Around The World In 80 Days

Around The World In 80 Days
1956 - Warner Brothers
Directed By Michael Anderson



SYNOPSIS

Phileas Fogg (David Niven) makes a bet with colleagues and sets out on a trip to prove he can go around the world in 80 days.



MY THOUGHTS

It's considered by many to be the 'least worthy' film to ever capture a Best Picture Oscar... and it lives up to its reputation.
Somehow, academy voters decided this film was superior to fellow nominees The King And I, The Ten Commandments, Friendly Persuasion and Giant. I certainly don't see it. Time has aged those films like fine wine, while Around The World In 80 Days has turned to vinegar.

This dull trip around the world works more as a travelogue than a fictional film. In each stop along the way, we're treated to stereotypical local customs (i.e. in Spain - flamenco dancing, in India - human sacrifice.) It's a superficial way to pad a bare-bones plot and gets tedious, especially with its 3+ hour run time.
The film was actually shot in more than a dozen countries and practically every bit part in the film was played by well-known actors (Charles Boyer, Frank Sinatra, Buster Keaton, Peter Lorre, George Raft, Marlene Dietrich, and the list goes on and on and on.) In fact, the producer coined the term 'cameo role' during production.
The screen is also packed with hundreds or thousands of extras whenever possible. Amazing cinematography and sweeping music add to the sparkle. But, it's all epic flash and spectacle, and no substance.

The film begins with an extremely dry introduction by Edward R. Murrow while clips of the classic 1902 George Melies film A Trip To The Moon are shown. It was the first film to adapt a Jules Verne story. From the onset we're told we're watching a film, which causes a detachment from the rest of the proceedings. So much for getting us caught up in the narrative!

Once the story starts up, we are never given a reason to root for Fogg or even care one way or the other if he and his assistant make it.

David Niven plays the character very stiff-upper-lip British, so he's very bland and not very likable.

Despite the 3+ hour run time, much of the story is glossed over. We spend 30 minutes in Spain (much of it with flamenco dancing and a tedious bullfight,) then Fogg goes from Spain to France, then all the way to Egypt in a blink of an eye.
Later, Fogg apparently gets arrested in India after saving a princess (noted Indian actress Shirley MacLaine) from a sacrifice. We see the rescue, but none of the arrest + aftermath. It's alluded to by Fogg's cohorts back in England but never referenced by Fogg and his group so it may have never happened. The audience is left in the dark.

The film drags on and on. Much of the run time is devoted to the main actors watching the scenery. The film feels like you've been watching for 80 days.

Gloria

Gloria
1980 - Columbia Pictures
Directed By John Cassavetes



SYNOPSIS

A mob accountant and married man with 2 kids (Buck Henry) starts skimming money from the mob, he knows they'll be after him. When his wife spots mobsters in their apartment building's lobby, he hands over his mob book of finances to his young son (John Adames) and gives him to a neighbor, Gloria (Gena Rowlands.) He implores her to take care of the kid. Gloria and the boy escape before the family is gunned down. The police report that she kidnapped the child. So, the mob knows where to find her... because she's actually one of them. But she remains devoted to the little kid.



MY THOUGHTS

Gena Rowlands is kicking ass and taking names!

Director John Cassavetes seemingly took a break from his usual style of improvisation-over-plot style of films like Faces, Woman Under The Influence or Killing Of A Chinese Bookie for Gloria. His films featured a stable of actors like Ben Gazarra, Seymour Cassel, Peter Falk and others. All of these actors are absent here except Gena Rowlands (aka Mrs. Cassavetes.)
In those films, Rowlands often had a strong presence (especially when she was completely crazy in Woman Under The Influence.) There was no doubt that she could carry a film on her own. That's what she does in Gloria. She plays one of the toughest women ever on screen, willing to take on the mob, in order to save a kid she doesn't even like, simply on moral grounds.

John Adames plays the boy. His performance is less than amazing, but certainly NOT deserving of co-winning the first Razzie award for worst actor. He has one expression on his face the entire film and has problems with his dialogue, but comes across as a normal and realistic 6-year old.

Rowlands clearly is the dominant actor, but never overpowers or out-shines her young co-star. If she did that, it would adversely affect the film, rendering it terrible. Keeping her performance balanced and in-check is the real mark of a great actor.

The plot doesn't offer much new to the gangster genre, but it's still an entertaining ride.

Gloria has much of the same grit that many 1970s films shot in New York did, along with many great shots of the streets of the city and landmarks (like Yankee Stadium) of that era. It also offers little new in that respect.

Gloria does offer one of Gena Rowland's best opportunities to shine as the lead... and she stands out amongst the grit.

Rebirth Of Mothra

Rebirth Of Mothra
1996 - Toho
Directed By Okihiro Yoneda



SYNOPSIS

A logging company accidentally disturbs the underground prison of a mighty three-headed monster Desghidorah, causing the creature to escape and ravage Japan. Mothra falls in battle and only her young larvae can save the day.



MY THOUGHTS

Mothra is back but she should have stayed home.

Kaiju is the name of the almost-always entertaining style of men-in-monster-suits genre of monster movies. Godzilla is the biggest star.

