Tag: Friendship

#Noirvember: “Devil in a Blue Dress” (1995) starring Denzel Washington, Tom Sizemore, Jennifer Beals, & Don Cheadle

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In a world divided by black and white, Easy Rawlins is about to cross the line. -A tagline for the film

In 1948 in LA, Ezekiel “Easy” Rawlins (Denzel Washington), a Black WWII vet, is looking for work. At his friend Joppy’s bar, he’s introduced to a white man, DeWitt Albright (Tom Sizemore), who is looking for someone to help him locating a missing white woman (perhaps hiding in the Black community). Daphne Monet (Jennifer Beals) is the fiancée of a wealthy “blue blood,” Todd Carter (Terry Kinney), the fave to become mayor. Daphne is known to frequent Black jazz clubs and spend time w/ a gangster- Frank Green. Easy accepts Albright’s offer; however, he soon finds himself amidst murder, crooked cops, ruthless politicians, and brutal hoods.

Easy: A man once told me that you step out of your door in the morning, and you are already in trouble. The only question is are you on top of that trouble or not?

I recently re-watched this movie (on Hulu). The source novel for this story is by Walter Mosely; the screenplay was written by Carl Franklin (who collaborated w/ Mosely). Jonathan Demme was the main producer of the the film; he’d directed Washington in Philadelphia (1993). At one point, Demme considered directing this film himself, but deferred to Franklin on the strength of his work on One False Move (1992). Washington also helped produce here; we fans know of his production company (Mundy Lane). The cinematographer, Tak Fujimoto, also worked on Star Wars VI: A New Hope, The Silence of the Lambs, and The Sixth Sense. Elmer Bernstein (then in his 70s) composed the musical score- wow! Of course, the score is supplemented with jazz music from that era.

The 1st thing I noticed was the production design; it looks like we’re actually dropped into the late 1940s in the opening scene. We see period-accurate cars, humble/well-kept houses, and Black working-class people of all ages/shades/sizes. We learn (via a friend/neighbor) that Easy is one of the few Black men who owns a house and isn’t a private detective by training; I’d consider him a reluctant hero. Washington (in one of his rare “regular guy” roles) simply inhabits his (non-showy) character. Easy has charm and carries himself w/ dignity. Washington is also looking hot (and sometimes shirtless- wearing just a white tank, suspenders, and khaki dress pants).

Mouse: Easy – if you ain’t want him dead, why you leave him with me?

Beals (5’8″) is NOT intimidated to go toe-to-toe (wearing heels- of course) w/ Washington. I thought she was dressed and made-up to look like Linda Darnell (an actress who appeared in several noir films). We can’t forget Easy’s friend- Mouse (Don Cheadle- in an early screen role)! The young actor (who trained in the theater) makes a great impression; Cheadle brings some (much needed) humor to the dark story. Sizemore creates an unapologetic/dangerous villain who enjoys causing fear and pain.

[1] Franklin’s greatest achievement here is the way he brings the period to life, albeit with a certain amount of nostalgic love for the idea.

Overall this is a solidly enjoyable detective story with all the twists and turns that you could expect from that genre. However, it also benefits from a great sense of place and time that is all through the film, not merely painted on with sets or soundtrack. A class act from Washington and others just adds to the feeling of quality.

[2] It can be argued that Beals as the titular femme fatale of the title is under written, but the character comes with an air of mystery that serves Franklin’s atmosphere very well. Tech credits are high, something of a given with Bernstein and Fujimoto on the list, while Washington turns in another classy show of subtlety and believability.

Lovers of film noir should get much rewards from Devil in a Blue Dress.

[3] The atmosphere is a major asset here; director Carl Franklin has done a magnificent job not only of recreating the Los Angeles of the late forties, but also of showing the story from the black perspective, a rarity in film. All the sights and sounds are there, and if you concentrate real hard you can even detect the smells, too. […] Fans of Washington should watch this, but really anyone who likes film noir will approve.

-Excerpts from IMDb reviews

#Noirvember: “One False Move” (1992) starring Bill Paxton, Billy Bob Thornton, Cynda Williams, & Michael Beach

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There was no crime in Star City, Arkansas. No murder. And no fear. Until now. -A tagline for the movie

After a drug rip-off which involves 6 murders, the LAPD are on the hunt for a dangerous trio: a sadistic genius- Pluto (Michael Beach; best known for ER), his volatile former cellmate- Ray (Billy Bob Thornton; also co-wrote the screenplay)- and Ray’s 20ish gf- Fantasia (Cynda Williams). Evidence indicates that these fugitives are headed to the small town of Star City, Arkansas. Detectives Dud Cole (Jim Metzler) and John McFeely (Earl Billings) contact the local Chief of Police- Dale Dixon (Bill Paxton)- then head to Star City to continue their investigation. Dale, an energetic cop/family man, is excited by the chance to participate in a nationwide manhunt.

