Written, directed, and narrated by Peter Bogdanovich, The Great Buster: A Celebration is a documentary film that explores the life, career, and influence of silent film star/filmmaker Buster Keaton. Featuring interviews from various filmmakers, historians, actors, and comedians, the film follows the man’s life as well as his struggles to be relevant when silent films ended as well as the long overdue adulation he would ultimately receive before his passing in 1966 at the age of 70. The result is a rich and exhilarating film from Peter Bogdanovich.
In the 1920s, one of the biggest stars of the silent film era was Buster Keaton whose stone-faced look and elaborate approach to physical comedy and action as it would influence many in the years to come. The film explores not just Keaton’s life including his struggles to make movies during the post-silent film era but also in some of his failures he would endure and comeback during the late 1940s. Narrated by its writer/director Peter Bogdanovich who shows a clip of himself on The Dick Cavett Show in the early 1970s with filmmaker Frank Capra as they talk about Keaton’s influence in cinema as other filmmakers ranging from comedy filmmakers like Mel Brooks and Carl Reiner to the likes of Werner Herzog, Quentin Tarantino, and Jon Watts as they all talk about what Keaton brought to the world of cinema. Watts especially as he reveals that Keaton’s stone-faced expression was an inspiration to the look of Spider-Man under his mask in Spider-Man: Homecoming.
The film also goes into depth into Keaton’s personal life through historians and those who knew him including actors Norman Lloyd and Dick Van Dyke while comedian Richard Lewis talks about his friendship with Keaton’s widow Eleanor Norris as she would give him her husband’s famed hat. Actors/comedians such as Cybill Shepherd, Nick Kroll, Bill Hader, French Stewart, and Johnny Knoxville also talk about Keaton’s films and his approach to physical comedy as Knoxville reveals that part of the reasons he created Jackass and its films was to do stupid stunts but also to understand how Keaton was able to perfect the stunts and set pieces he created in his films. Much of the narrative that Bogdanovich creates is largely straightforward but it also play into the decline in his career as it relates to his time working with MGM where Keaton lost a lot of his creative control as several colleagues including Charles Chaplin urged Keaton to not sign with MGM but Keaton ended up taking the advice of those who were managing his business as it ended up being a bad business deal.
After two failed marriages and a career that is nearly dead, it would be his marriage to MGM dancer Eleanor Norris that would help as he would be hired by MGM to write gags and such as well as direct a gag for other filmmakers. The work for MGM and appearances in commercials and television would help revive Keaton’s career and financial fortunes as it would give him a memorable cameo in Billy Wilder’s Sunset Boulevard as well as a memorable appearance in Chaplin’s 1952 film Limelight where the two shared the screen together. Lloyd revealed that Chaplin brought Keaton just to work with him and help him out as they created a great scene while the finale was partially directed by Keaton who helped Chaplin out with the scene. Many also discussed that as great as a filmmaker and physical comedian that Keaton is, some say he is underrated as an actor as historians and filmmakers do feel that Keaton had a lot more to offer. Even in his final years as it play into the films he was doing such as Beach Blanket Bingo as he was dealing with ill health but was enjoying his work.
Much of Bogdanovich’s direction is straightforward in the interviews which were shot with cinematographer Dustin Pearlman as it allow those who are interviewed the chance to be in their own world but also express their love for Keaton. Yet, it is through the footage of Keaton’s films and other archival footage that is the meat of the film with the aid of editor Bill Berg-Hillinger who would cultivate all of the footage including some of the rare TV clips and commercials. One aspect of the film that is crucial to the film are clips from the documentary Buster Keaton Rides Again which was a making-of documentary about a short film Keaton was making as it would be one of his last films. Sound editor David Barnaby would gather some audio archives as well as do some remastering in some of the film clips while music supervisor Chris Robertson cultivates an array of music scores from all of the film that Keaton was in as it help play into the humor and somber aspects of his life.
The Great Buster: A Celebration is an incredible film from Peter Bogdanovich. It’s a documentary that does a lot to explore the genius of Buster Keaton as well as the legacy he’s created in the world of film and the admirers he had gained for many years. Even as it showcases his films and why people love them as well as a look into his struggles after his years of stardom and control had faded away only to regain his dignity and overdue adulation he would receive for his gift. In the end, The Great Buster: A Celebration is a marvelous film from Peter Bogdanovich.
Buster Keaton Films: (The Rough House) – (One Week (1920 Short)) – (Convict 13) – (The Scarecrow (1920 short)) – (Neighbors (1920 short)) – (The Haunted House (1921 short)) – (Hard Luck (1921 short)) – (The High Sign) – (The Goat (1921 short)) – (The Playhouse) – (The Boat) – (The Paleface) – (Cops) – (My Wife’s Relations) – (The Blacksmith) – (The Frozen North) – (The Electric House) – (Day Dreams (1922 short)) – (The Balloonatic) – (The Love Nest) – (Three Ages) – (Our Hospitality) – Sherlock Jr. - The Navigator (1924 film) - Seven Chances - (Go West (1925 film)) – (Battling Butler) – The General (1926 film) - (College (1927 film)) – Steamboat Bill Jr. - The Cameraman - (Spite Marriage) – (The Gold Ghost) – (Allez Oop) – (Tars and Stripes) – (Gland Slam Opera) – (One Run Elmer) – (Blue Blazes) – (Mixed Magic) – (Love Nest on Wheels)
Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) – (Directed by John Ford) – The Last Picture Show - (What’s Up Doc?) – Paper Moon - (Daisy Miller) – (At Long Last Love) – (Nickelodeon) – (Saint Jack) – (They All Laughed) – (Mask (1985 film)) – (Illegally Yours) – (Texasville) – (Noises Off) – (The Thing Called Love) – (To Sir with Love II) – (The Price of Heaven) – (Rescuers: Stories of Courage: Two Women) – (Naked City: A Killer Christmas) – (A Saintly Switch) – (The Cat’s Meow) – (The Mystery of Natalie Wood) – (Hustle (2004 film)) – (Runnin’ Down a Dream) – (She’s Funny That Way)
© thevoid99 2020
Written, edited, and directed by Peter Bogdanovich with un-credited contributions from Samuel Fuller and story by Bogdanovich and Polly Platt, Targets is the story of a young man going on a killing spree while an aging horror actor contemplates retirement just as he would encounter this troubled young man. Inspired by the shootings at the University of Texas by Charles Whitman, the film explores two different men who would meet as one of them decides to kill in reaction to the world around him. Starring Boris Karloff and Tim O’Kelly. Targets is a riveting film from Peter Bogdanovich.
The film revolves around the parallel lives of an aging horror film actor who wants to retire and a young man who goes on a killing spree as they would eventually encounter each other. It’s a film that play into two men who no longer feel like they fit in with the world as Peter Bogdanovich’s screenplay explore the diverging of these two men who would meet in its climax. The first act revolves around the actor Byron Orlok (Boris Karloff) who has become tired of making films and is eager to return to England to live in his final days despite the fact that a young filmmaker in Sammy Michaels (Peter Bogdanovich) wants to make a film with him as Orlok is also asked to make an appearance at a drive-in movie for some Q&A in a film he starred in. The first act also play into the life of a young war veteran in Bobby Thompson (Tim O’Kelly) who has become obsessed with collecting guns as he also becomes unhinged. The second act is about Orlok reluctantly accepting the Q&A gig while Thompson’s path of violence begins.