Before she encountered Godzilla for the first time in 1964, Mothra was introduced in her own film in 1961. That film introduced her two tiny singing lady companions who sing her theme song. Those characters and the song are carried over into this film with a few small changes.

The two ladies have a bad sister who controls the villain Desghidorah. That monster is from outer space who sucks the life and energy from every planet it encounters. You're left wondering why the bad sister would ally with something that would certainly bring about her own death. But I've probably thought about this more than anyone involved in the production.

Desghidorah looks remarkably similar (even in name) to Godzilla's three-headed foe King Ghidorah. The film should have come up with something more original.

Like with all the films in the Godzilla series, the film is saddled with dull, formulaic plots featuring humans who either observe or interact with the monsters and/or their wrath.
The Godzilla series usually has multiple human plot-lines going on in the same film. Luckily, we're only forced to sit through the story of one family here... but that includes two VERY annoying kids. The family mostly stands around watching the action and occasionally points at it. Their scenes are dull and lack any character development. No one is more wiser by the end.

The voice dubbing is not good (not that it ever was in these films.)

The special effects are real hit-and-miss. Some shots are amazing (like some shots of the final battle) and would definitely make a highlight reel of Kaiju's best... but most of the shots look horrifically bad.
The battle between the mini-dragon and Fairy, the mini-Mothra look terrible. The way the effects are composited with the live action makes everything look completely phony. During the battle, their movements also appear to violate the laws of physics.

The film carries a strong environmental message with it (like most of Godzilla's films) though at times it feels like we're beaten over the head with it. The entire film takes place in a forest which winds up getting torched. We don't even see one building destroyed.

Ultimately, the film is pulled under by the weight of so much suckiness, much like Mothra's drowning death half-way through the film.

Blu-Ray: Gone With The Wind

Gone With The Wind
1939 - Selznick International Pictures
Directed By Victor Fleming



Blu-Ray Review

For many, many years I had intended to see this masterpiece of film, but hadn't for several reasons. The film's extensive length (just shy of 4 hours) and my dislike of costume dramas and chick flicks kept me from seeing this masterpiece, despite its reputation.

The arrival of the film on Blu-Ray helped me to change my tune.

Most people already know what the film is about and as for critical analysis, many have written books and made documentaries about this film and I feel that I could offer nothing new or original into discussing the film, so I will instead focus on the new disc. Needless to say, I found the movie to be everything great I'd ever heard about it.

I purchased the 'movie only' version of the film.
From the start of the film (following the opening overture) my jaw dropped at the stunningly beautiful transfer of the film. I'd seen bits and pieces of the film through the years on DVD and television, so I knew how beautiful the film looked already... but the amazing clarity that 1080p reveals is unreal. The colors are more vibrant and the shadows are more black than they've ever been (apart from a theatrical showing.)

There's literally never a dust speck or scratch to be seen anywhere in the film.

The natural film grain is also present and is not toned down in any way like many Blu-Ray transfers like to do, which tends to make the film look somewhat artificial. Here, it looks just like it was intended to back in the theaters of 1939.
Gone With The Wind looks equal to or better than many modern films released on the format. Warner Brothers (who now owns the film) deserves the highest praise for the transfer.

The audio is also great. The disc offers the film in its original monaural sound track. The dialogue, great music and sound effects are in perfect balance and never drown each other out. You hear the film as it was intended to be heard back in 1939.

The only special feature is a commentary by film historian Rudy Behlmer. I only sampled his commentary but I know of his work and have seen him in many documentaries. He certainly knows his stuff and has a pleasant voice and speaks in a very conversational tone. It's much more pleasant than hearing a film class lecture, but I'm sure it's taxing if you're going to listen for the full 4 hours!

If you're looking to build your film library, Gone With The Wind is certainly an important disc to have... and it's never looked better!



Warner Brothers also released a deluxe version of the film. With Warner's exhaustive approach to the special features of their most prized and beloved classics, I have no doubt this is an amazing package. Included are a brand new documentary called "1939: Hollywood Greatest Year," a TV film "Moviola: The Scarlett O'Hara War," and the excellent 6-hour TV documentary/mini-series "MGM: When the Lion Roars' among the usual making-of documentaries and plenty more.

Hush... Hush, Sweet Charlotte

Hush... Hush, Sweet Charlotte
1964 - 20th Century Fox
Directed by Robert Aldrich



SYNOPSIS

Aging southern belle Charlotte (Bette Davis,) accused but never convicted of murder years ago, lives in her family's decaying mansion. Crews intent to knock down the building to make way for a new bridge. Her cousin Miriam (Olivia de Havilland) arrives and fires Charlotte's maid (Agnes Moorehead.) Miriam teams up with Charlotte's doctor (Joseph Cotten) to drive the woman crazy so they can get their hands on her vast family fortune. Miriam also harbors a dark secret about the past.



MY THOUGHTS

A dark, Gothic suspense teams some vets of classic Hollywood.

Hush... Hush, Sweet Charlotte was originally seen as a follow-up to What Ever Happened To Baby Jane? and would re-team Bette Davis and Joan Crawford. Their cantankerous relationship forced Crawford to leave the production.
In Crawford's place, Olivia de Havilland is cast against-type and does a remarkable job as the scheming Miriam.

