Silver Linings Playbook

David O. Russell, 2012  (8.7*)

This is a surprising romance, better than I expected, largely because the screenplay is refreshingly different, with some witty and original dialogue, and because the cast is uniformly excellent, especially actress Jennifer Lawrence who was just 22 when she filmed it, the film is transported beyond the sum of its parts. As a result, Lawrence has already won 14 acting awards for this performance (and 43 in her short career – even though she started on tv at 14, she’s still only made about 11 feature films, with three more currently in production. Apparently she’s a natural – I didn’t realize that she was an amateur from Kentucky with no acting lessons and was literally discovered while walking on the sidewalk (at age 14) when I was stunned by her Oscar®-nominated performance in Sundance Winner Winter’s Bone, expertly and subtly directed by Debra Granik back in 2010.

Don’t forget that Natalie Portman was discovered at age 12 at a laundromat with her mom on a Saturday by a fashion model agent, invited to a photo audition on Monday, but was instead then sent to a movie audition for The Professional (aka Leon), and by Wednesday had the lead part in that cult-classic action film from Luc Besson. ..and she was excellent.

Lawrence as Tiffany (L) and herself on IMDB

Bradley Cooper plays a semi-psychotic young man, diagnosed as bi-polar, Pat Solitano, inside an asylum in the beginning, who we soon find out caught his wife in their shower with another man and nearly beat him to death in justifiable rage. He is now being released, but has a long list of jittery townspeople afraid of him, and a local blue that checks on him regularly. In what some describe as cruel punishment, he is forced to live with his parents to ensure his anger is at least being managed. His father, hilariously played by Oscar®-nominee Robert De Niro, who has shined lately in comedies as all you Fokker fans know (“I got my eye on you”), is high level OCD here, and makes book on all Philadelphia games – he’s particularly obsessed with the Eagles in the NFL. He blames losses and victories on the absence or presence of his son in the living room during the games, for he is banned from Veteran’s Stadium in Philly for life for constantly getting into fights with other fans.

His mother is capably played by superb veteran actress Jacki Weaver from Australia, who started in movies in 1968, and was a well-deserved supporting actress nominee for the vicious Aussie crime film Animal Kingdom (2010), in which she played the proud mother of four bank robbing and murdering sons –  she was also the family accountant. In this film she wasn’t given a very strong part to exercise her acting ability, but was still perfect enough to get her 2^nd Oscar® nomination. She’s won 14 awards for her acting in her career, in all honesty, too low a total for someone of her caliber – she deserves many more parts like the one in Animal Kingdom, for which she won 8 of those awards, including one from the National Board of Review. (Melissa Leo in The Fighter beat her out for the Oscar®that year – I preferred Weaver)

As soon as he is released, and still obsessed with getting back together with his unfaithful wife, he goes to a dinner at a best friend’s house, where he meets equally wacky Jennifer Lawrence, whose husband was a policeman killed on duty, a life changing experience that pretty much turned her into the local tramp. This begins what is one of the more engaging cinema friendships, with sharp enough dialogue that the actors seem inspired to give the screenplay their best; this is certainly a career best for Bradley Cooper, and he’s been rewarded with an Oscar® nomination for best actor, but has the daunting task of robbing master thespian Daniel-Day Lewis of this third best actor statue. (And he should be going for his fourth, as his creation of Bill the Butcher in Scorsese’s Gangs of New York is one of the most memorable in cinema history, and perhaps his best performance – certainly his most evil creation.)

The story likely moved a bit slow for some, and is perhaps a little Hollywood for others, but for me I enjoyed the slow evolution of the bizarre friendship between Pat and Tiffany (which at times is like that of Harry and Sally), and the growing understanding of his father’s obsession. There’s enough humor in the dialogue that the films keeps it spark while the story develops. It’s another gem for the Weinstein company, who has a knack for these indie films that turn into Oscar® winners. like The King's Speech in 2010 (which wasn't nearly as riveting to me as Winter's Bone). They bought the rights to the book, intending it to be produced first by Anthony Minghella and Sydney Pollack, who both died in 2008. So it went to David O. Russell due to some personal experience in this mental arena, and he also wrote the excellent screenplay along with directing.

This now belongs on a short list of enjoyable film friendship-romances like Groundhog Day, Shakespeare in Love, When Harry Met Sally, A Room With a View, Annie Hall, The Shop Around the Corner, and The Philadelphia Story. Each of these is also a comedy, which I think helped them succeed, especially if you imagine each as a straight dramatic romance instead. Silver Linings is the type of film that often wins Oscars, and I think Jennifer Lawrence has to be the front runner for actress, while the film could win a few more, like director, picture, screenplay, though personally I prefer Beasts of theSouthern Wild for those three, and would love to see young Quevezhanie Wallis upset Jennifer Lawrence, who will have a long career and more Oscar® chances. [..and young Nazie is “the man”, while Jennifer is most decidedly “a woman”]

Silver Linings is the first film since 2004’s Million Dollar Baby to be nominated for the big five Oscars®: picture, director, actor, actress, screenplay, which won four of those (only Eastwood lost as actor, while Hilary Swank and Morgan Freeman both won) – and the first since Reds in 1981 to get nominations for all four acting categories - none won, but Warren Beatty won his only Oscar® to date, as director.

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The Best Exotic Marigold Hotel

John Madden, 2011  (8.1*)

From the director of Shakespeare in Love (1998) comes a more serious film, as a disparate group of seven Brits go to India to live in the hotel of the title, not knowing it's not really open yet, due to the ineptitude of undercapitalized owner Dev Patel, who inherited it when his father died.. 

This is a comedy with some tender moments, and a little drama, but without sentimentality, and with Oscar winners Judi Dench, Maggie Smith, Bill Nighy and the impeccable Tom Wilkinson in the cast, who is terrific here, it has a high degree of craftmanship..

IF anything, Dench has gotten even better with age.. I 1st saw her topless in Shakespeare's A MIDSUMMER NIGHT'S DREAM in 68 and I've been a big fan ever since (she was a babe!) - her acting is even better now, as tv's BEHAVING BADLY added to the argument that some of her best work may even be for the little screen.. (I think of all the living actresses, I could spend my life with her 1st! sorry, Salma, Scarlett, and Sofia!)