Can something from 1992 look fresh and unexpected (to modern/jaded eyes)? Every element is firing on ALL cylinders in this (lesser-known) indie film: acting, directing, editing, sound/music, sets/production design, costumes/hair, etc. I kept hearing about how great it was on movie podcasts, so decided to check it out (Amazon Prime). This is NOT a typical action/crime/drama, as it’s more interested in character development. None of the main ensemble is what he/she seems at 1st glance. I was a BIT surprised to see Paxton in a complicated role; he is perfectly cast and able to show his range. Thornton (sporting a few extra lbs. and rat-like ponytail) is an immature/sloppy/volatile villain; his trigger finger is itchy. Beach (pressed/polished) is a calm/calculated villain; he is more dangerous than his partner. Williams (who was married to Thornton 1990-1992) is NOT the strongest of actors, BUT she does well here, being paired w/ seasoned actors. Like MANY women (incl. women of color), Williams didn’t have much of a career after her 20s. She is also known for her supporting role in Spike Lee’s ‘Mo Better Blues (playing a singer/love interest of Denzel Washington’s character).

The issue of race adds another layer to the story. The director- Carl Franklin (a former actor) is a Black man; I learned of him in 1995 (when I saw another great neo noir- Devil in a Blue Dress– starring Washington). The racism depicted in this movie is casual/subtle. The contrast between life/values of the city vs. the small town (country) are shown also. For those who want danger, I admit that I was on my the edge of my seat during several scenes. The tension builds… and builds… until the (emotionally powerful) climax! This film was considered “too violent” when it premiered at Sundance; it was produced by a company that makes movies that go direct to video. Luckily, One False Move did get a (limited) big screen release, after critics Roger Ebert and Gene Siskel spoke of its merits. Siskel put this movie as his fave of 1992; Ebert placed it in 2nd place- wow! Some of you may recall that 1992 was an esp. strong year for movies; these are some titles: A Few Good Men, Damage, Howard’s End, Malcolm X, The Last of the Mohicans, and Unforgiven.

[1] The film starts off quite violently, but once it gets going, the emphasis is on good old-fashioned character study.

[2] Franklin has a wonderful way with his camera, only revealing enough for us to fill in the blanks, and often his camera is used as a character POV device, with close ups and cuts blending seamlessly with mood of the story.

[3] The script deals with the themes of the contrast between the country and the city, racism, and the mask that many people wear to hide the complexities of their lives and their past. Somehow, all these themes come together in the most seamless and nuanced manner to enhance the poignancy of the film.

[4] I have seen this movie twice. The first time, for the whole movie I was on the edge of my seat. This was an intense film. From the extremely brutal beginning to the climatic end, I couldn’t relax once.

-Excerpts from IMDb reviews

#Noirvember: Films from Noir City DC (OCT 2022)

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This year was my 2nd time attending the Noir City DC Film Festival at AFI Silver Theatre (here in my current neighborhood- Silver Spring, MD). I ended up seeing 3 movies- one of which I’d never watched before. During the 1st weekend, TCM’s Noir Alley host, Eddie Muller, introduced the films. I bought Eddie’s book on the behind-the-scenes story of Gun Crazy (1950).

All the King’s Men starring Broderick Crawford, John Ireland, Joanna Dru, John Derek, & Mercedes McCambridge

Jack Burden (John Ireland) is a newspaper reporter who hears of Willie Stark (Broderick Crawford) when his editor sends him to Kanoma County to cover the man. What’s SO special about this “nobody” running for county treasurer? He’s supposedly an honest man! Burden discovers this to be true when he sees Willie delivering a speech and having his son pass out handbills, while local politicians intimidate him. Willie is honest and brave; he’s also a “hick” whose schoolteacher wife educated him at home. He loses the race for treasurer, BUT later makes his way through law school. He becomes an (idealistic) attorney who fights for what is good. Someone in the governor’s office remembers Willie, when they need a patsy to run against the govermor and split the vote of his rival. While these (wiser/experienced) political types underestimate Stark, Burden (who becomes Stark’s biggest supporter) overestimates the man’s idealism.