Bogdanovich’s direction does have elements of style as it play into the world of horror in not just what scared people then but the reality of what would scare people outside of film. Shot on location largely in Reseda, California and parts of Los Angeles, Bogdanovich starts the film with clips of a horror film that Orlok is in as it would appear again for the film’s climax which are really clips from The Terror that also featured a young Jack Nicholson. While the film early on has tonal issues due to the fact that these two different stories in the film, it is mainly due to the fact that Bogdanovich was working on a limited budget provided by producer Roger Corman who co-directed the clips from The Terror with other directors as he tasked Bogdanovich to make a film with the Orlok character for two days and then do whatever the hell he wanted as Bogdanovich’s usage of wide and medium shots play into Thompson’s dark obsession and his thirst to kill. Also serving as editor, Bogdanovich maintains a straightforward approach to building up the suspense with rhythmic cuts as well as how it play into Thompson as he would begin his killing spree.
Bogdanovich’s direction also play into this unexpected impact in Thompson’s killing as it would be key to the film’s second act in this act of violence that is shocking and disturbing. Yet, it also play into his lack of social awareness once he decides to kill from afar as he would clumsily leave away guns and ammo in the crime scene as he evades pursuit from the police. The film’s third act that climaxes at this drive-in movie theater where Orlok is to do a Q&A is where everything comes to ahead with Thompson hiding as he would just shoot random people with those being aware as if he’s trying to bring real horror instead of the horror that is being shown on the big screen. Bogdanovich’s approach to terror and horror help play into the sense of fear as it does feel real while it would also play into this confrontation between Orlok and Thompson about what fear does to people. Overall, Bogdanovich crafts a gripping and terrifying film about an aging horror film star and troubled young man whose diverging paths would collide to express fear in an ever-changing world.
Cinematographer Laszlo Kovacs does brilliant work with the film’s cinematography with its vibrant colors for some of the exterior shots in the film and usage of lights, shades, and shadows for some of the interior scenes at night as well as some elaborate lighting set-ups for the film’s climax. Production/costume designer Polly Platt does excellent work with the look of Orlok’s hotel suite and Thompson’s home as well as the clean-cut clothes both men wear. The special effects work of Gary Kent is terrific for the assassination scenes as it help play into the sense of terror that occurs. Sound editor Verna Fields does amazing work with the sound in the way gunfire sounds as well as the layers of sound to help in maintaining that air of suspense and terror throughout the film. The film’s music by Ronald Stein from the film The Terror is wonderful for its usage that help play into the suspense with its swell of bombastic string arrangements.
The film’s superb ensemble cast feature some notable small and appearances from future film producer/then-assistant director Frank Marshall as a ticket boy, James E. Brown and Mary Jackson as Thompson’s parents, Tanya Morgan as Thompson’s wife Ilene, Mike Farrell as a man in a phone booth, Sandy Baron as the radio dee-jay Kip Larkin, Nancy Hsueh as Orlok’s assistant Jenny, Monte Landis and Arthur Peterson as a couple of big-time film producers, and director Peter Bogdanovich as the young director Sammy Michaels who is trying to get Orlok to do one more film while they both watch a film by Howard Hawks. Tim O’Kelly is incredible as Bobby Thompson as an insurance agent/Vietnam veteran who is a quiet man that doesn’t show his troubles unless he’s carrying a gun as he starts to think about killing and seems to be in control and overjoyed when he kills someone. Finally, there’s Boris Karloff in a phenomenal performance as Byron Orlok as a horror film star who becomes tired of what he does as he’s also eager to retire while dealing with the world and what horror has become as it is a straightforward yet endearing performance from Karloff who brings a lot of gravitas to the role.
Targets is a sensational film from Peter Bogdanovich that features two incredible performances from Boris Karloff and Tim O’Kelly. Along with its striking visuals, exploration of horror in an ever-changing world, and its steady approach to suspense, the film is definitely a suspense-thriller that mixes in with a story of an old man wanting to retire as it play into the B-movies produced by Roger Corman with an element of character study. In the end, Targets is a phenomenal film from Peter Bogdanovich.
Peter Bogdanovich Films: (Voyage to the Planet of Prehistoric Women) – (Directed by John Ford) – The Last Picture Show - (What’s Up Doc?) – Paper Moon - (Daisy Miller) – (At Long Last Love) – (Nickelodeon) – (Saint Jack) – (They All Laughed) – (Mask (1985 film)) – (Illegally Yours) – (Texasville) – (Noises Off) – (The Thing Called Love) – (To Sir with Love II) – (The Price of Heaven) – (Rescuers: Stories of Courage: Two Women) – (Naked City: A Killer Christmas) – (A Saintly Switch) – (The Cat’s Meow) – (The Mystery of Natalie Wood) – (Hustle (2004 film)) – (Runnin’ Down a Dream) – (She’s Funny That Way) – The Great Buster: A Celebration
© thevoid99 2020
Directed and edited by Pamela B. Green and written by Green and Joan Simon with narration by Jodie Foster, Be Natural: The Untold Story of Alice Guy-Blache is a film about the life and career of one of cinema’s early pioneers who was also considered to be one of the first real auteurs who also owned and ran her own studio. The film showcases the woman’s career as well as the films she created as well as why she was often overlooked during her career and the re-discovery of her work. The result is an engrossing and wondrous film from Pamela B. Green.
In 1895, a secretary for engineer/industrialist Leon Gaumont attended a private screening of a film entitled Workers Leaving the Lumiere Factory by Auguste and Louis Lumiere. The secretary that is Alice Guy saw a new medium as from 1896 to 1920, she made hundreds of films that would not just pioneer cinema as an art form but also would create techniques and ideas that would be the basis of cinema itself. Like the Lumiere Brothers, Georges Melies, and Edwin Porter, they would create short films that would showcase cinema’s tool in the world of storytelling yet it would be Guy that would take the format much further prompting others including Melies to step up their game. In 1907, Guy married Englishman Herbert Blache as he would be Gaumont’s production manager in the U.S. until 1910 when she and Blache formed the Solax Company to make their own films as she would use the slogan “be natural” to those who worked at the studio in Fort Lee, New Jersey.
One of Guy-Blache’s innovations in filmmaking was the creation of the Gaumont Chronophone system that allowed her actors to lip-sync to pre-recorded music and use the music to sync up to the film footage as it was the early ideas of sound heard in film. Guy was also ambitious as she made a 25-part series of shorts relating to Jesus Christ as it was quite bold for its time. Another form of innovation that she did during her time in New Jersey was make a film with an entirely black cast in A Fool and His Money as it was made because white actors didn’t want to work with black actors prompting Guy-Blache to just hire an all-black cast regardless of prejudice. She also made films that had gender roles reversed as well as tackle subject matters that not many were willing to go into.
Then came World War I as business started to hurt Guy-Blache’s studio but also this emergence of businessmen wanting to take over the world of cinema including Thomas Edison prompting many studios to move to California rather than work with Edison who wanted to have a lot of control on the world of film through his own equipment and such. Herbert Blache would also move to California due to his affairs with other women leading to the two to divorce in 1922 as she returned to France with their children never making films again. Especially as she wouldn’t receive the proper credit for her work with Gaumont becoming more of a businessman in running his own studio as things would get tougher during the Great Depression and World War II though Gaumont would try to rectify his faults in giving her proper credit despite people around him telling him not to.
The documentary also has Pamela B. Green who also serves as the film’s editor not just trying to find out more about Guy-Blache and her films but also asking many other filmmakers, historians, actors, and such including Julie Taymor, Peter Bogdanovich, Evan Rachel Wood, Ava Duvernay, Peter Farrelly, Andy Samberg, Julie Delpy, Lake Bell, Gillian Armstrong, cinematographer John Bailey, and many others about Guy-Blache as many of them admit to never having heard of her. There is also the story of Green not just trying to find information about her films and her life but also meeting those who knew someone who knew Guy-Blache including descendants of Guy-Blache such as her great-great granddaughter as well as descendants of Leon Gaumont as there’s a scene where the descendants of Guy-Blache and Gaumont would go to various locations where Guy-Blache made some of her films. Much of Green’s direction and editing is straightforward with a few montages of film archivists finding some of Guy-Blache’s work while also going into the difficulty of restoring her work.
