Archive for April, 2008

3-Minute Intro: Glengarry Glen Ross

Wednesday, April 30th, 2008

Screened: April 29, 2008
Format: DVD - Lions Gate (2002)
Selected By: Roland

James Foley’s 1992 film adaptation of David Mamet’s modern theatrical landmark, Glengarry Glenn Ross, is a bit of legend, a case study in uncompromising, prestige filmmaking outside the studio system. The play shocked and tantalized prospective filmmakers and actors following its 1984 premiere, but the film adaptation languished in development hell for years before the final cast and crew were settled and a slim budget was painstakingly scraped together. Glengarry remains the most noteworthy feature film directed by Foley. While his steady, emphatic hand keeps the film humming along, the strength of Glengarry rests on the source material, and on a plethora of searing performances.

Chicago native Mamet caught critics’ attention with his early off-Broadway plays, including American Buffalo, but it was Glengarry Glen Ross that secured him a place in the modern American theater canon and won him a Pulitzer Prize. The play, set over two days in a high-pressure Chicago real estate office, features seminal Mamet hallmarks, including realistic, rough-hewn dialogue peppered with foul language. (The cast of the film famously referred to their production as Death of Fucking Salesman.) The play’s discomfiting themes and notorious obscenity hindered its translation to the screen for over a decade. In the end, Mamet himself penned the adaptation, and many cast members took significant pay cuts for the opportunity to appear in the film.

And what a cast it is. Glengarry boasts one the most impressive dramatic ensembles of the past fifty years. Any member could and has held together a feature film with his own talents: Al Pacino, Jack Lemmon, Alan Arkin, Ed Harris, Kevin Spacey, Jonathan Pryce, and Alec Baldwin, in a role Mamet added to the script specifically for him. Pacino delivers a vicious portrayal that taps into the raw elements of his familiar screen persona. The real standout, however, is Lemmon, who in the autumn of career delivers one of his most painful and humane performances, walking away with the Volpi Cup for Best Actor at the Venice Film Festival. Working from the raw material of Mamet’s absorbing lines, Glengarry Glenn Ross’ performers sculpt a portrait of despairing masculinity, an American Dream that is choking on contempt, duplicity, and delusion.

Review: The Duchess of Langeais (Ne Touchez Pas la Hache)

Monday, April 28th, 2008

2007
Director: Jacques Rivette
Viewed: April 26, 2008
Format: Theatrical Print

The Duchess of Langeais brings to mind a fundamental question about film quality: Can a movie be reasonably well-shot and well-acted in the service of Very Serious Themes, and yet still be a dull, dreadful mess? Are the two mutually exclusive? Last year, Pascale Ferran’s Lady Chatterley, a film that seems increasingly like a fumbled embarrassment with the passage of time, suggested that the two aspects could coexist in the same film. Now here is another French adaptation of a revered author’s work that evokes a comparably contradictory sensation. In this case, the author is Honore de Balzac, and the director is New Wave icon Jacques Rivette. I have a hard time calling this a Bad Film, but it is almost certainly a failure. If I squint very hard I can almost be convinced of the phantoms of an engaging work, and maybe even understand—but not share—the praise that this film has received from my admired critics such as Glenn Kenny and Noel Murray. Yet I can’t lie to myself: I just don’t see it.

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Film Diary: Cloverfield

Monday, April 28th, 2008

2008
Director: Matt Reeves
Viewed: April 28, 2008
Format: DVD - Paramount (2008)

Film Diary: Deep Blue Sea

Monday, April 28th, 2008

1999
Director: Renny Harlin
Viewed: April 27, 2008
Format: Television - Cinemax

Film Diary: Lars and the Real Girl

Monday, April 28th, 2008

2007
Director: Craig Gillespie
Viewed: April 25, 2008
Format: DVD - MGM (2008)

Film Diary: The Darjeeling Limited

Saturday, April 26th, 2008

2007
Director: Wes Anderson
Viewed: April 26, 2008
Format: DVD - 20th Century Fox (2008)

Film Diary: Hotel Chevalier

Saturday, April 26th, 2008

2007
Director: Wes Anderson
Viewed: April 26, 2008
Format: DVD - 20th Century Fox (2008)

Film Diary: Regular Lovers (Les Amants Réguliers)

Saturday, April 26th, 2008

2006
Director: Philippe Garrel
Viewed: April 26, 2008
Format: DVD - Zeitgeist Films (2007)

The Rule of Three: It’s Funny Because It Hurts

Friday, April 25th, 2008

This installment of the Rule of Three features scenes of great slapstick, those moments that make you recoil in vicarious pain even as you laugh. The lowest form of comedy? Sure. But when done well, slapstick can deliver a succinct jab of sublime human misery. These are moments that stick with you and elicit a wincing smile even when you know they’re coming.