As for Tom Wilkinson, I've never seen even an avg performance from him, you very soon forget he's acting in any role he tackles - he's superb here, steals the acting kudos.. Nighy is good again as usual, Maggie Smith doesn't have much to do, and Dev Patel is easily the most overrated actor in the cast, the other Indian actors are all better in fact (he's an over-actor)

The rest of the hotel's name was "For the Elderly and Beautiful", and the story is from the novel THESE FOOLISH THINGS by Deborah Moggach. Like most, the literature is, no doubt, deeper and richer than the film, which is fine, just not overpowering.

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The Artist

Michel Hazanavicious, France-Belgium, 2011 (8.5*)
Best Picture (AA, BAA)

Having won 114 awards so far, second only to Lord of the Rings: Return of the King, you would expect this film to be one of the truly great cinematic masterpieces of all time. For me, it’s a good but not great film, not as good a 2011 film as Malick’s The Tree of Life, or Refn’s Drive, but I’d put it in the tier after that (with Midnight in Paris, The Help, Rango, and Ides of March). Most of the film is silent like it’s 20’s film star, George Valentin – even though it’s more like an enjoyable and rewarding romance in the tradition of classic 30’s films like My Man Godfrey, The Awful Truth, and My Favorite Wife (40’s?). Of course, by now familiarity makes this a fairly predictable ‘boy meets girl’ story.

Director Michel Hazanavicious, who also wrote the screenplay, has created a long overdue homage to films of that era which was also shot in the style of those films, including the same 4:3 aspect ratio of 35mm prints, and of course, black and white cinematography. Of course, we're not forgetting Peter Bogdanovich's Paper Moon, which treaded similar ground regarding creating a visual reference to a classic cinematic style of the past.

The story is nothing new – it combines the boy meets girl story with the “rags to riches” and “riches to rags” stories of it’s two stars. Jean Dejardin won an Oscar (and 13 other awards) for his portrayal of fictitious silent film star George Valentin who bears an uncanny resemblance to the story of Douglas Fairbanks (except for a little average dancing), who was a swashbuckling action star and top box office draw in silent films, but, like many others, who never really made the transition when sound pictures arrived.

His real-life girlfriend, Bérénice Bejo, (photo above) steals the film for me as a young extra, and won seven acting awards for her Oscar-nominated performance as Peppy Miller, who catches George’s fancy in a ballroom dance scene in one of his silent films after stumbling into him outside a movie premiere for all the photographers to catch before that. He’s so immediately struck with her that he has trouble completing a simple scene, but the two part when the filming ends and follow their own career paths.

.. but, of course, George cannot shake her from his mind. At the same time, sound arrives to films, at which he scoffs, like many, thinking it will never catch on with the public – just like I didn’t think 3D would after so many failures in my lifetime.

His studio mogul, played by John Goodman, welcomes the new format but decides to can Valentin, thinking the new younger audience will also want new personalities talking, not aging silent stars. At the same time, Peppy Martin starts moving up the ladder to the stars, and her vivacious personality is a big hit, both within the story, and for Bejo in real life – in fact, for me, her energy, smile, and optimism steal the film as well as Jules/Georges heart.

Uggie is a Jack Russell terrier saved 

from a pound by trainer Omar Von Muller

There’s also a wonderful Jack Russell terrier named Uggie, claiming an award above, who adds welcome comic relief to what could have been a dreary story of the fall of a legend, from wealth to destitution. Uggie was also in Water for Elephants (2011), and What's Up, Scarlett (2005, comma required, lol). He obviously reminds most cinema fans of Asta, the spunky scene-stealing dog from the Thin Man series who starred in 14 films himself in the 30’s and 40’s, including My Favorite Wife.

For me, the one failing here is that half an hour into the film, Georges attends his first sound picture, because it stars Peppy Martin. At this point, director Hazanavicious should have introduced sound into this picture; unfortunately he did not, so we see an early talkie in silence, and we also do not hear the onscreen audiences reactions to the star-making film of Martin’s. By this point in The Artist, the gimmick of silence is wearing thin, and is not helped much by a dream of George's in which he hears the sounds of life but cannot talk himself. The only other sound in the picture is at the very end. I kept thinking that this would be a classic 30’s style film, but those all had sound, so instead this is more like an average 20’s film, very much like a Charlie Chaplin story, with lots of tear-wrenching pathos that keep it on the verge of tragedy, when it could have been more light-hearted and effervescent. It’s touted as a comedy, with a couple of dance numbers that are obviously not Astaire and Rodgers (though still fun in spirit), but spends 90% of it’s time as a tragic drama, relieved by a few humorous touches, mostly in the beginning of the story.

Definitely worth seeing, and an enjoyable if predictable story, but also overrated with this many awards. Malick's The Tree of Life (60 awards, including the Palm D'Or at Cannes) was a bigger hit with critics, and Drive (40 awards) was perhaps the sleeper of the year, both of which seemed closer to unforgettable cinematic art to me. But The Artist was definitely better than the dreariness of The Descendants, and was about on par with The Help, the two other films winning the most awards for the year; also with Take Shelter (31 awards), Woody's Midnight in Paris, and George Clooney’s overlooked The Ides of March.

Let’s hope that for Hazanavicious’ next film, he moves forward with time and adds sound so we can hear the laughter, the dialogue, and the dog barking.

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Rango

Gore Verbinski, 2011 (8.8*)
Academy Award, Best Animated Film

I loved this trippy, clever, irreverent film! You know you’re into something heady when a family's pet chameleon character, hilariously voiced by Johnny Depp, falls off the family car on a highway,  and  gets blown by traffic smack into the windshield of the convertible driven by Hunter Thompson with Dr. Gonzo in the back, and Hunter and the lizard are wearing the same shirt ! That’s an indicator right there that this film may be a little induced by altered states.

Director Gore Verbinski directed the Pirates of the Caribbean series, and once again he seems to have fun directing this wacky stuff.

After falling off the car, he meets various desert dwelling critters that give him advice, with Alfred Molina as an armadillo telling him he needs to find the town of Dirt, out there somewhere. When he does, it’s inhabited by an odd assortment of western dressing animals. He meets a snotty girl, tho tells him, after mutual insults, "strangers don’t last long here", but when he discovers the town needs a sheriff and a hero, he volunteers, being lost and having little choice. He picks up his name in a bar, but I won’t spoil how he gets it, it’s mostly visual.


Much of this film is like that, references to classic westerns like A Fistful of Dollars, High Noon, even the later Quick and the Dead. There are also scenes paying homage to Chinatown and Apocalypse Now, and likely others that escaped me.

