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“glittering star entertainment
filmed like a serial with continuous cliffhanger scenes.”

Reviewed by Dennis Schwartz

A dated and racially politically incorrect romantic-comedy that teams
Clark Gable with Myrna Loy for the third time. It has biting dialogue,
edgy black comedy, a snappy pace and a sterling performance by Gable that
helps it overcome its many flaws. Director Jack Conway (“A Yank at Oxford”/”Boom
Town”) keeps the story action-packed as he tells about the adventures of
newsreel cameraman for the Union newspaper Chris Hunter (Clark Gable) and
his rival for the Atlas newspaper Bill Dennis (Walter Pidgeon), and the
aviatrix Alma Harding (Myrna Loy) in the middle of their love triangle.
The cynical story has the opportunistic newsmen willing to do anything
to get a story. It even has the unprincipled Hunter stage an air bombing
in Shanghai by shooting at Japanese planes to get the bombing pictures
ahead of his rivals (thought to be conceived by Buster Keaton). To counter
Hunter’s aggressive tactics, Dennis has his childhood friend Alma fly a
fake mission to bring in cholera serum to Shanghai. But Hunter interferes
while trying to get her landing on film and his assistant Joselito (Leo
Carrillo) causes Alma to lose control of the plane as it catches fire.
Hunter rescues her and the shutterbug team catch it on film, but Dennis
tricks them by stealing the film. The two rivals bid for Alma’s services
back in New York, but she agrees to the rascal Hunter’s offer when he falsely
tells her his grumpy boss Gabby MacArthur (Walter Connolly) fired him because
he burned the film rather than expose her flying on a fake mission. What
Alma really wants is an airplane rescue mission to save her long-lost pilot
brother who crashed in the jungles of South America’s Amazon to be sponsored
by the newspaper. In the jungle Hunter and Joselito dress like witch doctors
and use their wile to rescue an unconscious Harry, soothe the voodoo worshipping
natives and get it all on camera as Dennis and Alma fly in to take the
stricken Harry to a hospital back home. They do not recognize Hunter and
Joselito in their disguises of ceremonial chicken heads, as the escaping
Gable paddling away in a rowboat is a sight to see and savor.

It can be more than acceptable if viewed as glittering star entertainment
filmed like a serial with continuous cliffhanger scenes and not frowned
upon for its lack of credibility or taken just at face value without considering
how sharp is its relentless critique of the media. 

The film is based on the stints of writers Len Hammond and Laurence
Stallings with Movietone news, as taken from Mr. Hammond’s story and written
by John Lee Mahin and Mr. Stallings.

In the fabled win of glitter,

Golan, Globus, two producers,

Crudest Hollywood traducers,

Said, “We’ll make a star of Norris.

If he joshes when he punches,

Then his fans will come in bunches.

They will titter while they jitter.”

Much like Ovid, less like Horace,

They gave old Chuck a girl.

They called it “Firewalker”

And they gave good Chuck a chum,

Louis Gossett — Tweedledum.

These three search for Aztec riches.

El Coyote might oppose ‘em,

But hale Chuck can dese and dose ‘em

(He’s a fighter, not a talker).

And he’ll scratch her where she itches,

As romance, it doth unfurl.

Cast the girl| Who to use?

Melody Anderson| What a build|

What a cupcake| How cream-filled|

Since he’s quite the martial artist,

They could call on Chuck to do,

Barroom-, kung- and cornfield-fu,

His own stunts, to save some sous.

Because gold is where the heart is,

In a movie made by trolls.

Let the critics shoot their arrows|

In a style categoric,

Let them call it paregoric.

When it comes to Aztec booty,

Golan-Globus knows a buck –

They just give the people Chuck|

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Just like Sydney Biddle Barrows,

One can rise to public duty.

Why give the swine a pearl?

Why the ulcers, making pictures?

It’s so easy watching dailies,

For industrious Israelis,

Like a Globus and a Golan.

You just romance one more stone,

Make a Steven Spielberg clone.

Making shoes or making kitsch is

The same for those so sold on

Resoling others’ souls.

“Firewalker” is rated PG and contains violence and sexual themes.

Given the amount of action and life-changing events which occur in X-Men; The Last Stand, you'd expect to feel more moved. But this third outing for the spandex-clad mutant superheroes and villains is surprisingly short of real emotion.

X-Men 2

is regarded by many fans as one of the best comicbook movies ever made. This sequel is tidy but uninspiring, despite a storyline which deals with the invention of a controversial 'cure' for mutant-kind.

As in the previous movies, Hugh Jackman is the highlight, his Wolverine coming across like a young Clint Eastwood – with huge metal claws. There's a Wolverine spin-off in development and little wonder; he's easily the most engaging character. The real star should be Famke Janssen, whose Jean Grey returns from a watery grave as the world-threatening Dark Phoenix. A pity, then, that her heart and soul are rather lost beneath the CGI.

