Archive for January, 2008

Literally Speaking: The Quiet American (1958)

Joseph L. Mankiewicz’s adaptation of Graham Greene’s novel is a love story with a political backdrop. Michael Redgrave plays the bitter and cynical reporter Thomas Fowler opposite Audie Murphy’s idealistic young American with the pair competing for the affections of beautiful Vietnamese girl Phuong, played less than convincingly by Giorgia Moll.

This love triangle is mixed in with the First Indochina War fought between the French and Ho Chi Minh’s Viet Minh over Vietnamese independence. Apart from providing an interesting and unusual setting, it also anticipates American interference in the region which would lead ultimately to the Viet Nam War.

Despite all that though the film is at heart a love story, with our lead protagonists all doing what they do for love. The contrast between seasoned pro Michael Redgrave and Murphy, who stumbled into the profession after his World War II heroics got him noticed by Hollywood, mirrors their onscreen characters.

Few actors have been as convincingly world weary as Redgrave is here, there’s a hopeless desperation about Fowler, you get the feeling that his love or desire for Phuong is all that’s keeping his from a total breakdown. Yet given how things play out it’s hard to feel sympathy for him.

The boyishly handsome Murphy can’t really compete in the acting stakes but he doesn’t show himself up either. The American is a slightly ambiguous character; we’re never sure if he’s just the do-gooder aid worker he paints himself as or if he’s secretly working for the US Government. This must have made a pleasant change from the B western heroes Murphy usually played.

I Spy: Our Man Flint

By 1966 the Bond series was firmly established and ripe for spoofing. TV had offered up the semi-serious The Man from U.N.C.L.E. (1964) and the out and out comedy Get Smart (1965) but ’66 gave us two of the best big screen pretenders in Dean Martin’s Matt Helm and James Coburn’s Derek Flint.

Our Man Flint didn’t just send up the super spy genre but told an entertaining, if completely bonkers, tale of weather manipulation by the evil Galaxy organisation. All the Bond series trademarks are here – the beautiful girls, the criminal mastermind (actually there are three and they’re arguably well intentioned), the gadgets (Flint’s multi purpose cigarette lighter) the exotic locations (even if they are only studio bound sets) and the cool theme tune.

One thing is very different though and that’s Flint. As portrayed by James Coburn, Flint is a much cooler dude than Connery’s 007. A master of everything from cookery to ballet (which he teaches), a snappy dresser and all round hip cat, Flint is in many ways the anti-Bond, but then he does come from the private sector whereas Bond is a public servant so that’s perhaps to be expected.

Of course for a spy to be really cool he’s got to have the right theme and nobody does it better than Jerry Goldsmith, who not only gave Flint music to kick ass to but also provided the theme tune to The Man from U.N.C.L.E.. Without Goldsmith and Coburn Our Man Flint just wouldn’t be worth watching.

“Then she’ll carelessly cut you and laugh while you’re bleedin”

So here we are at the start of my third week walking to work (although last week I only walked twice) and the Shuffle seems to be getting attuned to my brain patterns (an unadvertised bonus feature). Picking up on the fact that I was late for work this morning it gave me a more up-tempo trip than usual and eased me in gently for the return trip this evening.

There:

  • “Bad to the Bone” – George Thorogood
  • “You’ve Lost That Lovin’ Feelin’” – The Firm (Not the guys who did Star Trekkin’ but the ‘80s supergroup featuring Jimmy Page and Paul Rodgers)
  • “Silver and Gold” (Live) – U2
  • “Tangram (Future Part)” – Tangerine Dream (This makes surprisingly good walking music)
  • “See You in the Next One (Have a Good Time) – The Verve
  •  “Mexican Cantina” – Fabio Frizzi, Franco Bixio & Vince Tempera (From Carambola a 1974 spaghetti western)
  • “I Still Miss Someone” – Johnny Cash
  • “Siamese Twins” – The Rainmakers (It’s a shame Bob Walkenhorst hasn’t released any new material since his 2003 solo album The Beginner but at least many of Bob’s live shows, plus several vintage Rainamkers gigs, are available for download at Internet Archive)

And back again:

The Weekend Western: Massacre Time

Tom Corbett (Franco Nero) receives an urgent message to return home. When he arrives he finds the family ranch now in the hands of a stranger and his brother Jeff (George Hilton) a washed up drunk. He’s urged to leave town by just about everyone but when an old family friend is murdered he’s determined to get to the bottom of things, wherever that may lead.