The film also features archival interviews from Guy-Blache from the late 1950s and early 1960s with narration by Jodie Foster who reads some of Guy-Blache’s comments and letters with a rare audio interview between Guy-Blache and a film historian in Brussels who wonders why she isn’t credited for her work. Notably as historians dating back to the 1940s would often omit her as some claim there was a lot of resentment towards her because she was a woman as some even question the validity of her claims in the mid-1970s after she had died in 1968. It would be Guy-Blache’s daughter Simone and other historians that would keep Guy-Blache’s name alive while Green would also talk to relatives who found old letters, photos, and notebooks that lead to many clues that show proof of Guy-Blache’s claims. Upon discovering the shorts of Guy-Blache, cinematographer John Bailey and others at the Academy Arts and Science would try to recreate one of her shorts with comedy actors Chris Kattan and Horatio Sanz with the same camera that Guy-Blache used.
Sound editors Casey Langfelder and Daniel Saxlid, along with sound designers Marcello Dubaz and Kent Sparling, do superb work in providing many of the audio archives from Guy-Blache’s interview with the Belgian film historian that his grandson had kept all of these years while also capturing all of the people who are interviewed for the film as they all talk about discovering Guy-Blache and her importance in film history. The film’s music by Peter G. Adams is terrific for its mixture of low-key electronic music and ambient pieces as it play into the search for Guy-Blache’s films and everything about her. Even as Green showcases old photos of the studio she created in New Jersey as well as visual recreation of the studio itself and where filming took place in the studio.
Be Natural: The Untold Story of Alice Guy-Blache is a phenomenal film from Pamela B. Green. It’s a film that anyone interested in film history or film itself must see as it not only does some correcting into some of the real stories about cinema’s birth but also in showcasing one of its pioneers and her innovative work. Especially as it showcases the woman’s work and her brief yet illustrious career that proved how influential she was. In the end, Be Natural: The Untold Story of Alice Guy-Blache is a sensational film from Pamela B. Green.
Related: The Short Films of Alice Guy-Blache Vol. 1
© thevoid99 2020
Directed by Morgan Neville, They’ll Love Me When I’m Dead is the story about the making of Orson Welles’ 1970s comeback film The Other Side of the Wind as well as the film's troubled production and attempts to finish it before Welles' death in 1985. The film explore the difficulty in making the film which had a sporadic six-year shoot that ended in 1976 only to be followed by more challenges relating to its post-production and Welles’ death. Featuring interviews from two of the film’s stars in filmmaker Peter Bogdanovich and Welles’ artistic/life partner Oja Kodar as well as many others plus narration by Alan Cumming. The result is an intoxicating and entrancing film from Morgan Neville about a film that became a legend for not being released or finished until now.
In the 1970s following a near-two decade period of exile from Hollywood, Orson Welles had plans to make what he hoped to be his comeback film at a time when New Hollywood was up and running where filmmakers were making new and exciting films that felt personal rather than commercial. For Welles, it felt like the right time to return to Los Angeles to make this new film entitled The Other Side of the Wind which was to be about a filmmaker’s final day where he celebrates his 70th birthday at his home where he hosts a screening party for his new film while lamenting over the lack of funds he needed to finish the film. It’s a film that would play into the many themes that Welles had explored for much of his career from man’s determination to create something to the element of betrayal which Welles would endure professionally and personally.
The film is about the making of Welles’ attempted comeback film told by those who worked on the film such as filmmaker Peter Bogdanovich, co-writer/actress/Welles’ life partner Oja Kodar, film producer Frank Marshall who was the film’s unit production manager, actress Cathy Lucas, comedian Rich Little, actor Bob Random, and several others including actress Cybill Shepherd, filmmaker Henry Jaglom, Welles’ daughter Beatrice, and John Huston’s son in actor Danny Huston. With the exception of Kodar and a few others who appear via audio, many of the people interviewed are presented in black-and-white by director Morgan Neville and cinematographer Danny Grunes as they talk about the film’s troubled production.
The reason it took so long wasn’t just financial issues as Welles had those interest in funding his film including Mehdi Boushehri who was the brother-in-law of the Shah of Iran during the 1970s. It was also for the fact that Welles would write the script on production and make things up as he went along. Rich Little was cast as Brooks Otterlake during the 1973-1974 production period but his inexperience in acting as well as scheduling conflicts forced him to be replaced by Bogdanovich who had filmed a different part during the film’s early filming stages in 1970 and 1971 as a boom operator. John Huston came on board for the production in 1973 when Welles had difficulty trying to find someone to play the lead role of J.J. “Jake” Hannaford as he and Welles were good friends where Danny Huston shared the similarities into their issues with Hollywood. Other issues that plagued the production was its lack of progress with crew members waiting to get paid while Welles’ cinematographer Gary Graver had to do porn films to pay the bills where Welles did edit a scene in one of those films.
Neville’s direction doesn’t just play into the events of the production as well as the important contributions Kodar and Graver (who died in 2006) had done for the film but also in the interviews by the collaborators as they all sit in a room and talk about the film. Alan Cumming's narration is definitely a highlight of the film as he narrates the film on a soundstage surrounded by rows of moviola editing machines that is created by production designer Jade Spiers with costume designer Raina Selene Mieloch Blinn providing the suit that Cumming would wear. Cumming would present the events that happened including the troubling moments after filming completed in 1976 such as the 1979 Iranian Revolution which impacted the financing as well as the post-production for the film. Adding to the problems of money that Welles owed was that he was unable to have access to material he had shot which was locked in a vault in France.
With the help of editors Aaron Wickenden and Jason Zeldes along with sound designer Peter Mullen, Neville would gather footage of Welles’ doing interviews and such about his film including the 1975 appearance at the American Film Institute in his honor where he presents a couple of clips from the film as a way to get funding which he received none. By the 1980s, Welles’ attempt to finish his film through whatever footage he had made him melancholic where Bogdanovich revealed that events would mirror the film as it’s shown on a late-night talk show hosted by Burt Reynolds talking to Welles that had him say bad things about Bogdanovich. Welles would apologize but their relationship wasn’t the same.
Visual effects supervisor Chris Holmes would provide some effects for some of photos shown on the film. The film’s music by Daniel Wohl is wonderful for its low-key ambient score that play into the melancholia and chaos that went on through the production while music supervisors Jody Friedman and Jennifer Lanchart provide a soundtrack that mixes classical, rock, punk, and other music from Yes, Suicide, the Buzzcocks, and Ludwig Van Beethoven.
They’ll Love Me When I’m Dead is a phenomenal film from Morgan Neville. Not only is the film is a fitting companion piece to the just-released The Other Side of the Wind but it’s also a riveting film about the attempt to make a film that would become legend for not being released with the world finally getting a chance to see it. It’s also a documentary film that doesn’t play by the rules as it also play up into the myth that is Orson Welles and dispel many of those myths to show a man that was driven to create something that is out of the ordinary. In the end, They’ll Love Me When I’m Dead is a spectacular film from Morgan Neville.
Morgan Neville Films: (The Cool School) – (20 Feet from Stardom) – (Best of Enemies) – Won’t You Be My Neighbor?
