian). Sgt. Brian Scott, who was training to deploy to Iraq out of Fort Dix, was a Technical Advisor on this film; he was later injured in Baghdad. At various stages in development, Sydney Pollack, Roger Michel, and Ben Affleck (who all receive “special thanks” in the credits) were attached to direct; Moverman was finally asked to helm the project after other options fell through. Fans of Succession (HBO) will get a kick out of seeing young Jeremy Strong (30 y.o.) Merritt Weaver (known as an NYC theater actress; seen in Marriage Story) has a small role, too.

There is little that is political here; “it’s about empathy for the soldiers and their loved ones” (Foster said in press interviews). A friendship slowly develops btwn Will and Tony, who says the military is a place where many go “looking for family.” According to the Army, a physical relationship btwn a Casualty Notification Officer (CNO) and NOK (ex: a widow) is NOT allowed. Will and Olivia move around ea. other tentatively and speak carefully. A moving/emotional scene in Olivia’s kitchen goes on for 8 mins (done in one take). Moverman allowed actors to improvise in certain scenes. I was impressed by the dialogue and naturalistic acting. Foster (who had a slighter build then) shows that wearing a uniform doesn’t mean one can stifle their feelings.

[1] Brilliantly acted film… It’s emotional and engaging and genuinely painful at times.

[2] Every scene is handled marvelously through subtle performances by the actors. As the film unfolds, the viewer sinks into the complex characters on screen, discomforted by the internal struggles that slowly surface.

[3] The film is, in a word, compassionate, as it is almost entirely character-driven. The chemistry between Foster and Harrelson is incredible…

-Excerpts from IMDb reviews

“Un coeur en hiver”/“A Heart in Winter” (1992) starring Daniel Auteuil, Emmanuelle Béart, & André Dussollier

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Stéphane is an emotionally distant but professionally dedicated violin restorer whose cold heart is tested when his employer’s new girlfriend, a beautiful violinist, falls for him. -Synopsis

Stephane (Daniel Auteil) is a restorer of violins; he works for Maxime (Andre Dussollier), who comes from a family known for craftsmanship. These men, though opposites, have built a successful working relationship. While the introverted/reserved Stephane (and his apprentices) work in the background, the extroverted/jovial Maxime charms their (high-maintenance) clients. One day, Maxime is excited to reveal a new/young/beautiful client, Camille (Beart), w/ whom he has fallen in love. Stephane gets to work improving Camille’s violin; she’ll be recording an album soon. One afternoon, Camille is distracted while she plays; Stephane is watching her so intently. When Maxime is busy, Camille seeks to draw Stephane out of his shell. At first, he doesn’t know how to respond; later on (after she has fallen hard for him), he coldly rejects her! Auteil (42 y.o.) and Beart (29 y.o.) were married during the time of filming; this adds another layer to the story.

This unique/thoughtful French film (which I learned about via a Facebook post) was nominated for a BAFTA (Best Film not in the English Language) in 1994. It was chosen to compete at the 49th Venice International Film Festival, where it won 4 awards (tying for the Silver Lion). This is the penultimate film of director Claude Sautet; he collaborated on the script w/ Jacques Fieschi. I will have to look up his other work, as I’d never heard of this filmmaker before. The screenplay is loosely based on the novella Princess Mary by Mikhail Lermontov. Béart learned to play the violin for the part; she took lessons for a year! You can see it on YouTube (4K version).

In typical (Hollywood) movies, the main character usually goes through change or growth; the more you see European films, you’ll notice that this is NOT always the case. This movie raises more questions than it answers, one astute viewer pointed out. Stephane (always dressed formally in suits) stays a mystery to us, as we don’t learn much re: his inner life. In the opening scenes, a voiceover is used; this is done perhaps to trick us into thinking we’ll get to know his mind. We see him having lunch and seeing movies w/ his bookseller friend, Helene; they have a connection of the mind. In the countryside, Stephane spends time w/ his former music teacher (a father figure). Some viewers thought Stephane was loyal to Maxime, so he didn’t want to get involved w/ Camille. Others questioned: Is Stephane even capable of love?

[1] I think it is an engaging and thoughtful movie – the kind that you keep thinking about, long after you have finished watching.

[2] This movie is about human psychology and love. These characters are tormented by a feeling of inadequacy, by strong unresolved love, and deep affection. It’s a modern Greek tragedy. It reminds us of the real human nature, un-linear, never simple. […] This movie manages to remind us this in the context of a difficult love story accompanied by one of the most beautiful scores ever.