Ned Beatty gives his best John Huston (a la Chinatown) voice, as the mayor, who may or may not be involved in a plot involving the town’s water supply. British actor Bill Nighy is a dead ringer for the voice of Jack Palance as the villain Rattlesnake Jake. The plot is eerily similar to that of Chinatown, a parched town needs water, it never rains, and for some reason the town’s supply faucet has gone dry, spewing out mud and no liquid, so everyone is about to die of thirst like the crops already have.

Depp is perfect for this, delivering lines like "and stay out of my peripheral vision", and  "we should follow the pipe to it’s hydraulic origin, capture the criminals and solve this aquatic conundrum".

If you like classic westerns, as well as Depp’s irreverent, inebriated style, this will be right up your alley. Perhaps more enjoyable for adults than kids, it’s still a G-rated comedy that the entire family can watch together with many guffaws – though I’m sure the kids will often ask “what did he say?”, just like the background characters do.

There’s an uncanny scene by Tim Oliphant as the voice of Clint Eastwood, delivering the film’s best line.
Depp: “The Spirit of the West. Hey, is this heaven?”
Spirit of the West (as Eastwood): “if it was, we’d be sharing Pop-tarts with Kim Novak.”

I’m sure all the kids are asking, who’s Kim Novak? Well, she and Clint Eastwood are 60’s stars that both live in Carmel, California now – that should clear that up somewhat, and of course, Pop-tarts imply breakfast, which insinuates.. er, the hokey-pokey – that’s what it’s all about!

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Bolt

Byron Howard, Chris Williams, 2008 (7.8*)
Another enjoyable Pixar-Disney animated film, with some incredibly realistic graphics, at least the landscape portions (the humans look a little stiff and plastic). Bolt is a small Swiss shepherd who is rescued from an animal shelter in the beginning, when he is being appropriately cute with a rubber carrot toy. His person, as he calls her, is a little girl named Penny.

The story inexplicably then skips forward five years, at a point when Bolt and Penny are the stars of a kids tv show, in which Bolt rescues Penny from various perilous situation, most involving a green-eyed man (voiced by veteran actor Malcolm MacDowell).

The only problem with Bolt is that in order to make the show work, he has been fooled into thinking that Penny is really in danger, he has no idea that it's all a TV show, and everything is make believe. Mistaking Penny to be really in danger while he's trapped in his studio trailer, he manages to escape and immediately gets packed up and shipped away.

He runs into an alley cat named Mittens (Susie Essman, perhaps the weakest cast member - I'd have rather heard a pro comedienne like Joan Cusask in this role), and a hilarious hamster in a running ball, named Rhino.

Perhaps the lead roles could have been better cast. John Travolta is just ok as Bolt, he was actually funnier in real action comedies like Get Shorty. Miley Cyrus was just ok as Penny, no doubt selected for her young fan base.

Filmed just after The Incredibles, this has a lot of similar action, but the screenplay isn't quite as good, but it was certainly more entertaining to me than Up, which was Pixar's worst film to date to me, losing their best character in the first 10 minutes, and sticking us with two unlikeable characters for the rest of the film.

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Powwow Highway

Jonathan Wacks, 1989 (8.2*)
This is a funny modern Native American film that also has some points to make about the survival of N.A. traditions in the modern era, and how some manage to walk with a foot in two different eras.

A Martinez (born Adolph) plays Buddy Red Bow, struggling against persecution and greedy capitalist developers to keep his people independent on a Cheyenne Reservation in Montana. His friend Philbert (Ed Farmer), follows and espouses Native American wisdom and lore wherever he find it, sometimes on tv or in the movies. His war pony, is a beat-up, barely running Buick.

Buddy's sister Bonnie (Joanelle Nadine Romero) has been arrested in Santa Fe, so much of this movie involves a road trip from Montana to New Mexico as he and Philbert set off to look after kids and get her out of jail (one way or another). Philbert's faith challenges Buddy's cynical and sometimes violent view of the world.

This film really deals with the realities and dreams of being Cheyenne in the modern, techology controlled US, and manages to make us laugh along the way. As road trip films go, it’s one of the best. As films about modern Native American life, it's one of a handful of must-see films, along with Smoke Signals (1998).

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Emma (Miniseries)

Jim O’Hanlon, 2009 (9.5*)
Masterpiece Theater version for BBC

There have been a veritable plethora of Jane Austen’s novels put to film, usually 3 to 5 per novel. In fact, this is the fourth version of Emma since 1972, beginning with another BBC miniseries, then a tv film with Kate Beckinsale, then the more famous film in 1996 with Gwyneth Paltrow (trying her best to affect a British accent, see our review here), then finally what I would call the definitive version – this one with the engaging Romola Garai. There was also the updated American adaptation, Clueless (1995), from Amy Heckerling, which retold the story with a spoiled Beverly Hills princess and a hilarious spoof of modern teens, starring a spunky 16-yr old newcomer Alicia Silverstone. (Ok, I confess, this over-the-top version is my favorite one to rewatch, but it bears few traces of Miss Austen.)

Romola Garai, whose name is the feminine version of Romulus, founder of Rome, comes from a Hungarian background, born in Hong Kong, and later relocated to England. Perhaps this outsider’s take on Austen gave her the necessary freshness and naivity that the role ultimately requires.

For the incogniscenti, Emma is born into aristocracy, and in this film Michael Gambon plays her doting and ultra-mindful father with loving humor – he frets about anyone even walking outside catching their death of something - in his mind it's best not to leave home at all. Emma’s mother died when she was “too young to remember her laugh”, and she’s remained by her father’s side ever since.

She’s grown up with a neighbor, a Mr. Knightly, who has been not only her brother-in-law, but like a brother, often scolding her like a parent for her insensitive improprieties. Jonny Lee Miller (yes, the one from the aborted Eli Stone tv show) turns in a remarkably effective and in tune performance as Emma’s longtime friend and confidante; one could argue that he’s the best cast male of any of Austen’s novels put to film.

Michael Gambon, Romola Garai, Jonny Lee Miller

Not being interested in romance, Emma fancies herself a matchmaking cupid after taking responsibility for getting her governess hitched to a wealthy widower nearby. Spurred on by this achievement, she spends the story trying to advise everyone in her sphere regarding romance, without any firsthand experience herself.

Most people either love Jane Austen or think she’s overblown and trivial; after all, most of her novels are about little more than whether a single woman will ever get married or not. However, primary plots aside, Austen’s forte was in painting a picture of both aristocracy and the common people within their spheres, society’s affect on individual happiness, usually influenced by idle gossip and speculation of outsiders.