I’d never seen this movie before; it will esp. interest those of you who follow politics. Here we find some of the same themes as in A Face in the Crowd (1957)- a must-see for fans of classics. After living through the Trump presidency, you’ll (no doubt) find comparisons aplenty! The basis of this movie is a Pulitzer-winning novel, All the King’s Men, by Robert Penn Warren; the book was loosely based on the life of a Louisiana politician- Huey Long. The screenwriter/director, Robert Rossen, also worked on Body and Soul (1947) and The Hustler (1961). Ireland reminded me a BIT of Henry Fonda w/ his looks. This is the 1st movie role for McCambridge; she makes a big impression as a tough/unapologetic political operator. Dru is NOT able to convey deep emotion, so in several moments, she dramatically turn away from the camera. Crawford, known for playing mostly “heavy” (tough guy) roles, seems to inhabit his role here. Both Crawford and McCambridge won Oscars for their work!

A Place in the Sun (1951) starring Elizabeth Taylor, Montgomery Clift, & Shelley Winters

A chance meeting w/ his uncle after his father’s passing leads to George Eastman (Montgomery Clift) being caught in the middle of two worlds and NOT truly belonging in either one. The son of poor Christian missionaries, George meets his wealthy (paternal) uncle, Charles Eastman (Herbert Heyes), while working as a bellhop in his uncle’s hotel in Chicago. Wanting a better life for himself, George takes his uncle up on his offer for a job in one of the Eastman factories in California. Under his cousin Earl’s directive, George is placed on the factory assembly line. George sees this position as a stepping stone to something better, which he’s willing to work hard to achieve. Feeling lonely, George breaks the rule of no fraternization when he starts dating a fellow assembly-line worker, Alice Tripp (Shelley Winters). Several months later, Mr. Eastman suddenly promotes George professionally and personally. Although he’s NOT used to high society, George is soon befriended by beautiful/young socialite, Angela Vickers (Elizabeth Taylor- then just 18 y.o.)

Quite a big audience was present to watch this film; it’s a classic that stands the test of time. I watched it (w/ my family) as a kid. Mike Nichols said this film was his favorite; the filmmaker watched it 50+ times! Nichols noted that it also influenced how he directed his 1st movie- The Graduate (1967). The director of A Place in the Sun, George Stevens, was one of the most respected/prolific of his era. He came up through the Hollywood studio system, working as a stills photographer, then as a cinematographer. Stevens directed MANY critically-acclaimed/well-loved films, incl. Alice Adams (V early in Katharine Hepburn’s career), Woman of the Year (teaming up Spencer Tracy w/ Hepburn), The More the Merrier (a fun/early rom com), Shane (considered one of the best Westerns), and the epic family drama Giant (also w/ Taylor). The source novel for this movie, An American Tragedy, was written by Theodore Dreiser; it’s based on a true story. The book was adapted into a play by Patrick Kearney. The screenplay was written by Michael Wilson; he also worked on The Bridge on the River Kwai and Laurence of Arabia.

In 1991, this movie was selected for preservation in the U.S. National Film Registry by the Library of Congress. One critic wrote that this film represents America, where people are NOT satisfied w/ what they have, BUT always looking for something better. Another critic pointed out the connection shown btwn social class and desirability. The costumes, set design, editing, music/sound, directing, and acting ALL combine to make this an effective (and affecting) story. The director makes some great choices, incl. those memorable close-ups of two of the hottest actors to appear in film. In one pivotal scene, George embraces and speaks reassuringly to Alice, BUT Clift’s body is hidden from the camera. When George and Angela interact, she is often shown in the power position (as a male love interest). Notice their embrace on the balcony, where Clift hunches down and enfolds himself tightly in Taylor’s arms. At the lake, Taylor is sitting up w/ Clift laying his head down in her lap. In the end, did you think that George was a victim of circumstance or a calculating villain?

He would discuss the scene, but not the lines, and would photograph the second or third rehearsal so the scene had an almost improvisatory quality. Stevens would print the first take, then spend the next three hours minutely rehearsing the scene, then film it again. He explained to me that in this way he often got actors’ unplanned reactions that were spontaneous and human and often exactly right. And often when actors overintellectualize or plan their reactions, they aren’t as good. -Winters, describing Stevens’ way of directing

…because Monty was the New York stage actor, and I felt very much the inadequate teenage Hollywood sort of puppet that had just worn pretty clothes and hadn’t really acted except with horses and dogs. -Taylor, on feeling intimidated to act w/ Clift (before they became the best of friends)

