Showing posts with label 1970. Show all posts
Showing posts with label 1970. Show all posts

Thursday, December 22, 2011

Performance

Nicolas Roeg and Donald Cammell, 1970 (8.5*)
Roeg was also cinematographer

This is #326 on our Top Ranked 1000 Films on the Net, all polls. Former cinematographer Nicolas Roeg shared directing credit on this one, beginning a career that included some visually stunning films.

Performance woke me up when I first saw it. In the beginning, gangster Chas Devlin, played by James Fox, appears to be running from some other criminals, and needs to disappear quickly. He finds an ad for someone wanting to rent a room to a lodger. He literally walks into the mansion and life of a jaded rock star Turner, Mick Jagger – who, by the way, when first seen is listening to late 60’s rap music, in this case “Wake Up, Niggers” by the Last Poets (who were absolutely great, and ground-breaking; I have both their lp's on vinyl), likely the fathers of modern rap, because this sounded just like rap music today, which hasn’t progressed much at all from the late 60’s.

With the help of his two bohemian girlfriends (Anita Pallenberg and Michèle Breton), Turner slowly ensnares Devlin in his hedonistic world.

So a story that begins as a crime thriller, becomes an existential tale of two men beginning to share lives and personalities, each providing something the other needs, an escape from a reality that’s no longer tolerable to either psyche, for different reasons.  For me, this is what elevated this story beyond the mundane, and probably why it’s still ranked as highly in polls today.

James Fox, a criminal on the run

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Thursday, June 9, 2011

The Railway Children

Lionel Jefferies, 1970 (9.0*)
Catherine Morshead, 2000 (miniseries) (9.2*)

Edith Nesbit's wonderful 1906 novel about one English family's children thankfully has two wonderful film adaptations to recommend. They are both faithful to the novel and provide lovable cinematic tributes to her popular work, which is touching and humane without pretension or sentimentality. [see note below about Nesbit herself]

The original is the 1970 film from character actor turned director Lionel Jefferies. A happy family in Victorian London has everything change one night when some strange men come to their home, argue with the father, then leave with him. As a result these new financial hardships, the mother takes the kids and relocates in the countryside, where she barely earns enough for food by writing stories for magazines.

There's not a lot of activity in their new neighborhood, so they take daily walks down the railroad tracks, waving to the train's passengers from a nearby hillside. This somehow seems like a appropriate method of maintaining contact with the outside world, now relegated to nothing but newspaper stories.Some of the passengers always wave back, and include one important railroad man. This unique method of friendly conversation stirs his interest in the children, and the relationship proves mutually beneficial.

Jenny Agutter is wonderful as the oldest child, Bobbie, a young teen, almost a surrogate parent to the other two, Sally and Gary being pre-teens; all are surprisingly independent and risilient. Dinah Sheridan plays the mother, not onscreen nearly as much as the children.

The trains and station are as alive here as human characters, and provide a valuable literary metaphor. In fact, everyone in town gets to know the children through the railroad itself, which is a lifeline to their village. For me, this novel and film said a lot about the passage of time sadly removing our relationships to trains and a gentler, more leisurely time, one without the modern rush of autos and planes, which has removed the social interaction of the bygone era of steam, when most travel was on trains and ships.

The second version is a tv miniseries from 2000, directed by Catherine Morshead. In this version, Richard Attenborough plays the railroad man, Mr. Perk, and Jenny Agutter (Bobbie in the original), plays the childrens' mother, while Jemima Rooper has her original role. I think I may prefer the length of this longer version more, but both are excellent adaptations and make wonderful G-rated family films.


Note: Edith Nesbit's was a British socialist who wanted conditions improved for the impoverished workers of her country, and wrote over 60 books, mostly for or about children (over 40), the ultimate victims of poverty, as due to malnourishment many don't reach adulthood. She and her husband co-founded the socialst organization The Fabian Society, the precursor to the modern Labour Party.

Nesbit wrote about children without writing down to them. They are treated as intelligent, caring, and almost adult in maturity when having to deal with harsh life circumstances. This is likely why her writings are still popular today. In fact, she's considered the first author for children in dealing with the real world and it's problems rather than a fantasy world.

her page at Wikipedia

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Saturday, March 19, 2011

MASH

Robert Altman, 1970 (8.4*)
Palm d'Or, Cannes
Best Comedy or Musical Film (GG)

Though obviously not very intelligent, in the words of Major Hot Lips Hoolihan, "this is not a hospital, this is an insane asylum". Altman has conceived of a Korean war comedy meets the Marx Brothers in a Mobile Army Surgical Hospital, MASH for short. Here the humor is used to literally cut through the fatal gravity of war and mutilating battle injuries, and mix in a little late 60's references as well (the football players pass a doobie during the game).