Massacre Time was directed by Lucio Fulci, a man usually associated with horror movies. This was the first, and arguably the best, of his three spaghetti westerns, and while the idea of a man returning home to find his home is no longer his own may not be an unusual one, there are enough twists to the tale to make it a cut above the average.

The familial entangelments of the plot are far from the western norm, having more in common with a soap opera, but to say more would spoil the surprise. It certainly adds an unusual, almost Shakespearian, character dynamic which gives the actors plenty to work with.

Graphic violence isn’t unusual in a spaghetti western and Massacre Time has, as the title would suggest, more than its fair share. What is unusual is the bullwhip duel that’s fought between Nero and Nino Castelnuovo as Jason ‘Junior’ Scott the new ranch owners son. As you’d expect Fulci does a decent job with the action but he really excels himself with this whip fight, aided by Castelnuovo extraordinary performance.

Saturday Night’s Alright For Fighting: The New Big Boss aka The Legend of the Wolf

Donnie Yen is one of my favourite martial arts stars; he was a memorable villain in Once Upon a Time in China 2 squaring off against Jet Li, as well as staring in one of the best modern kung fu movies, Iron Monkey. Yen is a Bruce Lee fan, his credits include a TV version of Lee’s Fist of Fury, and this films title is a reference to Lee’s first starring vehicle, The Big Boss (I’ve no idea if the title was Yen’s choice though).

Yen gives us his best Lee imitation as Fung, a guy who returns to his village and the woman he loves with no memory of where he’s been for the past seven years. He’s got the poses and the noises down pat and he’s no slouch in the moves department either. It’s not Yen the star but Yen the director who lets the film down.

For his directorial debut Donnie must have wanted to show what he could do, unfortunately he shows us a little too much. The film is over stylised, from slow motion to filters to skewed camera angels, Yen bombards the viewer with everything he has. The fight scenes are also a little too fast and frenetic, speed isn’t everything – onscreen fights aren’t just about how fast you move but how good you look doing it. All too often the camera gets a little to close to the action and you’re left wondering why Yen the director is focusing on Yen the actors head when what’s happening with his extremities is far more interesting.

The Friday Night Fright: Virgin Witch

This isn’t a horror film, it’s a ‘70s softcore porn flick. In the tits vs. scares contest the tits win by a landslide. The horror elements here are purely coincidental; the witch’s coven at the centre of the story is just a means to get people romping about with no clothes on.

Of the rompers Ann and Vicki Michelle are by far the most pleasing on the eye. The unwary viewer should be warned though that as the camera pans around the orgy scenes you’ll be exposed to some rather less aesthetically pleasing nakedness. The prerequisite for being a Satan worshiping extra in Virgin Witch it seems was a willingness to get your kit off, looking good while starkers was purely optional.

If you’ve got an interest in the softcore smut boom of the ‘70s you might get something out of this. For everyone else it’ll be far too tame to titillate and (apart from seeing a few naked old wrinklies) bereft of anything horrific.

Comic Tales: Spawn

1997

I was a big Todd McFarlane fan, I’d loved his Spider-Man work and I enjoyed Spawn. Not only did I like his art, I thought what he was doing with Image comics was a commendable endeavour. I went to see Spawn at the cinema and, while it was certainly a watered down version of the comics, it filled my craving to see comic book heroes translated to the big screen. With the exception of Batman and Superman few had made the transition and, with no new Superman film for 10 years and Batman on a downward spiral (1997 was the year of Batman and Robin), anything new was cause for excitement.

2008

Just over 10 years later much has changed. McFarlane has been revealed for the money grabbing executive he is, Image no longer publish anything of interest (apart from Fell) and these’s now an abundance of superhero action on the big screen.

