Midsommar (2019) starring Florence Pugh

I think this film depicts a broader social commentary about cult mindset – the destruction of one’s individualism and systematic breakdown of one’s personality to become part of a “collective”/hive mindset.

To have another person acknowledge your grief, confusion and deep inner pain would be therapeutic. Instead of ignoring it, denying it, putting a mask on to try and be ‘happy’ without help. …the friend tells Christian, ‘dude, she needs therapy’ and he’s right- she does. But the group of boys Dani travels with are unable or unwilling to sympathize with her- the main person who should, Christian, was checked out.

I was also disappointed in how the main characters were handled. I hoped they would be given some depth, but they ended up becoming cliche caricatures.

-Excerpts from reviews posted on YouTube

Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing. -Synopsis from A24 (studio)

Whoa, WHAT did I just see!? And what does it mean? This indie horror film, or perhaps psychological drama, is now on streaming (Amazon Prime). The writer/director, Ari Astor, explained that this was the story of a break-up. It’s also about the individual’s need for connection, community, and acceptance. Warning: This is NOT for everyone, as it is slow, has a long running time, and has several scenes (incl. blood, nudity, etc.) which will be difficult for sensitive viewers. I heard re: this film in Summer 2019 from a few podcasts, so did get spoiled on some of the events. I was even shocked by the gruesome nature of two scenes in particular.

He’s my good friend and I like him, but… Dani, do you feel held by him? Does he feel like home to you? -Pelle asks re: Christian

Pugh (Amy in Little Women) does a fine job w/ her role; sadly, she is the ONLY character who is well-developed. We can empathize w/ Dani, who suffers a great loss, lives w/ anxiety, and fears being “too needy.” She is studying Psychology in grad school; she could benefit from some counseling herself. Reynor (an American/Irish actor) doesn’t have much of a screen presence, though he is tall and conventionally handsome. He is the boyfriend who has one foot out the door; from the get go, we know he’s NOT deeply invested in the relationship. Later, he tries to “collaborate” w/ Josh, who is more of a scholar and has done background work on the Harga. As some critics commented, Christian didn’t deserve the harsh ending which he received.

Christian and his fellow American pals (Mark and Josh) don’t speak and act like grad students in Anthropology; they seem like stereotypical/insensitive frat boys. Pelle (Swedish actor Vilhelm Blomgren) is the friend who invites the others to spend the Summer in his community; he seems trusty, sensitive and kind. Pelle is concerned about Dani’s mental state; it has only been a few months since she had a tragedy in her life. Mark (British actor Will Poulter) is the comic element; he wants just get high, and to hook up w/ Swedish women (who he calls “the most beautiful in the world”). One the other hand, Josh (American actor William Jackson Harper), has a curious mind and plans to do his thesis on these Harga people.

This film is very white; it’s about an insular/rural Swedish commune where the sun always shines. I did like seeing the diversity when it came to age, body type, and size. There are some scenes w/o English subtitles, so most viewers will be confused like the Americans. A black journo commented that she didn’t like seeing the few people of color (POC), incl. Josh and the British couple- Connie (Elloria Torchi from Indian Summers) and Simon (Archie Madekwe)- being used as one-note plot devices. Was this intentional? Or is this what happens in most horror stories to everyone, incl. POC?

Some things work very well in this film. Aster has a vision and he goes for it full-force (world-building). It is unusually beautiful to look at and the cinematography is award-worthy; it was shot primarily in Hungary (stand-in for Sweden). The special effects are unique; I’ve never seen anything like it). A few viewers commented that these reflect what it feels like to be on ‘shrooms. You will find yourself wondering- how did Aster come up w/ this stuff!? I learned that he conducted years of research. FYI: The rituals conducted all have basis in history- yikes!

Holiday Film Noir: "The Reckless Moment" (1949) starring James Mason & Joan Bennett

This splendidly nuanced work has emerged as one of the standouts of the noir cycle…

Ophuls… drew from Bennett her most natural, believable performance. She has never been better.

Near perfect, this is a marvellous and magical non stop emotional thriller with the camera moving with such fluidity we can only stare in wonder.

James Mason is great as a refined crook who suddenly finds himself feeling empathy for others. Can’t think of too many actors who could pull this off…

Traumatic as Lucia’s experience is, Donnelly’s devotion to her connects Lucia with the love and sexuality that may be missing from her marriage.

-Excerpts from IMDB reviews

Lucia Harper (Joan Bennett, then 39 y.o.) is an upper middle-class wife/mother w/ an energetic teen son and stubborn/beautiful 17 y.o. daughter. Lucia’s husband, Tom, has to go away on business to Berlin (during the holidays). The family lives in an ocean-front home in Balboa, 50 miles south of LA. Bea, who is an art student, is involved w/ an older man, Ted Darby. He is sleazy and lives in a sketchy hotel in LA. When Lucia realizes what’s going on, she warns the man to stay away from Bea (who is underage). Ted ends up dead on the beach, not far from the Harper’s house. Lucia thinks Bea was responsible, so quickly takes action to protect her daughter (as well as her family, respectability, and lifestyle).