Primarily this is about little more than army officers trying to bed nurses in between rushed calls to emergency surgery, and various other ploys to get them undressed, such as concocting their own home brew in the officer's tent. There's also a few tidbits thrown in about the army's bureaucratic bungles, and other SNAFU's. As with most humor, some of it hits and some misses; this one at times becomes a little slapstick (such as an intra-army football game), but it's still full of some classic lines.

The film was nominated for five Oscars®, best picture as well, winning one for Ring Lardner Jr.'s screenplay. Sally Kellerman's hilarious performance as a straight-laced career army officer, 'Hot Lips' Hoolihan, a major in command of the nurses, was rewarded with a supporting actress nomination. Others are funny in different ways, Donald Sutherland and Eliott Gould play Hawkeye and Pierce, with tentmate Tom Skerritt, and Robert Duvall as Major Byrnes, the man they love to torment. Gary Burghoff as Radar was the only cast member to repeat his role on the tv show (the one bogged down by the moralizing of Alan Alda)

Both more insane and more literate than the tv show, this was a winner of 15 awards overall, including a Golden Globe and a Palm d'Or at Cannes.

Quote:
Hoolihan: How does a man of such low moral character reach a position of rank in the U.S. army?
Father Mulkahey: He was drafted..

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Friday, February 11, 2011

The Garden of the Finzi-Continis

Vittorio De Sica, Italy, 1970 (8.4*)
Best Foreign Film (AA)
The Finzi-Continis are a family of wealthy, aristocratic Jews living in Italy during the 1920's. They routinely open up their spacious gardens to the public so everyone can enjoy nature's beauty. Part of that beauty is Dominique Sanda, who is exquisite as Micol, who seems to enjoy toying with the emotions of her suitors between rounds of tennis and parties. The tranquility of the garden and serenity of the estate isolate the family from the growing current of fascism that will lead to the war and the holocaust.

De Sica, unlike his early films, fills Garden with lush, romantic images, in a kind of hazy, painterly color palette, almost as if seeing a film of a dream of an idyllic lifestyle that only exists briefly, if at all. Though it does not rank with De Sica's best (The Bicycle Thief, Umberto D.), it's still another classic Italian film, and well worth seeing for its own merits.

Winner of eight awards overall, including the Oscar® for foreign language film

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Friday, January 23, 2009

The Great White Hope


Martin Ritt, 1970 (8.2*)
This is a hard-hitting and Pulitzer prize-winning play by Howard Sackler about boxer Jack Johnson, the first African-American heavyweight champ. James Earl Jones recreated his Tony-winning Broadway role, and it rightfully made him a star – he even looks like a good boxer, not an actor boxer (like Stallone).

Jones was nominated for an Oscar®, and should have won. Jane Alexander as his mistress was also nominated. The film is primarily about the racism throughout American that brought up each new “great white hope”, or inferior Causasian boxers, in attempts to dethrone Johnson. This is really a tough film to watch, especially with liberal use of the N word (even from Johnson himself), because you know this man will not get equal treatment or respect, no matter what. Johnson also flaunted his celebrity, with Caucasian girlfriends, expensive coats, taunting chatter to the fight crowds, which made the hatred even worse. (To paraphrase 48 hours, he was everyone's worst nightmare, a black man with a title..)

Martin Ritt (Hud, Norma Rae) bravely exposes social injustice in his films, and was once blacklisted, which he covered in the film The Front, with Woody Allen playing a dramatic lead for Ritt. When I tried to see this film in Georgia just after release, the theater was evacuated for a bomb threat, so the racism exposed in the film still brought out the worst in people half a century later. This is a great sports and boxing film, which must be seen in widescreen, if you can withstand the hatred you’ll witness.

Quote: (when he weighed less then Brady) Can you believe that? The man says I’m lighter than you!

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Saturday, November 15, 2008

Five Easy Pieces

Bob Rafelson, 1970 (8.7*)
This superb and incisive drama put Jack Nicholson on the map as a serious actor to be reckoned with, garnering him his first Best Actor nomination. Director Bob Rafelson came out of nowhere with this terrific script of a washed-up classical pianist now struggling as a blue collar oilfield worker. His 'trailer trash' girlfriend, Karen Black in a career-defining role as the aptly named Rayette DePesto, epitomizes the phrase honky tonk, and serves as a constant reminder that he's now in a culturally-deprived world of beer, country music, and bowling. The heart of the film is a freedom-inspired road trip to his past, where Nicholson faces both relatives and an unfulfilled life. The title refers not to loose women (of which there are some, including a young and randy Sally Struthers, also a very sexy Susan Anspach, a guest at his father's house) but to some easy to play classical piano compositions. Adult drama at its best.
Quote: I think I'll go to Alaska, there's not so much crap there yet.
Quote2: Yes, I want you to hold the chicken - hold it between your knees.