This version of Emma was so wonderfully cast that it’s now easily my favorite Austen work put to film. A rather long work at around 270 minutes, it does give the novel ample coverage; it’s been described as Austen’s most complex plot with the most relationships. Emma grows from child to woman before our eyes, yet it’s her childish innocence that makes her so likable, even though Austen herself said of all her heroines, Emma is a person she wouldn’t like herself.

The outing to Box Hill

In this production, she is surrounded by a well-cast supporting group of characters. Blake Ritson was funny and dead on as the local preacher Mr. Elton. The chatty but well meaning Miss Bates was perfectly played by Tamsin Greig. Perhaps only Laura Pyper as Jane Fairfax was too tepid to exhibit even a brief glimpse of personality, dominated by her aunt, Miss Bates.

If you like Austen, you should love this; if you like the BBC’s Masterpiece Theater, this is another stalwart entry in that long-enduring and endearing series. It may not have the wonderful subtlety or complexity of Downton Abbey, but then it’s a novel from a century and a half ago, so in that regard it’s amazing, and a tribute to Austen, that it’s still able to enthrall audiences this far removed from her period in history. No film can capture the beauty and artistry of eloquent prose, but this mini-series in four parts comes as close to Austen as any other to date.

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Midnight in Paris

Woody Allen, 2011 (9.0*)
Woody is back! This is a light romantic fantasy in the same vein as The Purple Rose of Cairo and Alice, which mixes reality with a fantasy world that obviously comes from the mind of the protagonist.

Owen Wilson is a young American, on a trip to Paris with his domineering fiance, Rachel MacAdams, whose right-wing parents are wealthy capitalists there for a business deal (naturally - why else would capitalists go anywhere but for some tax deductible reason, because the wealthy don't have to pay taxes since they can deduct everything from travel to meals by claiming they are 'for business purposes' - then the rest of us have to make up this shortfall).

Wilson is a screenwriter attempting to write a serious novel, while everyone urges him to do what he's successful at already. He seeks solitude at night by wandering around Paris alone. After midnight, magic happens, and he runs into people he assumes are in costume, but finds out that he's been transported in time to Paris of the 20's, first being found in the streets by F. Scott and Zelda Fitzgerald, who introduce him to Ernest Hemingway and Gertrude Stein (Kathy Bates). He later meets Picasso, and his beautiful model, played by Marion Cotillard, a muse for all the famous artists of her era. Naturally, the two strike up a platonic romance.

Wilson's fantasy world is centered around creative artists who spent time in Paris: Cole Porter, Gertrude Stein, F. Scott Fitzgerald, Ernest Hemingway, Luis Bunuel, Pablo Picasso, Claude Monet, Salvador Dali ("I paint you, with your lips melting into the sand - and of course, a rhinoceros!" - hilariously played by Adrien Brody), Paul Gauguin, and Toulouse-Lautrec are just a few of the famous artists who come alive for Owen Wilson on his post-midnight walks around Paris.

This film is superficially a light romantic comedy, but beneath all that is the underlying and beautiful idea that art not only is immortal, but will influence and inspire future generations of creative people. It also contains the protagonists desire to live in another era (don't we all?) he imagines is greater than his own (for Wilson, Paris in the 20's).

As an artist (painting and writing) this film reinforced my lifelong belief in the power of creativity. Most of the awards are for Allen's screenplay, which should be a favorite for an Oscar®. I would elevate this work above Woody's other output of the last 15 or so years.

Note: in the rating, PG-14, in the beginning, it is mentioned that "features smoking" - holy smoke, are we now warning people when there are cigarettes in films? what's next, "characters eating pork", or "loud noises emitted by fireworks", or "capitalist merchants overcharging for coffee"?

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Death at a Funeral

Frank Oz, 2007 (8.3*)
It’s not every day that you laugh all through a film about a funeral. Writer Dean Craig has managed to do just that in this black comedy. It’s also not in any other cinema funerals that you see hallucinagenic drugs ingested (accidentally), a naked man threatening to jump off a roof, and a blackmailing dwarf giving everyone a thrill with an unexpected appearance.

These are just a few of the bizarre images and ideas that should at least have everyone chuckling. The film starts a bit slow, as at first you just have people on their way to the funeral of a well-to-do British family patriarch, father of a pair of brothers, played by Matthew Macfadyen, who lives at the house of his parents, and Rupert Graves, a famous novelist who lives in New York, flying in after years away from home. You see the normal rushing of people late, the grumbling by the elderly uncle in a wheelchair, “you’re late!” (wonderfully played by veteran actor Peter Vaughn, who was the head man in  Terry Gilliam's Brazil – “Ere I am JH”) and other family members in slight turmoil. However, this funeral has no one weeping or appearing that distressed, so in that regard it’s a realistic one.

However, once the funeral service begins at the house, one event after another delays the proceedings to the delight of the audience. One of my favorite side stories is the boyfriend of a relative who is accidently given some LSD instead of valium, as a pill bottle for the latter was used by a hippie brother for transporting the acid without notice. Alan Tudyk is perhaps a little over the top, but I have seen people on psychedelics act just this way at pop festivals; many inevitably end up naked, as does his character Simon.

Tiny actor Peter Dinklage (best known for The Station Agent) plays the dwarf who sets the brothers and the funeral on its ears with some startling photos, adding his own bizarre flavor to the unexpected plot turns. Jane Asher, former gf of Paul McCartney, plays the grieving widow, who is the only one shedding any tears for the deceased.

Remade by Neil LaBute as a black version (of course with Martin Lawrence, who gets to star in every film that Eddie Murphy is not in - and also Chris Rock), a unappealing version that got a 5.4 rating at IMDB vs. 7.3 for the original, and a 51 from Metacritics vs. 67 for the original. Not big numbers for the original either, but I think it’s a little better than that – it’s certainly an original comedy, and the best comedy about the way we treat death since The Loved One (1965), Tony Richardson’s b&w comedy of the Evelyn Waugh novel.

This won two audience awards, at the Locarno Int’l Film Festival and the U.S. Comedy Arts festival.

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The Awful Truth

Leo McCarey, 1937, bw (8.8*)
This is one of those 30’s screwball comedies that you can watch over and over. Cary Grant plays a man who may or may not have been philandering, as he’s getting a tan in a salon in the film’s beginning because he’s supposed to have been in Florida. When he gets home, wife Irene Dunne is gone, and the two start divorce proceedings.