Andrew’s Three

Feel Anything There? – Dirty Rotten Scoundrels (1988)

In an agonizing sequence from Franz Oz’s remake of Bedtime Story, Michael Caine’s Lawrence repeatedly and gleefully savages the legs of Steve Martin’s Freddy with a reed, while the latter sits in a wheelchair feigning insensitivity. The setup involves dueling cons, and Lawrence has the upper hand in this scene, which he exploits with unconcealed sadism. There’s a delicious comic tension at work, and we feel Freddy’s panic about how much he can tolerate and how far Lawrence is going to take it. The scene just goes on and on. Martin’s tormented mugging is priceless.

Inadequate Clearance - Raising Arizona (1987)

Am I the only one who discerned that Beatrix and Elle’s trailer duel in Kill Bill is practically a recreation of Hi and Gale’s equally brutal brawl in Raising Arizona? Ethan and Joel Coen’s take is superior in my mind due to one moment: Hi sweeps his hands up to pummel Gale’s prone back, only to discover that the trailer’s ceiling is just a bit too low. His knuckles scrape across the rough ceiling tiles with a sickening sound. Hi then holds up his skinned hands in agonized bewilderment and lets out a piercing howl of horror. Squirm-worthy comic anguish.

Driving the Point Home – Young Frankenstein (1974)

The humor in Mel Brooks’ Young Frankenstein relies mostly on Gene Wilder’s nebbishness and the ludicrous intersection of stock scenes and characters, but it has its slapstick moments. My favorite occurs in an opening scene, when Wilder’s Professor Frankenstein vainly attempts to distance himself from his grandfather’s experiments. Brandishing a scalpel as he becomes increasingly agitated, Wilder concludes by slamming the tool into his own thigh for emphasis. It’s a moment of breath-sucking horror, but Wilder’s reaction is the payoff. He regards the scalpel in disbelief, calmly crosses his leg to conceal it, and stammers breathlessly, “Class dismissed.”

Libby’s Three

Cream or Sugar? - The Big Lebowski (1998)

After partying with Jackie Treehorn, an inebriated Dude is picked up by the Malibu police. He attempts to drunkenly explain his situation, but the Chief hates people like the Dude. After the Chief’s explains why he was arrested, the Dude comments that he “wasn’t listening.” The Chief throws his ceramic coffee mug square at the Dude’s forehead, knocking him backwards in his chair. The sound effect at the moment of mug-to-head contact is gleefully painful. In the Dude’s estimation, this cop is clearly a fascist, but the Chief is finished with him. “Stay out of Malibu, Lebowski!”

Sudden Impact - Elf (2003)

Naysayers be damned: Will Ferrell is a master of physical comedy, and a film where he plays a giant elf provides ample opportunity for slapstick. The film’s physical gags mostly rely on fish-out-of-water interactions between Ferrel’s Buddy the Elf and twenty-first century New York City. During Buddy’s first days in the city, he’s walking towards Gimbel’s to find Santa. He strides across the street, and immediately gets hit by a yellow cab. It’s just so silly, and despite the predictability, I laugh every single time. Later he warns, “Watch out for the yellow ones! They don’t stop!”

Pointed Criticism - Shaun of the Dead (2004)

The one hilarious “ouch” moment that sings to me every time I see it occurs in the climactic pub scene where Shaun et al. are fighting off hordes of zombies. To the tune of “Don’t Stop Me Now” they employ simple bar props as weapons: pool cues, liquor, barstools, fire extinguishers… and darts. The gag that makes me snort in laughter every time I see is when an errant dart lodges in Shaun’s head. He pulls it out, there’s a small spurt of blood, and they continue their battle with the undead.

Film Diary: No Country For Old Men

Friday, April 25th, 2008

2007
Directors: Ethan Coen and Joel Coen
Viewed: April 24, 2008
Format: Blu-ray - Miramax / Paramount (2008)