"STILL A CERTAIN SATISFACTION"

Of the other mutants, Halle Berry's Storm is somewhat dry, Kelsey Grammer is given little to work with as Beast, and none of the youngsters make an impression. You're most likely to care if you've watched the other movies back-to-back immediately before this; as we skip through events so swiftly, there's no time to embrace the characters. There's still a certain satisfaction from watching the mutant odyssey reach a kind of conclusion, and Jackman and Janssen are too watchable for the film to be damned, but unless you're already dedicated to the X-Men, The Last Stand won't really hold up.

Harper is a contemporary mystery-comedy with Paul Newman as a derisory inaccessible eye complex in a missing human being trackdown. Some excellent directorial touches and mighty thesping are evident in the colorful and plush moulding. Abundance of comedy and every so often extraneous paralipsis on cameo characters make in the interest of a calm velocity and imbalanced concept, resulting in overlength and telegraphing of climax.

Ross MacDonald’s novel, The Moving Target, has Newman commissioned by Lauren Bacall to find her hubby (never seen until climax), although she has no love for either him or step-daughter Pamela Tiffin.

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Complications include the spoiled Tiffin, casual companion of family pilot Robert Wagner, himself hung up on Julie Harris, a piano bar entertainer also a junkie. Shelley Winters is the aging actress failure who has known the missing man, and is married to Robert Webber, brains behind a wetback smuggling ring run by religious nut Strother Martin.

Director Jack Smight has inserted countless touches which illuminate each character to the highest degree. In this he complements William Goldman’s sharp and often salty lingo. All principals acquit themselves admirably, including Newman, Bacall, Webber, and particularly Winters, who makes every second count as the once-aspiring film star now on the high-calorie sauce.

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Movie Review: Atonement

Alternate Baptize:

The 'C' Consultation
If not director
Joe
Wright
Overweeningness and Prejudice
) had developed the second-best
half of his latest film as engagingly as the first half, well – it coulda
been a contenda! However – that was not to be. The screenplay by
Christopher Hampton
is based on the wildly popular novel (more
on this topic in

Predilection

) by

Ian McEwan

.
It is 1935, pre-war England, where the landed
gentry act as if nothing can condition their rights and privileges. Little
thirteen year beloved Briony spies her older sister Cecilia doing something
strange by the water fountain with Robbie, the son of their cook. She
then snoops and finds them doing something even ickier in the library.
That pure constant night she also happens upon her older cousin doing something
nasty in the woods. That one night changes the lives of all involved.
Wright films that night from several points of
direction and it works well. Wild expedite to four years later and the film
changes. The characters did not develop for me and most of the scenes
seem staged and postured. Cinematography by

Seamus McGarvey

was catholic and lovely to accompany but looked more much the same as commercials as a service to
perfumes or clothing lines instead of the moving picture sets.
This story of obsession, tragedy, atonement and
antagonistic should have had me engrossed but it simply did not grab me. Just
because a take is released at the end of the year does not attack it automatically
an Oscar contender.

Acting: Keira Knightley

is lovely to look upon
but she postures too much and at times looks as if she has a tolerance
in place of that look of contemn.

James McAvoy

(

Pattern
King of Scotland

) was very nice upon my word as Robbie.

Saoirse
Ronan, Romola Garai and Vanessa Redgrave

as the three Briony's
were all wonderful to watch.

Predilection:

I hated the book. The film was better
paced than the never ending book and I tried very hard to be objective
while watching the film.

Critters:

A barn owl, dogs and horses (two are shot
in the war)

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Food:

You would think there would have been more
food but drama overtook meals.

Sex Spectrum

: It turns out to be Cecilia and Robbie
in the library with a ladder.

Blatant Product Placement:

None

Soundtrack:

The music by

Dario Marianelli

was at times over the top but I did like the addition of the
typewriter keys to move the story forward,

Visual Art:

It was a lovely film to watch with attention
to detail sumptuous.

Theater Audience:

A very odd assortment of people
for an early show on a Tuesday morning.

Weather:

The weather was quite lovely in England and
in France.

Sappy Factor:

0

Quirky Meter:

0

Squirm Scale:

War is always hell

Drift Factor:

I drifted often.

Predictability Level:

High – if you read the book.
Surprises if you did not.

Tissue Usage:

0

Oscar Worthy:

No

Big Screen or Rental:

If you are a fan of the book
I would suggest the big screen. If not – wait for Cable.

Length:

Two hours

Made right away after the finishing-off of The End of St Petersburg, Pudovkin’s semi-ethnographic, semi-polemical epic about a Mongol uprising against British occupiers during the postal service-revolutionary civil war makes a awesome, but for all that slightly naive fable. Adapted from a Novokshenov novel, the story has a young Mongol herdsman falling loose with a scurrilous colonial fur broker and falling in with partisan fighters. When he’s captured by the Brits, they sponsor him for a offspring of Genghis Khan and mistakenly install him as a hireling ruler. Pudovkin’s ridicule is notably subtler than Eisenstein’s – he extracts some handsome comedy from the queenlike elite and Buddhist religious authorities exchanging ritual pleasantries in in advance of a unusual-born Lama – and the storytelling and infirm key characterisation are certainly engaging. It’s objective that Pudovkin’s constrictive, building lump editing, proficient as it is, tends to cramp the film’s flow and suggestive latitude.