They also start trying to make each other jealous by trying to get engaged as fast as possible. Of course, they then play little games trying to saboutage each other’s attempts at a new relationship. All this is made a classic with some very funny dialogue and performances to match. There’s a great sequence in which Dunne has someone play her husband sister for his new lady’s family.

Asta the dog, from the Thin Man series, has one of his 14 film roles here as Mr. Smith, the family pet for whom Grant demands visitation rights in the divorce proceedings - but is he missing the dog or Dunne?

Awful Truth is a film with genuine laughs, not one of those films that is pleasant throughout and a funny concept, but seemingly lacks any laugh-out-loud dialogue. McCarey had a hand in some of the best comedies of his era, notably the Marx Brothers’ best film, Duck Soup (1933)

McCarey actually won the Oscar® for best director for this film, which he later duplicated with Going My Way in 1945, for which he also won for best screenplay. This could have easily won for screenplay as well.

Ranked #515 in our update of the top ranked 1000 films of all-time
Top Ranked 1000 Films on the Net

Ranked #84 comedy on our list of comedies in the top 100
Top Ranked Comedy Films of All Time

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Love Among the Ruins

George Cukor, 1975, tv (8.6*)
This wonderful UK comedy that takes place in I believe the Edwardian era is another reminder of just how far ahead their tv productions are compared to the U.S. – over there these are just as good as feature films with tenfold budgets and huge pr campaigns.

Katharine Hepburn plays an aging actress who is being sued by a younger man for breach of promise. The lawyer she unwittingly hires, Laurence Olivier, is actually a former lover from several decades back, who she has forgotten but who is still in love with her. In fact, her new lawyer never really got over his youthful attachment. There are some classic scenes of them alone as he tries to stir her memories.

As this involves a court case, in which Hepburn’s estate and reputation both are on the line, we get to see a different side of both characters than we see in private – here the two are acting in Hepburn’s best interest, so the two actors involved are now giving us a performance within another performance, pretty classy indeed.

Everything about this production is top quality, you might say sublime. Cukor won an Emmy for his direction, as did the writer, James Costigan, also the costumes and set design. Both Oliver and Hepburn won primetime acting Emmys, as the tv film won six overall. It's nice to see the two actors beyond their prime but obviously still better than just about anyone else alive.

This is the perfect type of G-rated comedy they should and could make much more often than once a decade or so. Cukor also directed the classics My Fair Lady (1964) and The Women (1939).

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Adam's Apples

Anders Thomas Jensen, 2005, Denmark (9.1*)

This black comedy has one of the most insane casts since One Flew Over the Cuckoo's Nest (1975). A paroled felon, Nazi skinhead Ulrich Thomsen, who’s perfectly cast here (he just looks like an angry criminal), shows up at a clergyman’s church that serves as a halfway house for some released felons that really should be behind bars. Here they supposedly do community service, but they never seem to do any.

The new arrival soon meets a semi-terrorist Pakistani who holds up all Statoil gas stations because of some capitalist crime by the company against his father; apparently they stole their land to get their oil for nothing, which has happened since oil was discovered. This guy not only has weapons but knows how to use them, as some local crows find out the hard way.

The preacher himself (another fine acting job by Mads Mikkelsen who was the bad guy in the Casino Royale remake, but who has done many excellent Danish films) is a utopian anti-realist who admittedly sees the silver lining to nearly everything. After being beaten senseless for this optimism by the Nazi, he shows up at the skinhead’s door and calmly says “we’ll continue this discussion in the kitchen”. The kitchen is run by an over-sized and over-sexed man who seems to be stuck in his teenage years; he’s the most innocent of the entire group, yet his dirty mind goes into overdrive when a woman shows up.

The apples in the title pertain to the Nazi’s name, Adam, and an apple tree in the yard. Adam decides he’s like to bake an apple pie when the apples are ready. In the meantime, since this film is about whether it’s god or the devil that gives one misfortunes, the poor apple tree goes through hell on earth, nothing goes right for it, yet it’s fruit is the metaphor for the entire film.

Much of this questions the nature of the metaphysical, but in a humorous way. For awhile, you’re so taken aback by some events that you’re saying “what the heck is this?”, then after it’s all over you say “ok – I get it now”. There's a hilarious interchange about a portrait of Adolph Hitler that I won't spoil here, but this humor knows no bounds.

It has a magical quality that few films manage to pull off, without really being a fantasy so much like Field of Dreams or It’s a Wonderful Life or Heaven Can Wait. It’s magic is in it’s eccentric characters, none of whom are similar yet all of whom share the world of the preacher, and they all live apart from urban or even modern problems. Their problems are even larger really, as some unseen force seems to be attacking them whenever possible, especially the preacher – his personal history brings to mind the story of Job, just less extreme.

This won the best feature film award in Denmark, beating out one of my favorites, Susanne Bier’s After the Wedding. I’m not sure if I’d go that far, Bier’s film is one of the best acted in history (and also features Mads Mikkelson); all four major actors in that won best acting awards somewhere in the world, six total (the two women won two each). This was a great year for Danish films, to say the least.

This won 18 awards out of 30 nominations, including several audience awards (Sao Paolo, Warsaw, Wisconsin). Ironically, at IMDB, the fans rate this 7.8 (almost in the top 250), while the critics at Metacritic (36 in all), rank it just 51 out of 100. So average filmgoers like this bizarre film more critics, you’ll think it would be just the opposite once you see it.

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The Discreet Charm of the Bourgeoisie

Luis Buñuel, France, 1972 (8.6*)
Best Foreign Film (AA)
#99, Top Ranked 1000 Films, 2011 Update, all polls.

Probably the most affable and accessible of the Spanish master’s films, as many are a bit serious or obscure for the average filmgoer. On the surface, this is a comedy about a suburban dinner party.

However, as you would expect from Buñuel, you don’t exactly plan then have a successful dinner party. This story begins innocently enough, but you soon find yourself once again in the mind of an inventive and creative filmmaker, the same one who in his The Exterminating Angel, has guests to a dinner enjoy the meal and the company then find they cannot leave the room.

The dinner party gets delayed by a series of random and spontaneous events that include the hosts having afternoon sex, and a military patrol on war game maneuvers uses the house for a field headquarters.

As usual in his films, what you get out of this is going to depend on what you bring into it, but I wouldn’t look for anything too deep here – I believe this film is more enjoyable than most of his because of that, and for the excellent cast led by Fernando Rey, and the award-winning Stéphane Audran.