[3] A character that holds a violin as if it were the most fragile item in the world, and yet does not hesitate to shatter a woman’s heart… But in the end, as he himself realizes, he is only destroying himself. This movie makes me fall in love with French cinema all over again.

-Excerpts from IMDb reviews

“Until They Sail” (1957) starring Jean Simmons, Joan Fontaine, Paul Newman, & Piper Laurie

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The genuine tugs at the heart are few and far between in this bittersweet but basically restrained chronicle. Robert Anderson’s adaptation… is honest and straightforward… Unfortunately there is a good deal of introspective soul-searching before this narrative arrives at its sad and happy endings. -Bosley Crowther (New York Times)

The film opens in a Christchurch, New Zealand courtroom, where testimony prompts Barbara Leslie (Jean Simmons) to flashback to the events that led to the trial. In 1939, Barbara and her sisters: Anne (Joan Fontaine), Delia (Piper Laurie), and Evelyn (Sandra Dee- just 14) live in a cottage in Christchurch. Most of the men, incl. their brother Kit and Barbara’s new husband Mark, are preparing to leave for WWII. Some time later, Delia announces her engagement to Phil “Shiner” Friskett (Wally Cassell); he is one of the city’s few remaining bachelors, though word of Kit’s death dampens the mood. Anne disapproves of the marriage, but Barbara defends Delia’s decision. Shiner is eventually drafted for war; Delia moves to Wellington to work for the navy. In 1942, several hundred U.S. Marines are shipped to New Zealand.

The film has moments of genuine tenderness and truth. -William K. Zinsser (New York Herald Tribune)

The screenplay was by Robert Anderson, based on a story by James A. Michener included in his 1951 anthology Return to Paradise. As fans of classics know, there are limits (and conventions) to the Hollywood studio system. The 1st thing you’ll need to ignore are the (wildly varied) accents of the sisters; we learn that Anne and Barbara attended school in England. The hairstyles and clothing worn by the women reflect the mid-1950s, NOT the early ’40s. There are a few scenes that come off as TOO melodramatic; others can drag on a BIT too long. However, the look of the film is lovely; it was shot in Cinemascope (or extra widescreen). The musical score by David Raksin suits the events V well.

This [pulls out a bottle of whiskey from glove compartment] is what I spend the night with… and no regrets. Oh, I get a gentlemanly hangover in the morning, but no regrets. And nobody gets hurt. -Jack explains to Barbara

U.S. servicemen married over 15,000 Australian and New Zealanders they met while stationed overseas in WWII. The War Brides Act of December 1945 required only proof of marriage to ensure legal migration to the US. Some modern sources est. the total war bride migration was one of the largest migrations to the country since the 1920s. Paul Newman (before fame; 3rd billed) accepted a supporting role only b/c Robert Wise was directing. I heard about this movie (via a Facebook post); I’d recommend it esp. to fans of Newman and Simmons. You can rent it on VOD; I saw it last week.

Newman plays Capt. Jack Harding, an alcohol-dependent/cynical/divorced Marine investigating prospective brides of soldiers. From the choices that Newman makes, you can see that acting is becoming more subtle in this time. As Barbara, Simmons is caring and empathetic to her sisters; she’s trying to live a “decent” life. One astute viewer noted that modern viewers (who’ve recently lived through the COVID-19 pandemic) may esp. relate to the loneliness experienced by the sisters in this movie. As Barbara tells Jack when they reconnect, her countrymen have been gone 3 yrs so far (1939-1942). I esp. liked how their connection grew (so it seems gradual/natural- NOT rushed); Newman and Simmons project intense chemistry!

[1] Not the best role of any of the principal actors’ careers, but definitely worth seeing, especially if you are drawn to WWII era dramas.

[2] Jean Simmons… is the counterpart for Paul Newman, who is the point man for the American presence (and the introduction to American men). […]

…even if this movie seems to follow some ordinary romantic path, you can’t help but feel, individually, for the four women wanting to not be alone. (It has some echo of “Little Women,” to me.) That’s the reason to hang in there. It takes time to get invested in the characters and their needs. Paul Newman is very good as usual, but more restrained than you might expect. Handsome, but without some kind of edge that made him bigger than life.

-Excerpts from IMDb reviews