With films like Spider-Man, X-Men and Batman Begins showing how to make a comic based film that will appeal to more than just the geek audience, the dark days of 1997 seem a long time ago. Re-watching Spawn now shows what a poor film it really was. The effects look truly awful (hard to believe ILM had a hand in this) and it’s amazing they had the balls to put so much in the finished film.

Watching the Detectives: Joseph Gordon-Levitt is Brendan Frye in Brick

You get a call from an old flame, she’s in trouble and she needs your help. You start nosing around but when she turns up dead you really start getting serious. You’ve got a source, a guy who knows who the big players are, you tell him to keep his ear to the ground. He steers you to the local drug lord, your old flame was playing with fire it seems. You’ve had run ins with the authorities in the past and when they try and put the squeeze on you, you throw them a bone…if they let you play things your way you’ll make sure they don’t regret it. So you stir things up in the hopes of flushing out the killer…

‘50s film noir? Nope, this is Brick a film made in 2005 that takes all the key noir elements and transplants them to a modern day California high school. Brendan Frye (Joseph Gordon-Levitt) is our loner hero looking to find whoever killed his high school sweetheart. The crime kingpin is played by Lukas Haas (yep the kid from Witness grew up to be a drug dealer!) while the authority figure is none other than Shaft himself Richard Roundtree, not playing a cop but the school’s Assistant Vice Principle. There’s even an alluring femme fatale, played by Nora Zehetner, who worms her way into our hero’s affections but you just know she’s got her own hidden agenda.

“Ooh baby, wanna put my log in your fireplace”

The second week of walking to work didn’t get started until today (yesterday the weather was crap and Monday was my birthday so I caught the bus both days). So here’s today’s list -

There:

  • “Fisherman’s Daughter” – Daniel Lanois
  • “Superstition” (Live) – Stevie Ray Vaughn and Double Trouble (A performance that really shows what a great band Double Trouble were)
  • “I Can’t Help It (If I’m Still in Love with You)” – Johnny Cash
  • “The Middle of the Road” – Alabama 3 (A surprisingly restrained song from their latest album)
  • “96 Tears” – The Stranglers
  • “If a Tree Falls” – Bruce Cockburn (Bruce the musical eco-warrior)
  • “Is That Love” – Squeeze
  • “The Longest Time” – Billy Joel

And back again:

  • “Morning Glory Wine” – Mark Lanegan (This would have fit in better on the way to work but it’s such a good song it’s always welcome)
  • “Burn Bitch Burn” – Kiss
  • “Rollercoaster” (Demo Version) – Robert Plant (I got a ticket to see Plant and Alison Krauss live for my birthday! Roll on May 5th)
  • “Green Ballet II” – Adrian Legg (Legg’s a great guitarist but this hasn’t really got a beat you can walk to)
  • “Tremor Christ” – Pearl Jam
  • “Lady Luck” – J.J. Cale (Now here’s a guitarist who writes songs that get you moving!)
  • “Tangled Up in Blue” – Bob Dylan (I love a good story song and this is a classic)

Literally Speaking: Spider

David Cronenberg’s films have often been referred to as “body horror” but in Spider it’s the mind that the Canadian director focuses on. This is no horror film though, this is social commentary – care in the community Cronenberg style.

Dennis Cleg arrives at a halfway house at the start of the film. Where he’s come from we don’t learn until later but it’s clear from the start that something isn’t quite right about Dennis. He’s schizophrenic and has been institutionalised for many years but has just been released into society. He sleeps at the halfway house but is free to wander the London streets, revisiting places he’s not seen since childhood.

We spend much of the film inside Dennis’ (nicknamed Spider by his mother) mind, as he relives moments from his childhood. Just how true these recollections are isn’t clear. In much the same way he did with Videodrome, Cronenberg keeps the viewer unsure of what is real and what’s a figment of Dennis’ disturbed mind.

There are two key performances in the film – Miranda Richardson’s and Ralph Fiennes’. Actually that’s not really true, Richardson alone gives three performances, playing Dennis’ Mother, his Father’s lover and as Dennis grip on reality becomes ever more unglued, Mrs Wilkinson the woman responsible for the halfway house and its residents. It’s an impressive display with the mother/lover characters at the centre of Dennis’ mental meltdown.