Winner of the Foreign Language Film Oscar® for 1972, and six awards total out of 11 nominations

#16 on the Top Ranked Comedy Films of All-Time, 2011 Update

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A Great Wall

Peter Wang, 1986 (8.7*)
The first American movie filmed in mainland China is a comedy of culture clashes. A Chinese-American computer worker in California , director Peter Wang, quits his job in a dispute, then takes his family to visit distant relatives in Beijing, China.

Of course, the Americans are now thoroughly westernized Chinese-Americans, so the family they visit in China is pretty much Old World by comparison. The bewilderment and confusion of host and guest alike stem from the language barrier for one, and again when confronted by peculiar foreign customs.

The best laughs come from the point of view of the People's republic, such as students reciting Lincoln's Gettysburg Address in unique English, or an elderly man coping with an electric blanket presented as a gift (and of course with a different current requirement), people debating fallacies about Americans as if factual, just like U.S. disinformation about other nations. This is all good-natured fun, with something to learn on both sides, and the benefit of it all going to the audience.

It’s a crime that less than 1000 people have rated this film at IMDB, it’s an excellent comedy, an excellent American film, and an excellent foreign language film, all three together in one.

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Arsenic and Old Lace

Frank Capra, 1944, bw (8.3*)
Pleasant trifle in which Cary Grant has a field day of double-takes and other physical humor as Mortimer Brewster, the doting nephew of two elderly aunts, the kind with whom you share tea, and discuss family history. Unfortunately, these aunts are not so kindly, as Mortimer begins to discover bodies hidden in furniture around the house, and at the same time there seem to be some missing elderly gents who were former friends.

Priscilla Lane is around for romantic interest and eye candy, or else it would be just Grant and two old ladies, plus you need an outside catalyst to drive the action, someone who could discover the family secret.

Adapted by the Epstein Brothers from a play by Joseph Kesselring. This is one of Capra’s best comedies, as it doesn’t try to do too much but entertain, one that takes homicidal insanity with a nonchalant attitude, as if bodies are empty liquor bottles, something to discard without the neighbors seeing - after all, it’s 1944 and the middle of mass psychosis.

This just recently fell out of the IMDB top 250.

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A Fish Called Wanda

Charles Crichton (and uncredited John Cleese), 1988 (8.5*)
A sparkling comedic cast help push this heist satire over the top into rarified waters. There aren’t many crime comedies worth watching more than once, this is one of them.

John Cleese (of Monty Python and Fawlty Towers fame) plays a judge who falls for the wiles of American con-artist Jamie Lee Curtis, who seduces him to order help pull a con on some British partners in crime (without Cleese’s knowledge). Her supposed brother, but partner in crime, is brilliantly played to mucho laughs by an Oscar®-winning Kevin Kline. He is really her dumb boyfriend, whose recurring line is “Don’t call me stupid!”, because he is the proverbial knot-on-a-log thick.

They enlist the aid of inside man Ken, played by another former Python member Michael Palin, with a wonderful stutter (“Ka-ka-ka-Ken!”), who’s a doting owner of an overloved pet fish named Wanda, hence the title. Yes, there's often offensive humor in this, but it's still sedate compared to Python, no gushing arteries or chunk hurling here.

Some of the best stuff to come from the Python group, likely because the Jones-Gilliam silliness is tempered by the veteran direction of master British director Charles Crichton, who directed the classic The Lavender Hill Mob (1951) bw.

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Sullivan's Travels

Preston Sturges, 1941, bw (8.8*)
[Our post of the top ranked films of Preston Sturges]

A Hollywood director of escapist films decides he needs to experience real life instead of his Hollywooden one. He pretends to be a hobo and hit the road without money or any identity, and of course, with an assumed name, and see how life really is in America at the true grass roots level.

Of couse, he experiences far more than he imagined beforehand, and suffice to say it’s a life-changing experiment. The men he meets give him a new perspective on America and on himself as well. Joel McRea shines in probably his best performance as Sullivan. Veronica Lake (see photo above) provides welcome eye candy, she's quite attractive when she "puts on her face".

I think what Sturges adds is a kind of unabashed honesty that doesn’t seem forced - ok, maybe it is a little corny. That in itself is refreshing, so this film endures as a classic today. It’s also a film about a filmmaker making a film, there aren’t many better that come to my reputed mind. Perhaps only Robert Altman’s The Player (1992), with an altogether different feel, as it’s a serious film with sarcasm, a murder mixed with romance and heavily tinged with cynicism regarding Hollywood and the film industry, where the prime concern is to find a mega-profitable ‘project’, something the public will gobble up.

Writer-director Sturges makes this type of film like no one else except Capra, where comedy, or at least looking at life in a humorous way (it doesn’t have to be gut-busting, insane comedy) is used to get us into a story that then teaches a valuable lesson learned through experience, something you can’t find out any other way, which is your relationship to society and the world.

The Coen Brothers have often cited Sturges as influential on their work. There are similarities of a chase in Raising Arizona (1987) to one in Sullivan’s Travels. The title O' Brother Where Art Thou is the name of the movie that Sullivan wishes to direct in Sullivan’s Travels. There’s a terrific scene of people watching a movie that was repeated with variations in Italian Guiseppe Tournatore’s Oscar®-winning Cinema Paradiso (1988), so the Sturges influence is worldwide, as it should be.

This is a highly underrated comedy at #296 all-time, it’s certainly better than many ranked ahead of it. See the full poll in our 2011 update of the Top Ranked 1000 Films on the Net, all polls. I’m sure it’s among the top 100 comedies, however.

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The Fireman's Ball

Milos Forman, Czech Republic (Czechoslovakia back then), 1967, bw (8.2*)
I found Fireman’s Ball to be hilarious, it’s like the “fireman’s ball from hell”. A small town fire department decides to have both it's annual ball as well as an 86th birthday celebration for the former fire chief at the same time.

One main attraction is a big group of door prizes, as one's entrance ticket is also a raffle ticket for these. However, as the film progresses, the door prizes slowly go missing one by one. Another big attraction is the annual beauty pageant. Unfortunately there are no beauties, and even those few are unwilling and flee. The elder firemen resort to drafting reluctant participants from the dance floor.

Nothing really goes according to plan in this comedy of errors. There's a hilarious climax that I can't reveal here, but suffice to say it's more irony-laced humor in this early comic classic from Forman. It's not a big-budget major film like his Oscar® winners shot here (Amadeus (1984) and One Flew Over the Cuckoo's Nest (1975)), but it was a nominee for best foreign language film in 1969.