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Thursday, September 4, 2008

Women in Love

Dir: Ken Russell, 1970 (8.9*)
The best D.H. Lawrence novel on film, the best Ken Russell (Tommy, The Music Lovers, Savage Messiah) film, faithful to the novel. The story follows two sisters, Glenda Jackson in one of her two Best Actress Oscars, and Jennie Linden and their loves, friends Oliver Reed and Alan Bates, who becomes "the author’s spokesman", especially when talking of love and romance. The nude-wrestling scene with the men captured a lot of attention in its time, but that detracts from a film entirely about heterosexual couples trying to find the right mate. Look for Eleanor Bron in a juicy supporting part. Beautifully filmed, especially the scenes in the Alps.

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Sunday, August 31, 2008

Patton

Franklin Schaffner, 1970 (8.7*)

Best Picture (AA, GG)
AFI Top 100
This epic biopic has been called 'one of the great war films', and 'a glorification of killing'. Some say that you see it as either pro or anti-war based on your own inclinations. However one stands on war, it can't take away from the fact this this is one of the finer depictions of war history on film, as George Scott delivers a performance for all-time. Future director Frances Coppola co-wrote the Oscar®-winning screenplay, based on two biographies of Patton, including the memoirs of Gen. Omar Bradley, played in the film by Karl Malden.

It’s said one reason George C. Scott refused his Oscar® for this biopic is because he hated "Blood and Guts" George Patton so much. It’s apparent from this war epic that Gen. Patton was sort of a misguided hero, yet an army moving, battle winning leader of men nonetheless. Scott was never better, and this movie spared no expense in recreating his famous drive through Europe, often moving his army 100 miles in 2 days. Maybe a little heartless, and down a star for excessive patriotic propagandizing, this film is still excellently crafted, one of the best on World War II. 7 Oscars

Patton was a firm believer in reincarnation; in this film they have him make a side trip ton an ancient battle site in north Africa, where Patton connects to past life memories. He wrote this poem about reincarnation, "Through a Glass Darkly", and these stanza are quoted in the film:

Through the travail of the ages,
Midst the pomp and toil of war,
Have I fought and strove and perished
Countless times upon this star
So as through a glass, and darkly
The age long strife I see
Where I fought in many guises,
Many names, but always me

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Thursday, August 28, 2008

Woodstock

Dir: Michael Wadleigh, 1970 (8.6*)

A monument to a culture and a three-day concert, featuring some vision-boggling split-screen editing that maintains your interest in between the rock and folk (yikes!) performances (there must be two dozen at least). The new director's cut is nearly four hours long. Believe it or not, Santana played here free and without a recording contract (Carlos was just 19)! They are a highlight, so is Jimi Hendrix, in a bittersweet performance after a rain delay to a waterlogged and sparse crowd; his feedback-laden, instrumental "Star-Spangled Banner" is a paeon to both the Vietnam war and electronic rock. Mind-altering is optional. 8* due to mediocre sound (and some folk music!), but still one of the best and most ambitious documentaries ever filmed.

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The Conformist

Dir: Bernardo Bertolucci, 1970, Italy (9.8*)
This brilliant and artistic crime film has influenced every similar film since, notably Coppola's Godfather series. He even used Bertolucci's cinematographer Vittorio Storaro, who would only have his film developed by a special process available nowhere but Rome, hence the dark, saturated color look that is entirely unique. Bertolucci's film is about a man, Jean-Louis Trintignant in his best role, who supports the fascist government of Italy at the expense of his conscience, just to conform and fit into society. This film brilliantly shows the dangers of selling out your ethics ("soul") to succeed in what may be a temporary situation. Dominique Sanda is the ravishing beauty that tortures his soul. Includes a beautiful shot that equates blowing leaves with death, copied many times since. Definitely Bertolucci's masterpiece, one of the best foreign language films ever.

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These are the individual film reviews of what I'm considering the best 1000 dvds available, whether they are films, miniseries, or live concerts. Rather than rush out all 1000 at once, I'm doing them over time to allow inclusion of new releases - in fact, 2008 has the most of any year so far, 30 titles in all; that was a very good year for films, one of the best ever.



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