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello - The Other Side of the Wind
Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - The Auteurs #69: Orson Welles: Part 1 - Part 2
© thevoid99 2018
Directed and co-edited by Orson Welles and written by Welles and Oja Kodar, The Other Side of the Wind is the story of the last day in the life of a filmmaker who is trying to complete his comeback film at a screening party. Shot from 1970 to 1976 sporadically, the film that was meant to be Welles’ return to narrative-based filmmaking is a satire of European cinema and New Hollywood as well the Hollywood of old in this multi-layered film that play into the struggles of a man trying to get back in the game. Starring John Huston, Oja Kodar, Bob Random, Peter Bogdanovich, Susan Strasberg, Lilli Palmer, Norman Foster, Edmond O’Brien, Mercedes McCambridge, Cameron Mitchell, Paul Stewart, Gregory Sierra, Tonio Stelwart, and Dan Tobin. The Other Side of the Wind is a rapturous and evocative film from Orson Welles.
Set in what would be a man’s last day, the film revolves a filmmaker trying to finish his film entitled The Other Side of the Wind as he would screen at his home for his 70th birthday which would also be a screening party. Surrounded by an entourage that includes his collaborators, a protégé, a documentary film crew, and many others, the man discusses the film and ponders if it will ever be seen to a wide audience. The film’s screenplay by Orson Welles and Oja Kodar does follow a straightforward narrative as it relates to the life of filmmaker J.J. “Jake” Hannaford (John Huston) whose career had been in decline as he’s trying to create a comeback through this film that would be shown as it relates to a young man who meets a mysterious woman as they fall in love and later follow her through a desert. Throughout the course of the film, Hannaford is having a party with this barrage of guests including filmmakers, film buffs, a documentary film crew, Hannaford’s collaborators, colleagues, the mute starlet (Oja Kodar), and film critic/journalist Juliette Riche (Susan Strasberg).
Yet, the one person that is missing which had complicated the final days of production is its star John Dale (Bob Random) whom Hannaford discovered in Acapulco when he saw Dale attempted suicide. Many wondered where Dale is while Hannaford is also trying to get funding to do more work in finishing the film as he even turns to his protégé in filmmaker Brooks Otterlake (Peter Bogdanovich) for help only for things to fall apart. Especially as those who are part of Hannaford’s entourage including collaborators and close friends try to figure out the man who is starting to unravel through alcohol while contemplating the idea of making a film that he could be proud of.
Welles’ direction is definitely stylized in terms of its presentation where it dwell into many ideas that was prevalent in the 1960s/1970s as it is shot mainly at a house in Phoenix, Arizona as Reseda, California, Beverly Hills at Peter Bogdanovich’s home, Connecticut, France at Welles’ own home, and other locations in Europe and Southwest America. The scenes of Hannaford being documented and having his party is shot in a mixture of black-and-white film stock and color as it’s presented in a 1:37:1 full-frame aspect ratio in a cinema verite style with a documentary film crew often being shown. There’s a looseness to the direction with its usage of hand-held cameras where Welles would play into the raucous atmosphere of the party while including moments of Hannaford’s entourage talking to each other with appearances from filmmakers wanting to meet Hannaford. There are also these moments through the editing by Welles, along with additional work by Bob Murawski in the 2017 edits that was overseen by Bogdanovich and producer Frank Marshall who was a unit production manager during its filming, which play to the chaos where Welles would create these rapid cuts for the conversations or make a strange transition of a footage shot in black-and-white to a shot in color.
The scenes of Hannaford’s film The Other Side of the Wind is presented in an entirely different aspect ratio in a widescreen format and in full color reminiscent of some of the European art-house films of the 1960s/1970s with Michelangelo Antonioni’s Zabriskie Point being the obvious influence. The usage of the wide shots would play into the striking compositions that play into this air of mystery relating to these two characters played by Random and Kodar as they never say a word in the film. The film The Other Side of the Wind that Hannaford is making has no plot as it is about these two people who meet, meet again at a club, have sex in a car, and then go into the desert for more sex and intrigue. It’s Welles playing up the pretentious elements of European cinema with its methodical approach to long shots and editing as well as the idea that there isn’t much to explain.
Welles would move back and forth into Hannaford’s party and clips of his film as it would deviate more into chaos as the party winds down where Welles’ usage of close-ups and medium shots add to the discomfort that is looming. Even in a moment that involves Hannaford shooting dummies mixed in with these moments of partying from the guests have this bizarre quality that is to represent the sense of loss and uncertainty in Hannaford in his final day. The film’s climax at this empty drive in where Hannaford shows his guest the last portion of his film is to represent a man desperate to show his film but also deal with his own identity as an artist and as a man. Overall, Welles crafts an abstract yet exhilarating about a man’s final day as he tries to show his film to numerous partygoers at his home.
Cinematographer Gary Graver does brilliant work with the film’s cinematography from the usage of black-and-white film stock to play into some of the elements of the party as well as scenes of characters talking at Hannaford’s home and at the drive-in while the usage of color is vibrant that is most notable in Hannaford’s film with its approach to naturalistic photography. Art director Polly Platt does amazing work with the decayed sets at Hannaford’s film including the club as well as some of the interiors at Hannaford’s home. Costume designer Vincent Marich does nice work with the costumes from the look of the characters in Hannaford’s film including their lack of clothing as well as the array of casual and stylish look of the people at Hannaford’s parties.
Visual effects supervisors Joe Ceballos, John Knoll, and Brian Meanley do terrific work with some of the film’s minimal visual effects as it appear in only a couple of sequences as it relates to some dummies on rocks and a small moment in the film’s finale. Sound editors Scott Millan and Daniel Saxlid do superb work with the sound in capturing all of the spoken dialogue in the film as well as providing a balanced mix by Millan who would also do much of the work from its 2017 post-production period. The film’s music by Michel Legrand is excellent for its jazz-based piano score with elements of somber brass arrangements and a few string-based arrangements as it adds to the sense of melancholia in the film while music supervisor Carter B. Smith help cultivate a music soundtrack that features some rock music as well as jazz and classical that appears in Hannaford’s film and at Hannaford’s home.
The film’s wonderful cast features appearances from filmmakers such as Dennis Hopper, Claude Chabrol, Paul Mazursky, Curtis Harrington, and Henry Jaglom as themselves along with a young Cameron Crowe, Rich Little, Stephane Audran, Les Moonves, Richard Wilson, and George Jessel as party guests. Other noteworthy small roles include Gene Clark as a film projectionist, Howard Grossman as Hannaford’s biographer Charles Higgam, Cathy Lucas as a young admirer of Hannaford in Mavis Henscher, Pat McMahon as the film journalist Marvin P. Fassbender, Geoffrey Land as film studio boss Max David who isn’t fond of what Hannaford has done, Dan Tobin as Dr. Bradley Pease Burroughs whose pupil is Hannaford’s leading man, Robert Aitken as the driver in Hannaford’s film, Tonio Stelwart as Hannaford’s business partner/screenwriter in the Baron, Paul Stewart as Hannaford’s personal assistant Matt Costello, and Gregory Sierra as screenwriter Jack Simon who believes that Hannaford is gay.
Cameron Mitchell and Mercedes McCambridge are terrific in their respective roles as Hannaford’s collaborators in makeup artist Matt “Zimmie” Zimmer and film editor Maggie Noonan who both deal with the craziness of the production with the former being someone often fired and rehired while the latter is more concerned about the final version of the film. Edmond O’Brien is superb as one of Hannaford’s cronies in Pat Mullins who always drinks and say weird things on a megaphone while Lilli Palmer is fantastic as retired actress Zarah Valeska who hosts Hannaford’s party as she talks to the documentary crew about Hannaford. Bob Random is fantastic as Hannaford’s leading man Oscar “John” Dale as a young man Hannaford discovered and cast him for the film only to walk out during production and never return. Oja Kodar is excellent as Hannaford’s unnamed leading lady as this mysterious woman who, like Dale, never speaks throughout the film as she is an object of desire but also something far more intriguing when she appears at the party.