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The General

Buster Keaton, 1927, bw, silent (9.2*)
For me, Keaton was the real silent film master of comedy, not Chaplin. Keaton’s ingenius stunts and nearly constant movement defined the word pace, his films seemed to speed by like the title subject in this film, the famous Confederate locomotive known as The General, stolen by Union troops in this story based on a true incident. Keaton the engineer is determined to get his train back and the real winner is the audience in this perfect example of a brisk silent comedy.

A classic of the decade and one of the best comedies of all time. Ranked #35 all time on our 2011 update of the Top Ranked 1000 Films on the Net, all polls.

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Bugville

Aka Hoppity Goes to Town, Mr. Bug Goes to Town
Dave Fleischer, 1941 (8.5*)
Early animated classic from the Fleischer Brothers studio, those animation pioneers who created Popeye and Betty Boop, and also many technical devices that advanced the art to cinematic proportions.

In this story, bugs have a nice community going in a deserted lot near Broadway, where people rarely go by – some that do pose a threat by tossing lit cigarettes or cans, which become housefires and earthquakes for bugville. It’s actually part of an estate that’s seen better days, but is now in the hands of a struggling songwriter, played by Kenny Gardner, but based on songwriter Hoagy Carmichael, who wrote the song “Castle in the Sky” used here. Dick Dickens (yep..) needs to sell this song to keep the house, and those metaphorical lyrics become important to this plot.

Meanwhile in Bugville, Swat the Fly and Smash the Mosquito are the eyes and ears of evil landowner C. Bagley Beetle, who wants everything for himself. They spy on the happy inhabitants which include Hoppity, who’s courting Honey Bee, whom Beetle also desires, and whose dad runs the local Honey Shop, which is the local hangout of all the other bugs. (Ya gotta love a film with Swat the Fly as a character)

Hoppity takes off one day and finds the main house, with a well-tended garden, which he sees as paradise, and returns to the lowlands bugville and convinces the others he’s found a nicer, safer home. Along with garden hoses causing floods, the bugs find many other impediments to finding a new happy home, including climbing a skyscraper, a story which is paralled by the human character Dick, the songwriter.

I saw this long ago as “Hoppity Goes to Town” [see below], and couldn’t understand why it’s not as well-known as the Disney classics. It’s certainly in the classic 30’s animation style, it’s full color, is pretty funny, and has some pretty good music, especially the Castle in the Sky song by Carmichael. Plus it has BUGS! Decades before Bugz, and A Bug’s Life, Antz, and all the others (I’m just making up titles now.. but you get the picture, lotsa varmints in the cartoons..)

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I Vitelloni

Federico Fellini, Italy, 1953, bw (8.4*)
Enjoyable early Fellini comedy film about a group of slackers, ne’er do wells who are content to merely chase women, drink, and dream rather than apply themselves to constructive endeavors.

One of a small group of friends, Fausto Moretti, seduces Sandra, a sister of his friend and companion Moraldo Rubini, then against his intuition, he does the right thing and marries her. After their honeymoon, he takes a boring job as a salesman of religious objects in a small shop that barely has any customers. He still looks at (and goes for) other women, along with his friends. He even mistakes some messages from his bosses wife and tries to seduce her, and is fired.

Still, not much changes in the lives of any of the group. This film is not about going anywhere in particular, but just as much about not making much effort to get anywhere either, and have some pleasures along the road to nowhere if possible. Fellini is merely giving us a snapshot here of a lazy lifestyle, or rather a beautifully photographed cinematic portrait, in the era of the growing beatnik movement, when work was considered the opposite of freedom.

Vitellone is literal for fatted veal calf, but on the dvd, Fellini defines it as aimless, do-nothing guys, or slackers. It is said that this film is autobiographical, at least partially so. It is also given credit for defining the modern term, or usage of slackers as well.

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The Illusionist (2010)

aka L'illusioniste
Sylvain Chomet, 2010, UK-France (8.0*)
#873 on our 2011 update of Top Ranked 1000 Films (all polls)
This is not to be confused with the real action film about a magician played by Edward Norton - this Illusionist is another hand-animated feature from Chomet, creator of the wonderful Triplets of Belleville, which emulated 50's Disney animated features in Chomet's own wonderfully warped style. In a documentary on the dvd, Chomet talks about the influence of those films on his early development as an animation artist, so he still renders these without computer animation, so these are made up of about 129,000 individual drawings for a 90 minute film, or 1440 per minute (24 p/sec x 60 sec), and of course, usually only the characters themselves move over a fixed background, which allow for much more detail in the animated 'set' since it won't be moving.

This film is actually a touching and poignant story from an unfilmed screenplay of French filmmaker and mime comic Jacques Tati. Like Triplets of Belleville and a Tati film, it has almost no dialog. Chomet has created a lead character that resembles Tati, so he's obviously animated this film to look like a film of Tati's. In this, Tati's character is a run-of-the-mill magician who plays near empty vaudeville venues.

Performing in Edinburgh, Scotland, he meets a young woman who is entralled by his tricks, and the two become close platonic friends; they explore the city together, and she eventually moves in with him.

Without giving anything away, I'll say that this is an adult story, with very little that would appeal to children, so right away that limits the market severely for animated features. This one doesn't even have the hilarity of Triplets of Belleville, which, though admittedly adult, still had Bruno the dog and a bicycle racer and other characters all ages could appreciate.

This is a valid effort by Chomet to give homage to Tati, and especially to his unfilmed story. I was quite touched by this story, and found it to be almost as unexpected and unpredictable as Triplets (but not quite, it's missing the same sparkle). For fans of Tati and Chomet, all will enjoy this, but it won't be one for the masses, only for the more discerning cinephiles.

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Richard Pryor Live in Concert

Jeff Margolis, 1979 (9.6*)
This is stand up comedy at it's best. Richard Pryor in his prime is as funny as anyone in history. No props, just a mic and an audience, and comic genius flowed forth like a fountain from the subconscious.

You simply have to get Pryor uncensored as well, the language is part of the humor, it all fits the syntax, the rhythm of the language adds to the humor, which at times moves into the hilarious stage. He will talk about anything, too - some topics here include his pet monkeys, a Chinese stutterer, people at funerals, good sex, his heart attack, whippings from his granny, and dudes lying.

This was a very successful lp, then CD, but you really need to see Pryor act out his humor, as much of it is facial expressions and hand gestures, and even body language, especially when he delves into the sexual realm.