When the dead body of the man is discovered by police, they suspect murder! Lucia is visited by an Irishman, Martin Donnelly (James Mason, then just 40 y.o. in his third American movie). He has love letters written by Bea to Darby; these could be damaging if turned over to police or the press. The price for the letters is $5,000 (which Lucia doesn’t have on hand). Donnelly’s boss Nagle wants payment- fast. Soon, the crooked man finds himself empathizing w/ – something you don’t expect- and developing feelings for the housewife.

She’s lucky to have a mother like you. -Donnelly comments

Everyone has a mother like me! You probably had one, too! -Lucia retorts

This is a tight, tense, and quite effective movie (which I learned about when browsing online through holiday classics playing at AFI). It’s an unique blend of melodrama and noir; you can see it (free) on YouTube. The director, Max Ophuls, is an immigrant from Germany; he worked in several European cities before coming to the U.S. in 1941. Often times, the outsider has a fresh take on something that others take at face value. Mason here may remind you of Gregory Peck (tall w/ high cheekbones and dark hair), BUT w/ potentially dangerous vibes. IMO, to be an effective leading man, a actor MUST be able to project a hint of danger. Some actors didn’t stray (or perhaps get chances to stray) from the “gentleman” role. Though Mason is British, his Irish accent is very good. Bennett does a great job- her character is quick-thinking, determined, and tough as a mother. Lucia gets drawn into the seedy side of life, much to her dismay and discomfort, but she has the guts to go there.

Hitchcock in Color: “Rope”(1948) starring James Stewart, John Dall, & Farley Grainger

1. The story unravels in typical Hitchcock fashion. The suspense is built, then lessened by some well timed comedy, and then built again to a final crescendo.

2. The dialogue is natural and flowing. The finest bit of timing involves a swinging kitchen door, the rope, and the fear of discovery.

3. ..it seems to be a very modern film.

4. There’s plenty of black humor throughout.

5. He manages to fit in many of his trademark angles and closeups in, without it seeming forced.

-Excerpts from IMDB reviews

Brandon (John Dall) and Philip (Farley Grainger- later starred in Strangers on a Train) are two young men who share a spacious NYC apt. They consider themselves “intellectually superior” to their friend, David Kentley, and decide to murder him. In the first scene, they strangle David (w/ a rope), place the body in an old chest, and hold a small party. The guests incl. David’s father, his fiancée Janet (Joan Chandler), and their former prep school housemaster, Rupert Caddell (James Stewart). While Brandon is cocky and keeps joking, Philip is fearful (esp. since Rupert is at the party).

The story was loosely based on the (real-life) case of Leopold and Loeb, two wealthy students at the University of Chicago who in 1924 kidnapped and murdered 14-year-old boy. They committed the murder (called “the crime of the century”) as a demonstration of their perceived intellectual superiority, which, they thought, enabled them to carry out a “perfect crime” and absolved them of responsibility for their actions. This movie is very different from Patrick Hamilton’s play which was set in England. Sir Alfred Hitchcock made his own adaptation w/ Hume Cronyn (also a prolific character actor); they created new dialogue and characters for this adaptation.

This is Hitchcock’s first movie filmed in color and also his shortest (w/ a running time near 80 mins). The theatrical trailer features footage shot specifically for the ad that takes place before the beginning of the movie. David (the victim) sits on a park bench and speaks with Janet before leaving to meet Brandon and Phillip. Stewart narrates the sequence, noting that’s the last time Janet (and the audience) would see him alive. This movie, considered the director’s most controversial (at that time), was banned in several American cities b/c of the implied homosexuality of Phillip and Brandon.

Rope was filmed entirely in the studio, except for the opening credits (where we see the street outside the apt). The clouds seen out the window were made out of fiberglass. Hitchcock created a (new) way of editing by making the movie look like one continuous shot. He later said that the 10 min. takes were “a stunt” (a challenge for himself). Most of the props and some of the walls were movable. The cast had to avoid tripping on cables on the floor, b/c of the moving cameras and lighting.

This is the kind of movie that you need to see more than once to appreciate, esp. if you saw it as a teen or young adult. There are undercurrents that less mature viewers may not get, particularly the nature of the relationship between the two killers. Stewart is one of my faves, but some critics/viewers have commented that this “dark” role would’ve suited someone like James Mason better. This was the only movie Stewart made with Hitchcock that he did not like; he felt miscast as the professor. The actor was paid $300,000 (a huge portion of the $1.5M budget). The first choices for Philip and Rupert were Montgomery Clift and Carey Grant, but they both passed (due to the gay subtext).