Norman Foster is brilliant as a friend/former child actor of Hannaford who is also an apologist and defender trying to protect his friend’s reputation to a fault while Peter Bogdanovich is amazing as Hannaford’s protégé in filmmaker Brooks Otterlake as a man who worships Hannaford but becomes frustrated by his drinking and lack of progress forcing him to confront the man’s many faults. Susan Strasberg is incredible as film journalist/critic Juliette Riche as a woman who is trying to get some answers from Hannaford about his films as well as try to figure out his newest film which she is seeing for the first time like everyone else. Finally, there’s John Huston in a phenomenal performance as J.J. “Jake” Hannaford as a filmmaker living his final day trying to finish his comeback film and show it to the world while dealing with the lack of funds and support of the film as it’s Huston in one of his finest performance with additional voice-dubbing by his son in actor Danny Huston.
The Other Side of the Wind is a sensational film from Orson Welles. Featuring a great cast, a dazzling mixture of cinematic styles, bizarre mediations of identity and desire, and Michel Legrand’s sumptuous score. It’s a film that is offbeat in its presentation while also challenging in its approach to narrative and ideas about cinema itself. In the end, The Other Side of the Wind is a spectacular film from Orson Welles.
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello
Related: Zabriskie Point - Orson Welles: The One-Man Band – The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
© thevoid99 2018
Based on the novel Addie Brown by Joe David Brown, Paper Moon is the story of a con man who reluctantly teams up with a young girl who could be his daughter as they go on the road to make money. Directed by Peter Bogdanovich and screenplay by Alvin Sargent, the film is a road film of sorts meshed with the caper film set during the Great Depression in Kansas where a man and a young girl team up and con people out of their money. Starring Ryan O’Neal, Tatum O’Neal, Randy Quaid, and Madeline Kahn. Paper Moon is a rich and witty film from Peter Bogdanovich.
The film revolves around a con man who attends a funeral for a woman he knew as he’s asked to take the woman’s daughter to St. Joe, Missouri from Kansas to her aunt as they go on a road trip where they con people and make money. It’s a film that blends all sorts of genres revolving around a man and a nine-year old girl during the Great Depression as they team up to make money and swindle people out of it. It’s an unlikely partnership between two people who don’t really know each other but they end up bringing the best in each other when it comes to making money. Alvin Sargent’s screenplay explore this unique dynamic between the con man Moses “Moze” Pray (Ryan O’Neal) and this young girl named Addie Loggins (Tatum O’Neal) who definitely don’t want to do anything with each other at first though Addie needs a ride to St. Joe, Missouri. Yet, the money that Addie is owed to for the loss of her money would be in Moze’s hands as she wants that money.
Upon realizing what Moze does, she gets in the act of conning people out of money as Moze reluctantly makes her his partner-in-crime where the two create an act of selling bibles to recently-made widows. Addie would learn the trade of swindling people out of money while pretending to be Moze’s daughter as they would make money. The partnership would be threatened in the second act when Moze meets the exotic dancer Miss Trixie Delight (Madeline Kahn) whom Addie doesn’t like as she realizes what Miss Trixie is and how easy it is to con her. One of the Addie’s unique traits about her character is how to read and observe people as it is among her strengths in conning people and helping Moze while Moze is someone that is quite flawed as he’s quite careless in those he con as well as towards Addie at times. The third act isn’t just about the two dealing with failure but also biting more than they can chew when it comes to conning other people.
Peter Bogdanovich’s direction is definitely stylish not just for the fact that it’s shot in black-and-white but it’s also for playing into a period in time that was quite tough but also with a sense of hope. Shot on various locations in Kansas and Missouri, Bogdanovich’s usage of wide shots with the widescreen format definitely capture a great depth of field into the landscape filled with field and some dry locations as well as the way he would shoot characters into a wide shot. Bogdanovich’s usage of medium shots and close-ups would play into the relationship between Moze and Addie where there’s a lot of scenes shot in whatever car they’re in or at a motel room. There are also moments that are quite comical as it relates to the way Addie would help Moze in his scheme or how she would con a cashier over money claiming she gave her a $20 when she really gave her a $5 bill. Bogdanovich would take his time show how Addie would create that scheme as it has this sense of thought and planning as Bogdanovich would shoot things from her perspective and observation.
Another aspect of Bogdanovich’s evocative approach in the direction is where he also play into the things that would play into this kind of rise-and-fall scenario for these two beginning with Moze’s meeting with Miss Trixie. The scenes with Miss Trixie and her maid Imogene (P.J. Johnson) that are very funny where the latter would befriend Addie as she knows what is going on. The third act is a bit darker in terms of the people that Moze and Addie would encounter as well as the fact that the former’s luck and way to charm people doesn’t work as it does add to some reality which includes a chase scene shot in a long dolly-tracking shot. Even as it also play into the developing relationship between Moze and Addie where they find this unlikely dynamic in a father-daughter duo. Overall, Bogdanovich creates a riveting yet lively film about a con man who teams up with a young girl to swindle money out of people during the Great Depression.
Cinematographer Laszlo Kovacs does incredible work with the film‘s black-and-white photography in capturing the beauty of the landscapes as well as the usage of lights and shadows for some of the interior/exterior scenes set at night. Editor Verna Fields does excellent work with the editing as it is largely straightforward with some jump-cuts to play into some of the action. Production/costume designer Polly Platt, with set decorator John P. Austin, does brilliant work with design of the motel sets and some of the props that were used in those times as well as the costumes from the clothes that Addie wears as well as the lavish stuff of Miss Trixie. Sound editors Kay Rose and Frank E. Warner is superb for its low-key and naturalistic sound as it play into some of the events in the location and the humor. The film’s music soundtrack consists of the music of the times like ragtime, country-western, and pop as well as some radio programs from Jack Benny.
The casting by Gary Chason is great as it include some notable small roles and appearances from Randy Quaid as a hillbilly named Leroy, Yvonne Harris as a widow that would pay more money for a bible due to Addie’s suggested fee, James N. Harrell as a minister in the film’s opening funeral scene, P.J. Johnson as Miss Trixie’s young maid Imogene, and John Hillerman in a dual role as a bootlegger and his deputy brother. Madeline Kahn is brilliant as Miss Trixie Delight as an exotic dancer at a carnival who woos Moze and spend his money as this early definition of a gold-digger. Finally, there’s the duo of Ryan and Tatum O’Neal in phenomenal performances as Moses “Moze” Pray and Addie Loggins, respectively. Ryan’s performance as Moze is this man who is quite good at what he does but doesn’t see the big picture as he’s more concerned about making and spending money. Tatum’s performance as Addie is definitely the highlight as she is this young girl that is fully aware of what is going on as she’s much smarter than Moze but is also a troublemaker who likes to smoke cigarettes. The O’Neals together are a joy to watch together in the way bring the best in each other through funny and dramatic moments.
Paper Moon is an outstanding film from Peter Bogdanovich that feature tremendous performances from the real father-daughter duo of Ryan and Tatum O’Neal. Along with gorgeous visuals, Alvin Sargent’s witty screenplay, and a fantastic supporting ensemble cast, it’s a film that showcases what two people could do to make money and bring out the best in each other. In the end, Paper Moon is a spectacular film from Peter Bogdanovich.
Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) - (Directed by John Ford) - The Last Picture Show - (What’s Up Doc?) - (Daisy Miller) - (At Long Last Love) - (Nickelodeon) - (Saint Jack) - (They All Laughed) - (Mask (1985 film)) - (Illegally Yours) - (Texasville) - (Noises Off) - (The Thing Called Love) - (To Sir, with Love II) - (The Price of Heaven) - (Rescuers: Stories of Courage: Two Women) - (Naked City: A Killer Christmas) - (A Saintly Switch) - (The Cat’s Meow) - (The Mystery of Natalie Wood) - (Hustle (2004 film)) - (Runnin’ Down a Dream) - (She’s Funny That Way) - The Great Buster: A Celebration
© thevoid99 2017
Based on the book by Francois Truffaut, Hitchcock/Truffaut is a documentary film about the interview with filmmaker Alfred Hitchcock by Truffaut where the two talked about Hitchcock’s own films during this eight-day interview that Truffaut would make into a book. Directed by Kent Jones and screenplay by Jones and Serge Toubiana, the film is about the meeting that took place that offices of Universal Studios in 1962 where several contemporary filmmakers talk about that meeting and what it meant for the world of cinema. The result is a mesmerizing film from Kent Jones.
In 1962, French filmmaker Francois Truffaut went to Hollywood with a translator to meet the famed British filmmaker Alfred Hitchcock following a series of corresponding letters where Truffaut praised the works of Hitchcock. The meeting that took eight days in the offices of Universal Studios where Truffaut would talk to Hitchcock about all of his films that would later become a book about Hitchcock and his work as a filmmaker. The film isn’t just about the meeting between the two filmmakers but also the book itself as it would be seen as something very influential to other filmmakers who would view cinema as a serious form of art and present Hitchcock as one of the great artists of the 20th Century.
The documentary would inter-cut not just footage from the many films of Hitchcock with some by Truffaut but also pictures of the meeting and interviews of filmmakers who were influenced by the book. From old-school masters such as Martin Scorsese, Paul Schrader, and Peter Bogdanovich to contemporary filmmakers like David Fincher, Wes Anderson, Richard Linklater, James Gray, Olivier Assayas, Arnaud Desplachin, and Kiyoshi Kurosawa, the filmmakers talk about the importance of Truffaut and several other French New Wave filmmakers who didn’t just cite Hitchcock as an influence but also talk about the depth of his work as a filmmaker as they felt audiences didn’t take his craft very seriously and only saw them as just suspenseful entertainment.
The film also features many audio tidbits of the meeting between Hitchcock and Truffaut as well as stories of a friendship that built where the two gave advice to each other about what to do with their respective films. Kent Jones also play into the different periods of Hitchcock’s career and how his work in silent films would do a lot for the films he would make in the emergence of sound. With the aid of editor Rachel Reichman in assembling some of the film footage and some rare footage of Hitchcock working on a film set. Kent showcases the artistry of what Hitchcock was doing with the filmmakers commenting on some of the things he was doing as well as provide discussions on some of his great films like Psycho and Vertigo.
With the aid of cinematographers Nick Bentgen, Daniel Cowen, Eric Gautier, Mihai Malaimare Jr., Lisa Rinzler, and Genta Tamaki as well as a team of sound mixers, many of the interviews are straightforward as it allows the filmmakers to showcase not just their love for Hitchcock and Truffaut but also delve into their reason into Hitchcock’s stature as a prominent artist. The American release features narration by Bob Balaban to discuss many of the aspects of the meeting between Hitchcock and Truffaut while the French release is narrated by Mathieu Almaric. The film’s music by Jeremiah Bornfield is superb for its mixture of orchestral music that play into the events of the meetings while music of the music soundtrack comes from the various films by Hitchcock and Truffaut.
Hitchcock/Truffaut is a remarkable film from Kent Jones. Not only is this a film that fans of cinema would want to see but it also displays something for casual audiences about the power of cinema and how a filmmaker wants to celebrate the work of another by showing the world of that man’s brilliance. In the end, Hitchcock/Truffaut is an incredible film from Kent Jones.
© thevoid99 2016
Based on the novel by Larry McMurtry, The Last Picture Show is the story of a group of teens who deal with their lonely surroundings as they also meet aging souls as they would contemplate their own future. Directed by Peter Bogdanovich and screenplay by Bogdanovich and McMurtry, the film is a look into a world where the old values of America starts to fall apart as it’s set into a small town in the middle of Texas circa 1951. Starring Jeff Bridges, Cybill Shepherd, Timothy Bottoms, Cloris Leachman, Ellen Burstyn, Eileen Brennan, Ben Johnson, Randy Quaid, and Clu Gulager. The Last Picture Show is an entrancing yet somber film from Peter Bogdanovich.
Set in this small yet lonely Texas town in the early 1950s in the span of nearly a year, the film explores the lives of three teenagers as well as various adult figures dealing with their environment in a world that is changing around them. Leading the pack is a high school senior in Sonny Crawford (Timothy Bottoms) who is unsure of what to do after high school as he spends much of his time hanging out at a pool hall, a diner, and other places in his small town with nothing to do. With his friend Duane (Jeff Bridges) and Duane’s rich girlfriend Jacy (Cybill Shepherd), Sonny spends nearly a year trying to figure things out where he has an affair with his coach’s lonely wife Ruth Popper (Cloris Leachman) while Jacy is eager to lose her virginity to Duane while her mother Lois (Ellen Burstyn) warns her about being with someone like Duane. All of which plays into a world of uncertainty in this small town that is just dying.
The film’s screenplay by Peter Bogdanovich and Larry McMurtry explore this world where even though it is set in nearly a year from October of 1951 to September of 1952. It feels like a film that is set into a very different time period where much of the loose morality of the 1960s and early 1970s come into play as Sonny, Duane, and Jacy would all deal with growing pains as they’re eager to leave the small town they’re in. Especially as there’s a world that is filled with so much change that these three want to be a part of but Sonny is still attached to the small town as he is guided by the town’s local figure Sam the Lion (Ben Johnson) who owns the diner, the pool hall, and movie theater that the people often go to. With Duane in tow, Sonny would often get into mischief as it showcases their lack of direction where their friendship would get complicated to do Duane’s immaturity which eventually played into his break-up with Jacy who wanted more.
The script also plays into the role of peer pressure as Jacy is eager to be with the crowd as she would skinny-dip while wanting to lose her virginity so that she can be with a popular boy in school. It would play into her own development as a young woman as she is guided by her mother Lois about the trappings of love affairs and such as well as being with someone like Duane. Yet, Lois is a woman that is lost in her own marriage and affair as it reveals that she did love someone and has regretted leaving that man while Ruth is a woman in an unhappy marriage as she deals with loneliness where Sonny helps her out and lead to their affair. Ruth, Lois, and Jacy are three of four women who play into Sonny’s life as the other is the diner waitress Genevieve (Eileen Brennan) who is a weary observer, like Lois and Sam, that has seen a lot in the small town and knows what is going on as she would also guide Sonny into finding his way. Even if it means leaving the small town that he has lived for all of his young life.
Bogdanovich’s direction opens and ends with this eerie image of the small Texan town where it feels like a ghost town with hard winds being heard and tumbleweeds passing by. It sets the tone of a film where it has this feel of aimlessness but also something that is quite entrancing where it is set in a crucial moment in time where everything is black-and-white with little contact of the world outside of this small town. Bogdanovich creates some unique shots to play into this emergence of a new world of sexuality that is emerging where Jacy is quite hesitant in some parts of the film but is also eager to fit in with the crowd such as the skinny dipping sequence. There’s also some very chilling scenes where Sonny, Duane, and their friends try to get the mute boy Billy (Sam Bottoms) to lose his virginity to a prostitute as it starts off comically but ends up being very somber where Sonny and his friends feel bad about what happened with Duane not owning up to his mistake.