Like in Baby Jane, Bette Davis proves she can play crazy. Here, it's a different kind of crazy and she gives a slightly less over-the-top performance but she's still exciting to watch.

Joseph Cotten and Agnes Moorehead provide solid support. The two were both a part of Orson Welles' Mercury Theater radio series, best known for the infamous War Of The Worlds episode. They later appeared in both of Welles' Mercury Theater films Citizen Kane and The Magnificent Ambersons.
The film is also Mary Astor's last film before she retired. She only appears briefly.

Sweet Charlotte was beautifully shot in black and white, which was perfectly suited for the material, mood, and all the stars from Hollywood's golden age present in the film.
The script is solid and keeps the audience guessing if Charlotte really killed her beau that night up until the climax.

Still, the film is a bit long (about 2:15) and could have used a little trimming, especially in the slow moving middle of the film.

The great performances and elements of shock and suspense help to fuel this entertaining film and keep it interesting.

The Comancheros

The Comancheros
1961- 20th Century Fox
Directed By Michael Curtiz



SYNOPSIS

Paul Regret (Stuart Whitman) kills a prominent man during a duel and is wanted for murder. Texas Ranger Jake Cutter (John Wayne) arrests him leaving a steamship and the two set out to bring Regret to justice. Regret later escapes. Cutter is then assigned to go under cover trying to sell stolen guns to the dangerous Comanche Indians. He discovers that the Indians are working with white men who call themselves Comancheros. While on the mission, Cutter finds Regret and takes him into custody again. The two join up with some rangers and are ambushed by Comanche. Regret proves himself in battle and he and Cutter resume the mission to find the Comancheros' hidden base.



MY THOUGHTS

A light-hearted adventure full of action and excitement.

The humor in The Comancheros is of the same sort of character-driven laughs that features prominently in John Wayne's films. The film is funny but not a comedy. It takes a back seat to the action and story. The action is pretty standard for a western featuring many gunfights and fistfights, but they are well shot and are all important to the plot of the film.

This was the final film of director Michael Curtiz, who delivered some of cinema's best films Casablanca, Angels With Dirty Faces, Adventures of Robin Hood, Yankee Doodle Dandy, Mildred Pierce and dozens more. He was an amazing talent and should be better known than he is considering his huge and important body of work. The Comancheros doesn't stack up as one of his best, but he does bring a fast breezy pace, filled with many exciting action sequences. His camera is frequently moving as well and he gets great performances from the cast.

The cinematography is beautiful, though is not as stunning as you would find in a John Ford western. Here, it focuses more on the actors and action than any lingering shots of the beautiful surroundings. CinemaScope (wide-screen) is able to show just how wide open the old west was.

The musical score by Elmer Bernstein is excellent and helps tie the film together. It sounds like every western made since owed much to this music, including Bernstein's own music for The Magnificent Seven.

The film depicts Indians in an old-school (offensive) fashion. The only English world they speak is 'whiskey' and are only seen as bloodthirsty savages. That and its questionable historical accuracy (especially many of the costumes, buildings and guns) are some of the weak aspects of the film.

While not either the director's or the star's best film, The Comancheros contains many of the elements that made their work great and it remains a lot of fun.

Shutter Island

Shutter Island
2010 - Paramount Pictures
Directed By Martin Scorsese



Since this film is still in theaters, this review will be spoiler free.

SYNOPSIS

A U.S. Marshall (Leonardo DiCaprio) heads to a federal treatment center for the criminally insane located on an island off the Massachusetts coast. A woman accused of murdering her children escaped and cannot be found. He teams up with another Marshall (Mark Ruffalo) and tries to find her, unravel the mysteries of the place, and whether the doctors may be trying to keep him captive on the island.



MY THOUGHTS

It's been a fruitful team-up of director Martin Scorsese and actor Leonardo DiCaprio, and Shutter Island may be their best film yet.

To try and explain the plot would totally destroy the film for someone who has not seen it, so I won't. Needless there's many twists and turns. The mystery aspect of the story is intriguing and for every revelation, more questions arise.

Martin Scorsese is a master filmmaker and Shutter Island shows his remarkable storytelling ability coupled with his intricate sense of detail and amazing camerawork.

Some of the dream sequences evoke the work of David Lynch, though here they are intricately tied into the plot and don't come across as self-indulgent. Like Lynch's work (Mulholland Drive comes to mind,) there are many twists and sharp turns in the storyline. Unlike Lynch, Scorsese successfully navigates us through the turns and we're not left crashed into a ditch holding our heads wondering what happened (like with a Lynch film.)

Leonardo DiCaprio delivers one of his best performances in years. He definitely gives an intricate, multi-layered performance and excels on every level.

It's a shame Paramount released this film in February due to financial problems. If it has been released in December as originally announced, it would clearly be one of this year's Oscar nominees, and DiCaprio would be nominated as well.

Shutter Island is certainly one of the best thinking-man's-type films in recent years and will surely spark many conversations upon leaving the theater.