Early Hitchcock Movie: “The 39 Steps” (1935) starring Robert Donat & Madeleine Carroll

An unassuming Canadian bachelor, Mr. Hannay (Robert Donat), living in London tries to help a mysterious woman w/ a German accent, Miss Annabella Smith (Lucie Mannheim), who turns out to be a double agent. She is killed in Hannay’s hotel room, he is accused of the murder, and goes on the run to save himself. With a map and some details (provided by Miss Smith), he also hopes to stop a spy ring which is trying to steal top secret information. He travels by train to Scotland, hoping not to be noticed by his fellow passengers and the police. The papers are all covering the incident, of course, and some people are bound to be intrigued by the details. When Hannay pops into a car w/ a pretty blonde woman, Pamela (Madeleine Carroll), he begs her to help him. As the police approach, he grabs her and kisses her (pretending like their newlyweds). She is not having it, so tells the police that she has never seen this man before.

In Scotland, Hannay travels on foot for some miles, looking for a certain town. He comes across a farmer in a very rural area, Mr. Crofter, who says he can stay overnight at this little house. The wife, who is much younger and mismatched w/ her gruff husband, is played by Dame Peggy Ashcroft (one of the most respected actresses of her time). When Mr. Crofter is out, Hannay and Mrs. Crofter chat about life in London, and she develops a crush on him. Later, when he tells her about his plight, she is very empathetic. After her husband gets jealous, she helps Hannay escape. The local cops are close on his trail. Hannay finds the house of a wealthy/powerful British man, Professor Jordan (Godfrey Tearle), just in time for a Sunday lunch. He runs across Pamela (again), and more improbable adventures ensue!

Some critics and viewers consider this to be Hitchcock’s most economical and best film. The 39 Steps is a romantic adventure (Hannay and Pamela share moments that wouldn’t be out of place in a rom com) with the usual Hitchcock humor; there is also a lot of metaphor and symbolism. Many of Hitchcock’s typical themes are here: marriage (of different types), human relationships, and types and levels of deception. It’s well-written and each character has a distinct look, attitude, and personality. The plot provides suspense, comedy, and drama in a rather short period of time.

You can watch the full movie (for free) here:

Pushover (1954) starring Fred MacMurray, Kim Novak, Philip Carey, & E.G. Marshall

This film noir is considered a kind of sequel- in spirit- to Double Indemnity. Both movies feature blonde femme fatales, temptation, and (of course) the lure of easy money. It opens w/ a bank heist where over $200,000 is stolen by a pair of armed men in plain clothes. After a late movie, Lona McLane (Kim Novak- just 20 y.o. in her first role), can’t start her car. She gets help from Paul Sheridan (Fred MacMurray), who was also alone at the movies. After her car is taken to a local garage, Lona decides to go home w/ Paul, and have an affair. A few days later, Paul reports to his boss’ office- we learn that he’s an undercover police detective! In order to catch the man who planned the robbery, Paul has been keeping track of his girlfriend- Lona.

The boss, Lt. Eckstrom, is played by E.G. Marshall- a face recognizable to movie fans of several generations. He had a long/successful career as a character actor, incl. as a juror in 12 Angry Men (w/ Henry Fonda) and the billionaire philanthropist in Absolute Power (w/ Clint Eastwood). Paul’s younger partner in the stakeout is Rick McAllister, played by a tall/deep-voiced actor named Philip Carey. He later became known as Asa Buchanan- patriarch of one of the families on the soap opera One Life to Live. Wow, I never knew he was so handsome as a young man! After a few moments, I recognized his name and that voice.

Rick (re: Lona): New car, mink coat, no clocks in the joint… probably the story of her life.

Paul: You just don’t like women, Rick.

Rick: What keeps you single?

Paul: Maybe I like ’em too much.

Rick: I’ve seen all kinds since we joined the force… B-girls, hustlers, blackmailers, shoplifters, drunks. You know, I think I’d still be married if I could find a half-honest woman. Must be a few of ’em around.

Paul: Watch yourself! Those few might just be smarter!

It doesn’t take Lona too long to discover that Paul is a cop; she’s mad and says they are through. Paul, Rick, and another cop stakeout Lona’s apt, waiting for her man to call or (maybe) visit. During the lull times, Rick watches Lona’s neighbor through his binoculars. This is Ann Stewart (Dorothy Malone), a nurse who is always busy and in a cheerful mood.

MacMurray does a fine job as a good, but weary, middle-aged guy who is emotionally vulnerable once he meets Novak. The femme fatale is not a master manipulator; she resents being the trophy of a criminal. Is their hope to their relationship? Rick and Ann seem to almost live in a separate world; their relationship starts off shady, but grows hopeful once you see their chemistry. The atmosphere created in this movie also keeps you interested. The filmmakers are good at setting the mood; we see L.A. mostly at night when there are shadows, streets lit by large lamps, and a few rooftop scenes. This isn’t any fresh territory for Hollywood, but I stayed interested, wondering how far Paul would go.