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Danny DeVito wants to kill his materfamilias. Billy Crystal wouldn’t inclination his ex-trouble smothered. And in “Throw Momma from the Train,” DeVito tries to take tribulation of both problems. But there’s a third question — the large screen.

As written by Stu Silver (and directed by DeVito), “Momma” is a goofy tribute to Alfred Hitchcock’s 1951 “Strangers on a Train” — the classic in which Robert Walker involves Farley Granger in a “criss-cross” murder. It joins a long line of tributes to Hitch — but it joins this line at the very back, just behind Mel Brooks’ “High Anxiety.”

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Owen Lift (DeVito), a stay-at-home son and would-be mystery writer, gets bullied daily by his mother (Anne Ramsey). And daily, he attempts to strangle her or take the scissors to her but can’t bring himself to do it. After his creative writing teacher Larry (Crystal) turns him on to Hitchcock to help him learn the zen of whodunit, he gets his final murderous push (after watching “Strangers,” of course) and goes after Larry’s ex-wife. Suddenly Larry’s wanted for a murder he didn’t commit. And Owen expects Larry to fulfill his part of this involuntary deal — offing Momma on the train.

There’s something sardonically amusing about Owen’s — DeVito’s — singleminded aggression. And you can feel how much fun it was for DeVito to direct this. But the movie’s one-note broadness seems suited more to cable. And the story takes the wrong routes — leaving Crystal’s Larry nothing more than likable, and capitalizing callously on the irregular facial features of Anne Ramsey as the villainous Momma.

Another pointless ride is Larry’s writer’s block, exacerbated by his ex-wife Margaret (Kate Mulgrew), who apparently has lifted his book idea and made it a best seller. Meanwhile Larry, at work on his would-be novel, can’t get past the opener: “The night was . . .” This might be funnier if it wasn’t so ironic.

“This undignified film couldn’t
quite get past all the sleaze it dredged up.”

Reviewed by Dennis Schwartz

This review covers the English speaking version of “The Night Porter,”
which I understand is not as good as the subtitled version. The Night Porter’s
sadomasochistic tale was about as enjoyable as walking over broken glass.
It’s a daring and controversial film covering an abusive relationship that
few other films care to touch upon — for obvious reasons. But despite
its promise of saying something important it turns out to be mainly a sexploitation
film with little if any redeeming value except unearthing huge amounts
of sleaze without any gold nuggets. It has been directed and written primarily
for its shock effects by Italy’s most noted female director at the time,
Liliana Cavani. What inspired the director, was her interview with a real
concentration camp survivor who was forced into a sadistic relationship
with one of her captors.

This study of sexual perversions is set in a luxurious Vienna hotel
in 1957, thirteen years after WW11. Max (Dirk Bogarde) is a former SS officer
who was stationed in a concentration camp and now wants to be left alone,
to be as quiet as a church mouse and blend into the shadows. To hide his
shame from the past he works obsessively as a hotel night porter where
his aim is to please his guests, especially the Countess (Miranda) — a
confidante who requires his services as a pimp to get her young men as
sexual partners. Many of the other guests are war criminals who hold secret
meetings in the hotel to uncover any evidence connecting them with their
war crimes. Max prepares with these former Nazis a strategy for his upcoming
War Trial at the hands of the Allies, as they conduct mock trials to learn
about records in the archives they should destroy and witnesses to be tampered
with or eliminated. Into this hotel scene, which reeks of nostalgia for
the Führer, comes the only live witness
who can testify against Max — the young Viennese camp inmate who is now
married to an American opera conductor. She is someone he sexually abused
in the camp, Lucia Atherton (Charlotte Rampling), and he can’t stop being
in love with her. Lucia is staying in Vienna with her husband in Max’s
hotel, while her husband’s orchestra embarks from here on its European
tour.

Upon recognizing each other from a brief glimpse in the hotel lobby,
they remain mute and retreat to their memories of their freaky sex days
in the camp. They are drawn uncontrollably to each other despite the sick
thought of them getting together again and the apparent danger from Max’s
unchanged fanatical and bloodthirsty friends, Klaus (Philippe Leroy) and
Hans (Gabriele Ferzetti). They simply must get together again to pick up
their painful sadistic relationship where it left off.

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Lucia cancels plans to meet her husband in Frankfurt, as the police
search Vienna for her after he notifies them that she’s missing. While
Max quits his job because he knows how his friends operate when confronted
by a witness and wants to be with her for protection. They hole up in his
apartment, refusing to call the police for help and unable to go out for
food because they are being watched by the former SS officers who plan
to eliminate them.

The film’s most bizarre dialogue occurs between Max and the Countess.
Max says “I love my little girl.” The Countess replies “What a romantic
story!” Max counters, “the relationship between him and Lucia is a biblical
one — it’s the story of Salome.”

The film failed in its efforts to smoothly pull off its blatant political
and sexual metaphor of the post-war years as seen through the couple’s
pained and degrading love. Its dramatic story and the serious issues it
raises of guilt and continued suffering for the victims and of denial and
repression by the still brazen Nazi war criminals unfortunately got lost
in all its self-conscious perversions. This undignified film couldn’t quite
get past all the sleaze it dredged up.