Pryor has influenced comedy forever, it's too bad that he didn't really translate to films, largely because the dumb humor written for him was never as funny as his own stuff, much of it penned by writer Paul Mooney, who is still doing his own standup today. Mooney says that the way to attack racism is to get people to laugh at it first, and at this, Pryor succeeded like no one else. He does perfect imitations of caucasians (even a little John Wayne) and asians both, and has several black voices and characters as well.

This is rare ground, and I doubt there will ever be anyone this funny again in the arena of standup comedy. For what it is, this should really be rated a 10.0, but when I compare it to films that are emotionally moving that's the one thing this lacks.

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The Loved One

Tony Richardson, 1965, bw (8.8*)
Screenplay by Terry Southern and Christopher Isherwood

British director Tony Richardson, his first since best picture Tom Jones two years earlier. For my money, this is a much better comedy, far more rewatchable, still fresh today - I can't say that about Tom Jones, awards or not. Some words used to describe this are dark, cynical, twisted, macabre - but hilarious is usually in there.

The story itself is a pseudo-serious look at the heights to which some people in Hollywood have gone to perpetuate the memory of lost loved ones, both at a super lucrative human cemetary called Whispering Glades (a take on Forest Lawn?), and a smaller pet cemetary, which is working on blasting animals into space, the brain of child scientist Paul Williams.

The film obviously takes a tongue-in-cheek at all this business of death (I guess it's a true 'black comedy', lol), and manages to poke fun at capitalism as well, as we see companies of all sizes looking at ways to save money on employees while gouging the public for the maximum possible, including features in the human cemetary like perpetually flowing fountains and music (all for only a few more dollars per month, of course).

The film is made special by an excellent cast, which features John Gielgud as a retiring Hollywood star, at an age when they can't wait to rush you out the door. Robert Morse stars as a young British poet who comes to Hollywood and gets a job at the Glades. Jonathan Winters has dual roles, as a Rev. Glenworthy and his rich brother Henry. Other stars are Dana Andrews, Milton Berle, James Coburn, Margaret Leighton, Tab Hunter, Roddy McDowell, Robert Morley, Liberace, and Anjanette Comer as Morse's romantic interest, and Rod Steiger as his romantic rival, Mr. Joyboy, an embalmer; Steiger is quite funny. Perhaps working in some many cameo performances hurts the films cohesion overall, that's probably the biggest drawback here.

You have to love the tagline for this one, "The movie with something to offend everyone". It's true that nothing is sacred, but it's all done in good taste, never too over-the-top, though with the episodic nature of some of the scenes some will find it inconsistent. But that's appropriate for it's time, the mid-60's. A lot of society was dis-jointed, pun intended.

Rod Steiger actually won 1 award for his comedy performance, a Sant Jordi for "actor in a major film".

Note: of course, at the time, director Tony Richardson (photo left) was the husband of actress Vanessa Redgrave (Morgan) who sued him for divorce in 1967, naming French actress Jeanne Moreau (Elevator to the Gallows) as co-respondent. He is the father of actresses Miranda, Joely, and Natasha Richardson, who died last year following a skiing accident in Canada. Richardson himself died of AIDS contracted from a blood transfusion.

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Le Plaisir

aka House of Pleasure (U.S.)
Max Ophüls, France, 1952, bw (8.2*)
This Ophüls' film of French romance is divided into three episodes, corresponding to three Guy De Maupassant short stories. In the two short stories that bookend the title one, we actually find the bitter sarcasm typical of Maupassant's style, though somewhat softened by Ophüls' sympathic human touch.

The first story is a man who disguises himself as a much younger man so he can still go out on the town and enjoy balls, dancing, and the company of younger women. Meanwhile, his wife waits at home, resigned to his activities and his fight to retain lost youth. It's little more than an introductory vignette into French night life, and is actually sad as "father time" gets us all in the end.

The excellent centerpiece here is "La maison Tellier", the brothel of a French province town, and is typical Ophüls, beautifully designed and filmed; in fact, the art direction was nominated for an Oscar. It's also the longest section of the film. We are shown the brothel of the title first through it's windows, as if an outsider peeking inside, and the camera moves from room to room from this outside position. The house has two parts, one for commoners, like sailors, connected to the bar. The other, for the well-to-do, is upstairs and visited by all the town's wealthiest merchants and politicians, and it's interesting that all these 'respectable' citizens have wives and children at home, and we see them making excuses (lies) to rush off the the brothel after supper.

In the film's integral section, the prostitutes take a day off to go to a First Communion celebration in the countryside, for the niece of the madame. Ophüls shows us this episode with fondness, a willingness to forgive people their faults and pettiness, adding the director's sense of humor. When the brothel is realized closed by the local men, the whole social order is upset and they become beacons of unrest. Sailors start a brawl, and even respectable citizens, such as the mayor and merchants, begin petty quarrels.  The beautiful Danielle Darrieux lends her beautiful talents to this story, as well as Jean Gabin (La Grande Illusion), who plays Joseph at the country estate they visit, and who tries to give Danielle his own personal 'thanks' in her room at one point.

The courtesans are actually moved by the Communion Mass, and are soon all weeping, perhaps realizing some lost innocence of their own. But as soon as it's over, they rush off to the train because "the house can be closed for one night, but not two" (heck, the town would likely be in flames!) In spite of their hurry, it's a gorgeous day so they stop and all pick flowers. The day makes a poetic, pastoral contrast to their typical night life of drinking, dancing, and partying til dawn.

The last story features Simone Simon as a woman seen by an artist on the street, who is infatuated with her beauty. She becomes his model, then lover, as they move in together after his paintings of her start to sell. However, passions based on beauty don't always last, and this story is no different. Perhaps the most cynical response to love of the three stories, it's also the most realistic, showing how many people simply settle for their lives.

Fans of this film (in 1957, Kubrick said it was 'his favorite') and Ophüls should also watch La Ronde, similar in style in that it's a series of stories about romance revolving around common friends who party in the same circle. Perhaps his finest film, however, is The Earrings of Madame D., click for our review (#268 on our top 1000 films compendium).

This is among the most visually beautiful of all the works of Ophüls, who himself is one of the best in French cinema; ironic, since he emigrated there from Germany (born Max Oppenheimer). Ophüls said, "everyone has two fatherlands, his own and Paris". From Germany, he emigrated there because he liked "breakfast with cognac in your glass, gigolos and prostitutes at night".

Note: this style has been copied often, especially from the 90's on.. see our upcoming review of Hsien-hsiang Hou's Three Times for a similar recent film about Taiwan.

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