Body and Soul (1947) starring John Garfield & Lili Palmer

Charley Davis (John Garfield) wins an amateur boxing match and is hailed as a local wonder. He meets a young woman, Peg (Lili Palmer), the winner of a beauty pageant. Peg lives in the West Village of NYC and is studying to be painter. The young men of Charley’s Lower East Side (LES) neighborhood are mostly jobless; some are looking to make some quick money. Charley’s friend, Shorty (Joseph Pevney- later director of many eps of Star Trek), tries to get the attention of a boxing promoter, Quinn (William Conrad), when he comes to the local pool hall. Suddenly, Charley’s father is killed in a bombing of his small candy store! Charley’s mother, Anna (Anne Revere), is strongly opposed to him fighting; she wants him to continue w/ night school and become a “professional.” Instead of letting his mother sign-up for “relief” (the precursor to welfare), Charley gets Shorty to set up a fight through Quinn. Charley travels to many states and his career grows, as he keeps winning fights. When an unethical promoter, Roberts (Lloyd Gough), shows an interest in Charley, he finds himself faced w/ difficult choices.

This movie (directed by Robert Rossen) is considered to be the best of Garfield’s short/bright career; the screenplay was written by one of his childhood friends- Abraham Polonsky. This role fits Garfield like a (boxing) glove; he also produced the film. Revere (who is related to that Paul Revere) is perhaps NOT the 1st choice for a Jewish mother, BUT she does good in her role (as usual). Palmer (who is British) and Garfield have good romantic chemistry, BUT her (posh) accent is out of place in the gritty world of the LES. Canada Lee plays Ben, a Black boxer who fights Charley, then becomes one of his trainers/close pals. Lee gets a few meaty scenes (rare for this era for people of color in film); he mainly worked in theater. The cinematographer, James Wong Howe (Chinese-American), filmed the pivotal fight holding the camera while being pushed around the ring by an assistant on roller skates! Martin Scorsese saw this movie as a boy; its influences can be seen in Raging Bull (1980), as some viewers noted.

#Noirvember: “State of Grace” (1990) starring Sean Penn, Ed Harris, Gary Oldman, & Robin Wright

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A family ripped apart by violence. A love corrupted by betrayal. A friendship stained by blood. -A tagline for the movie

This is the month when ALL of us film noir fans celebrate the genre; I’m starting off w/ a neo noir which MANY won’t know about. A young Boston patrolman, Terry Noonan (Sean Penn), is recruited to go undercover in his old neighborhood (Hell’s Kitchen in NYC) and infiltrate the Irish mob run by the older brother- Frank Flannery (Ed Harris)- of his childhood best friend, Jack Flannery (Gary Oldman). To complicate matters further, Terry’s 1st love that he is still pulled toward- Kathleen (Robin Wright- in her early 20s)- is the younger sister of the Flannery brothers. Penn and Wright became a couple during the filming; they have good chemistry here. Several incidents in this movie are based on testimony given by captured NYC mobsters, incl. the meeting in the restaurant w/ the Italian mafioso and the dead man’s hand sequences.

I never heard of this film (shot partly inside one of Trump’s hotels) until recently; it was released in the same year as the (now mob classic) Goodfellas! Who could live up to that comparison!? The director, Phil Joanou, was in his late 20s (like some of his actors) when this movie was made. Though the (then up-and-coming) actors are hungry (and doing their best), the script is NOT very strong. As MANY experienced actors have commented over the yrs: “If it’s not on the page, it’s not on the stage.” I stopped the movie 3x while watching it last weekend to do chores (which I hate doing – LOL); this proved that it lacked momentum. It is also too long- 2 hr. 14 mins. When this happens in a movie categorized as “action/crime/thriller,” it’s NOT a good sign.

Though Penn would go on to become a big name 1st, I was more impressed by Oldman (who has long-ish hair and a grungy look). His NYC accent is flawless and he seems to totally inhabit his volatile, hard-drinking character. In the few quiet scenes, Oldman gets to show the hidden insecurity/vulnerability of Jackie, such as when he and Harris share a hug. Oldman hails from an area of London which is known to be tough. Fun fact: Oldman fell in love w/ Uma Thurman while working on this film; she was the former gf of the director. I learned that Penn and Oldman performed a (fiery/dangerous) stunt themselves- yikes! Harris has long been a character actor that I admired; Wright is also good (as I expected), though early in her career. Look out also for John Turturro and a V young/skinny John C. Reilly in (smaller) roles. If you like neo-noirs, the ’90s aesthetic, mob movies, and/or the gritty side of NYC, then check it out (free for Amazon Prime subscribers).