Much of the direction is shot with some unique wide shots and some medium shots plus a few close-ups to play into the drama that is unfolding as Sonny deals with growing pains and temptation as it concerns Jacy. Especially as things become much grimmer in its third act as parts of this small town is starting to die while the sense of uncertainty starts to loom. Much of it would include some revelations about the town and the people that Sonny has known where he isn’t sure if he has to escape or just be part of it for good. Overall, Bogdanovich creates a very haunting yet intoxicating film about a group of people living in a desolate town in the middle of Texas.
Cinematographer Robert Surtees does brilliant work with the film‘s black-and-white photography as it has this very timeless look to the film where it plays into that sense of a ghost town in its location in Texas as well as some unique lighting schemes and such to play into the mood of the drama. Editor Don Cambern does excellent work with the editing as it features bits of stylistic uses of jump-cuts and dissolves to play into the sense of dramatic energy in the film as well as the sense of aimlessness.
Production/costume designer Polly Platt and art director Walter Scott Herndon do amazing work with the set pieces from the look of the town in its desolate setting as well as the pool hall and movie theater while the costumes are terrific to play into the personality of the characters. Sound editor James M. Falkinburg does superb work with the sound from the way wind sounds to some of the moments in the film’s locations along with the film’s music as much of it is played on location as it features pieces by Hank Williams and other artists in country and pop music of the times.
The casting by Ross Brown is fantastic as it features some notable small roles from Sharon Taggart as Sonny’s girlfriend Charlene early in the film, Bill Thurman as Ruth’s husband, Gary Brockette as the popular senior Bobby that Jacy wants to be with, Sam Bottoms as the mute boy Billy that always hung around Sonny and Sam the Lion, Clu Gulager as Lois’ lover Aibilene who would later meet Jacy in a very haunting moment, and Randy Quaid as a rich kid named Lester who would take Jacy to the skinny-dipping party. Eileen Brennan is excellent as the kind-hearted waitress Genevieve who often serves Sonny and the other locals as she would help Sonny around and give him some guidance and food. Ellen Burstyn is superb as Jacy’s mother Lois who tries to warn her daughter about dating someone like Duane as she is embroiled in an empty affair of her own as she comes to term with her own regrets and what she doesn’t want her daughter to do.
Ben Johnson is amazing as the town leader Sam the Lion as this old man that had seen everything as he also displays some sentimentality about how simple things were in the past as he is aware of changing times as he guides Sonny into doing what is right. Cloris Leachman is radiant as the lonely housewife Ruth Popper as this middle-aged woman who has been neglected and depressed as she finds solace in the company of Sonny as there is a moment at the end of the film that is just astonishing as she is just riveting to watch. Cybill Shepherd is brilliant as Jacy Farrow as this young woman who is eager to fit in with the rest of her classmates as she is in love with Duane while becoming frustrated with her lack of prospects as she tries to come to terms with what she wants to do with her life.
Jeff Bridges is superb as Duane as an aloof young man who likes to party and such as he has very little idea into what Jacy wants while being forced to grow up and think about his own future. Finally, there’s Timothy Bottoms in an incredible performance as Sonny Crawford where Bottoms brings a boyish quality to a young man unsure of what to do as he begins an affair with a middle-aged woman while dealing with the tasks he’s given as well as temptation as it’s a truly mesmerizing performance from Bottoms.
The Last Picture Show is a tremendous film from Peter Bogdanovich. Featuring a brilliant ensemble cast as well as an astonishing look and presentation, it’s a film that explores a world that is truly American but cut-off from the rest of the country. Especially in a world that is changing where the youth of this small town is forced to make decisions about what to do with this new world that is emerging. In the end, The Last Picture Show is a phenomenal film from Peter Bogdanovich.
Peter Bogdanovich Films: Targets - (Voyage to the Planet of Prehistoric Women) - (Directed by John Ford) - (What’s Up Doc?) - Paper Moon - (Daisy Miller) - (At Long Last Love) - (Nickelodeon) - (Saint Jack) - (They All Laughed) - (Mask (1985 film)) - (Illegally Yours) - (Texasville) - (Noises Off) - (The Thing Called Love) - (To Sir, with Love II) - (The Price of Heaven) - (Rescuers: Stories of Courage: Two Women) - (Naked City: A Killer Christmas) - (A Saintly Switch) - (The Cat’s Meow) - (The Mystery of Natalie Wood) - (Hustle (2004 film)) - (Runnin’ Down a Dream) - (She’s Funny That Way) - The Great Buster: A Celebration
© thevoid99 2014
Originally Written and Posted at Epinions.com on 11/29/07 w/ Additional Edits & Revisions.
Written and directed by Zoe Cassavetes, Broken English tells the story of a thirty-something woman living in Manhattan who tries to find love in all the wrong places. After meeting a Frenchman, her life changes as she looks back at her own love life and her own role. The film is an exploration of a young woman trying to find herself and deal with loneliness as well as the possibilities of true love. Starring Parker Posey, Melvil Poupaud, Drea de Matteo, Justin Theroux, Josh Hamilton, Peter Bogdonavich and Rowlands. Broken English is a sweet and charming film from Zoe Cassavetes.
Nora Wilder (Parker Posey) is a thirty-something hotel relations manager living in New York City. While her best friend Audrey (Drea de Matteo) is happily married to Mark (Tim Guinee), Nora however still hasn't had a long-lasting relationship as her mother Vivien (Gena Rowlands) and step-father Irving (Peter Bogdonavich) are worried. Then one day while working at her hotel, she meets an actor named Nick Gabel (Justin Theroux) who asked her out on a date. She says yes but immediately, it becomes another first date that ends with her sleeping with a man and then, that is it with nothing continuing. Even after she learns that he has a girlfriend. When her mother sets her up to date Charlie (Justin Hamilton), the son of her mother's friend, it starts off well until his ex-girlfriend Jennifer (Caitlin Keats) showed up and the date becomes a disaster.
Finally deciding to swear off all of these bad relationships and one-night stands, Nora reluctantly attends the party of her of workers at the hotel named Glen (Michael Panes). There, she meets a charming Frenchman named Julien (Melvil Poupaud) who flirts with her while not wanting to leave her side. The shy, despondent Nora is amazed by the quirky, charming Julien who is more upbeat than her where for the next three days, they enjoy a long date that broke all of the rules. Though an encounter with an ex-boyfriend occurred, it nearly shatters this relationship that starts to build things up as Julien has to return to Paris since he's only in New York City to work on a film. On their final day, he leaves her his number as she returns to her depressed state of mind. While starting to miss Julien, Audrey's marriage is starting to crumble with Mark's work as a film director has become busy.
Deciding to go to Paris to send packages to a couple of friends of Nora's mother, Nora and Audrey take the Paris trip as an escape from their problems. Nora hopes to find Julien while Audrey realizes her crumbling marriage after a lunch with a man (Thierry Hancisse) who was waiting for one of the packages. The two ponder their own roles as Nora decides to look at Paris for herself while continuing her desperate search for Julien.
While the film is essentially a romantic comedy on some aspects, it's really a fresh take on the genre since it's based from the perspective of a woman. Writer/director Zoe Cassavetes really goes for study of this woman whose life is at a turning point while realizing her own failures into relationship until she meets this charming Frenchman. While some audiences might compare this to Sex & the City, the HBO TV series, it lacks the show's humor and charm where Cassavetes instead just goes for a study of romance and loneliness. While the story and character development is strong, it does have a few flaws where it starts off a bit slow and does lack a bit of originality. Particularly the ending that is similar to an ending from another romantic film a few years ago.
Still, Cassavetes observant direction that very stylized works to convey the story while the humor is subtle. The film that is shot both on location in NYC and Paris show the film's different atmospheres and its similarities. Cassavetes goes for that improvisational, verite style that her father's made famous for with some great compositions and scenery of both cities. Cassavetes uses close-ups and movements to convey what the characters are going through and such without any kind of overly-dramatic style that would've ruined the film. Overall, Cassavetes creates a charming, witty little romantic comedy that has style and passion.
Cinematographer John Pirozzi does some fantastic work with the film's exterior shots while the interiors are wonderful to convey the sense of intimacy that Nora and Julien are in during their dates and such. Editor Andrew Weisblum does some fine, cutting style that is more in tradition with French New Wave style that is energetic while not being too fast as it helps the film's pacing for the second and third act. Production designer Happy Massee and art director Peter Zumba does a great look of posh New York City as well as upper-middle class NYC residents with its beds, furniture, and such including the stuff in Paris. Costume designer Stacey Battat costumes are wonderfully stylish with vintage clothing, Fedora hats, and such to convey the world that is New York and Paris. Sound editor Stephen Barden does excellent work in creating the differing atmospheres of both NYC and Paris where the former is a bit chaotic that contrasts with the latter's calmness.
The music by Scratch Massive is very electronic-driven with old-school synthesizers to convey the world of both NYC and Paris in all of its artistry. The soundtrack also includes cuts by Pharcyde and Scratch Massive doing a cover of Marianne Faithful's classic song Broken English from that seminal 1979 of the same name.
The film's casting is wonderful with notable small appearances from Dana Ivey as a friend of Vivien, Michael Panes, Caitlin Keats, Bernadette Lafont as a woman Nora meets in Paris, Thierry Hancisse, Tim Guinee Josh Hamilton, and iconic director Peter Bogdonavich in small, memorable performances. Justin Theroux is great as Nick Gable, an actor who has charms and such while is a bit of an egomaniac as he's a caricature of a lot of actors. Gena Rowlands is excellent as Nora's mother Vivien who ponders what is going on with today's women while trying to help Nora find love in times that she thinks is much tougher. Drea de Matteo is great as Audrey, Nora's best friend who is trying to deal with her crumbling marriage while looking for some escape from her problems in Paris.
Melvil Poupaud is brilliant as Julien, the quirky, charming good man who is passionate about life while trying to help Nora get out of her funk as he guides her into something more lively. Poupaud's performance is fun to watch as he and Posey have great chemistry while speaking English very well as the French actor is still a marvel to watch following his recent appearance in Francois Ozon's 2005 film Time to Leave. Parker Posey is radiant as Nora Wilder. The iconic indie actress definitely gives a performance that reminds her fans of her brilliance in mixing drama as well as her sharp humor that is quintessential Posey. Posey not only brings sympathy to a woman that probably some 30-year old women could relate to while developing from this melancholic person to a woman wanting to break out of her funk. It's Posey at her finest.
Broken English is a fantastic film from film Zoe Cassavetes that features incredible performances from performances of Parker Posey and Melvil Poupaud. Fans of romantic comedies will find something refreshing to this gem while fans of Parker Posey will no doubt enjoy Posey in one of her finest performances. In the end, Broken English is a superb film from Zoe Cassavetes.
© thevoid99 2014
Directed by Noah Baumbach and written by Baumbach, Carlos Jacott, and Christopher Reed, Highball is the story about a newlywed couple who decide to throw parties in order to improve their social lives in the course of an entire year. The film is a look into the world of marriage and friendships as they‘re tested in a trio of parties where things happen in weird ways. Starring Justine Bateman, Peter Bogdanovich, Dean Cameron, Chris Eigeman, Eric Stoltz, Annabella Sciorra, and Christopher Reed. Highball is a messy and incomprehensible film from Noah Baumbach.
The film revolves around the lives of a newlywed couple in Travis (Christopher Reed) and Diane (Lauren Katz) as they decide to throw parties in the course of a year in order to improve their social life with their friends. Instead, things go wrong in a trio of parties where there’s some spats, misunderstandings, discussions that go horrible wrong, and all sorts of confusion while one of the guests in Darien (Eric Stoltz) is always bringing a date who is a famous actress. The screenplay that Noah Baumbach, Christopher Reed, and Carlos Jacott explore the idea of these parties where everyone is eager to have a good time but something always go wrong. Things get messier and weirder where couples break up, a guest always instigate things, and there’s always something to make things even worse.
Baumbach’s direction is very intimate as he sets the film entirely in an apartment in Brooklyn where people are always gathering around to socialize and do things. Shot in six days with leftover film stock, the direction is quite loose while Baumbach would insert scenes of the New York City streets in between each segment of the film that is wonderfully edited with dissolves and such. The rest of the film itself unfortunately meanders where there’s gags involving a record company employee named Miles (John Lehr) and his boss (Chris Eigeman) while a guest named Felix (Carlos Jacott) spars with another guest (Noah Baumbach). There are moments that are funny including a guest (Peter Bogdanovich) making various impressions but it starts to lose its luster by the third act and things get more ridiculous as things wore on. Overall, Baumbach creates a very troubled and often dull micro budget film that really isn’t sure what it wants to be.
Cinematographer Steven Bernstein does nice work with the cinematography where it does have some grainy camera work for many of the film‘s interior settings to capture the mood of the parties. Production designer Shanya Tsao does terrific work with the design of the parties to play up the holiday or theme of the parties. Costume designer Katherine Jane Bryant does wonderful work with the costumes including the designs of the Halloween costumes the guests wear at the party. Sound editor Jason Kaplan does excellent work with the sound to capture the atmosphere of the parties as well as some of the backdrops of conversations heard in the background. Music supervisor Dean Wareham creates a fine soundtrack that features some of his own music plus some dreamy folk songs of his own including a few stuff played in the parties.
The film’s cast is a highlight of the film as it features appearances from Ally Sheedy and Rae Dawn Chong as themselves who are dates of Darien, Louise Stratten as a woman dressed up as a subway train, Catherine Kellner as a party guest dressed up as Dorothy from The Wizard of Oz, Dean Cameron as a magician in the first party, Dean Wareham as a guest in the New Year’s Eve party, and Peter Bogdanovich as a guest who dresses up as a director in the Halloween party while doing many impressions of famous actors from the past.
Other small roles include Justine Bateman as the guest Sandy who is a friend of Diane, Annabella Sciorra as another friend of Diane in Molly, John Lehr as the somewhat dim-witted Miles, Noah Baumbach as the low-key yet smart-ass Philip, Chris Eigeman as Miles’ annoyed boss Fletcher, and Carlos Jacott as the very brash and pushy Felix. Lauren Katz is very good as Diane as a woman trying to get the party right while being frustrated by Felix while Christopher Reed is excellent as Travis who is a friend of Felix but couldn’t get anything through to Diane because he never tells her anything.
Highball is a drab yet disappointing film from Noah Baumbach. While it features themes about adulthood that he’s known for, it’s a film that gets bogged down by too many things happening where not much makes sense. Though it does have moments that are funny and is a bit impressive in terms of the small budget it has. It’s a film that really doesn’t offer much as it gets too repetitious at times while some of the characters don’t become interesting anymore. In the end, Highball is a disappointing yet dull film from Noah Baumbach.
Noah Baumbach Films: Kicking and Screaming - Mr. Jealousy - The Squid & the Whale - Margot at the Wedding - Greenberg - Frances Ha - While We’re Young - Mistress America - De Palma - The Meyerowitz Stories (New and Selected) - Marriage Story - (White Noise (2022 film)) - The Auteurs #41: Noah Baumbach
© thevoid99 2013