Spoiler-Free Review: “The Last Duel” (2021) starring Matt Damon, Adam Driver, Jodie Comer, & Ben Affleck

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The film (based on a book by UCLA English prof Eric Jager) gets its title from the fact that the duel depicted was the last (judicially-sanctioned) trial by combat in France. Originally, two of the three writers of the project (Matt Damon and Ben Affleck) were to play the two leading roles. However, Adam Driver took over from Affleck (as he had another movie to do), and Affleck stepped into a smaller/supporting role. The third screenwriter is Nicole Holofcener; she previously wrote Can You Every Forgive Me? (2018), Enough Said (2013), and Friends with Money (2006). Both Driver and British actress Jodie Comer (best known for Killing Eve) had roles in Star Wars: Episode IX – The Rise of Skywalker (2019), although they didn’t share a scene.

The true story of a woman who defied a nation and made history. -Tagline for the film

On March13, 2020, production was halted due to the COVID-19 pandemic. Filming in France was finished; the production had moved to Ireland. Director Ridley Scott had already filmed for 4 wks; he had 1 hr. completed. There was a (brief) time when it was in theaters (NOV 2021). Before its streaming release, I recall seeing the opening (7 mins.) on YouTube. The filmmakers were inspired by the structure of Akira Kurosawa’s Roshomon (1950); I saw that classic (1st time) a few mos. ago. The Last Duel was recently listed as one of former Pres. Obama’s Favorite Films of 2021.

This movie is divided into 3 chapters w/ shorter bookends depicting the duel. At this time, rape was NOT considered a crime against a woman, BUT a crime against a man (EX: her father or husband) as a violation of his property rights. The duel in this case is NOT about showing the men’s skill in fighting, it’s a process of trial and judgment. First, we see events from the POV of a knight- Jean de Carrouges (Damon); then from the POV of a squire- Jacques Le Gris (Driver); finally, the POV of Jean’s young wife- Marguerite de Carrouges (Comer). There are scenes depicting the Battle of Limoges (1370); the enemy are the Britons. The Black Death (and tragedies this plague caused) is mentioned. In 1377, Jean and Jacques become vassals of Count Pierre d’Alencon (Affleck), one of the wealthiest barons in France and a cousin of King Charles VI.

Some have called this a “medieval #MeToo” story showing “toxic masculinity.” This is NOT for more sensitive viewers; there is strong language, nudity, violence (in various settings), sexual assault, and misogyny (reflective of the time depicted). The running time (2 hr. 32 mins.) could also be a turn-off for others, though it looks like movies (of ALL genres) are getting long these days. The duel takes up about 20 mins. of the story; it’s exciting, bloody, and V brutal. I was on the edge of my seat, as Jean and Jacques made (unexpected) moves at some moments. If you’ve seen Game of Thrones, then the fighting/action here won’t be shocking.

The acting and the dialogue are the main reasons to see this film, IF you haven’t been put-off by now! I thought that most of the actors did a fine job. The accents used are NOT all quite British; one viewer thought they sounded like those at a Renaissance fair (LOL)! I watched this movie mainly for Driver, as he is my (current) fave actor; he continues to impress (and NOT just w/ the muscles, which we see in one scene). Comer (tall, beautiful, strong, yet able to also be vulnerable) is the stand-out; she is under 30 (and deserves to have a big career). I don’t know why she wasn’t recognized w/ any awards! I think Damon is a good actor, though here his look is more modern than medieval. Many viewers complained re: Damon’s (mullet-like) hairstyle and the scar on one side of his face. Others thought Affleck was miscast. Affleck’s personal life has been in the media a LOT; this will (no doubt) influence viewers. I can’t forget veteran character actress Harriet Walter (Jean’s mother); she does V well w/ in her scenes.

The locations, settings (incl. real castles- V cool), wigs, costumes, armor, and ALL of the production design elements looked great to me. Of course, we’d expect the highest standards from a team working w/ Scott. I esp. liked the huge fireplaces, use of candlelight, and the capes/furs. When he has the shorter style, it’s Driver’s real hair; the longer hair is a lace-front wig. Costume designer Janty Yates said that 6 sets of armor (in different states of damage) were created for the duel- wow! Let me know what you think; I feel like this didn’t have a big audience.

[1] Ultimately a very well made, intelligent, highly original film with multiple layers and themes. Production values are excellent…

[2] …this movie is dialogue-heavy. However, with credentials like “The Gladiator”, Ridley Scott did not disappoint with the climactic, long duel finale.

[3] …a movie for grown-ups that deserves a grown-up audience. Let’s hope it gets the recognition it deserves.

-Excerpts from IMDB reviews