Based on the novel My Abandonment by Peter Rock, Leave No Trace is the story of a PTSD war veteran who lives in the woods with his teenage daughter as they hide from society until they’re found as they struggle to adjust with the modern world. Directed by Debra Granik and screenplay by Granik and Anne Rosellini, the film is an exploration of a father trying to protect his daughter from the horrors of modern-day society as well as trying to find a place they can call home. Starring Ben Foster, Thomasin McKenzie, Jeff Kober, and Dale Dickey. Leave No Trace is a rapturous and somber film from Debra Granik.
The film is the simple story of a PTSD war veteran who lives in seclusion in the woods with his daughter as they are eventually found and taken into the modern world as the man struggles with his new surroundings though his daughter is intrigued by it. It’s a film with a simple premise as screenwriters Debra Granik and Anne Rossellini as there isn’t a lot of heavy dialogue in favor of its main protagonists in Will (Ben Foster) and his daughter Tom (Thomasin McKenzie) just living their life in the woods as the first act is about their life in the woods and how Will makes money to get supplies as it involves him and Tom going into the city where Will gets meds and sell them to the other troubled veterans. When Tom is accidentally discovered by a hiker, everything changes as the second act has the two evaluated and given a home where Will begrudgingly works for a Christmas tree farmer. It is there where Will and Tom’s relationship changes as the latter slowly befriends people and finds a community but Will’s own troubles forces them to flee as uncertainty becomes the norm. Even as Will and Tom struggle to find a new home despite the latter’s need for stability.
Granik’s direction is entrancing for not just the visuals she creates but also in the atmosphere she maintains in this battle of nature vs. the modern world as a backdrop between the relationship between father and daughter. Shot largely on location in Oregon with Portland being the city, the film does use a lot of wide shots not just to establish the locations but also in creating some unique compositions as it relates to the disconnect between Will and Tom and their own encounter with society. Even as it play into the growing separation between father and daughter as it relates to their encounter with the world. Granik also brings some intimacy into the medium shots and close-ups as the latter help play into the sense of fear and uncertainty that Will and Tom would face. Even as they also try to adjust to living at home where Will becomes uneasy with his new surroundings that includes a shot of a helicopter flying above him carrying trees.
Granik also maintains that atmosphere during the second act where Will and Tom return to their old home only to realize it’s gone while other people who were living nearby also lose their homes. Granik maintains that realism into the struggle to find a home within the woods away from modern society and cities but there is also this uncertainty into what they will find. The film’s third act has Granik showcase an alternative where Will and Tom don’t have to be in society but also a place that is stable and with a community of its own. It is a community that does feel like it isn’t totally disconnected from the modern world but offers a haven for someone like Will who continues to struggle with PTSD. Yet, Granik focuses on this father/daughter relationship that is trying to stay together but there are things that Will is unable to handle while Tom is eager to be part of something as its ending is about a father and daughter making a decision about the future and salvation for both of them. Overall, Granik crafts a heart-wrenching yet riveting film about a father-and-daughter trying to live their life away from the trappings of modern society.
Cinematographer Michael McDonough does brilliant work with the film’s cinematography with its approach to natural lighting for many of the daytime exterior scenes with a few filters for some of the scenes set in the rain along with low-key lighting for some of the interior scenes. Editor Jane Rizzo does excellent work with the editing as it is largely straightforward with a few jump-cuts for dramatic purposes as well as rhythmic cuts to play into the reaction of the characters. Production designer Chad Keith, with set decorator Vanessa Knoll and art director Jonathan Guggenheim, does amazing work with the look of the home that Will and Tom lived in at the woods as well as the house they would briefly stay in as it play into the contrast of the two worlds they encounter.
Costume designer Erin Aldridge Orr does fantastic work with the costumes as it is largely straightforward with casual clothes including knitted clothing and hats that both Will and Tom wear. Sound editor Damian Volpe does superb work with the sound to maintain that air of natural atmosphere of the locations in the woods as well as the chaotic sounds of the city. The film’s music by Dickon Hinchliffe is incredible for its rich mixture of folk and ambient music as it play into the air of uncertainty and drama that Will and Tom endure in their journey while music supervisor Susan Jacobs provide a soundtrack that features elements of folk and indie that feature contributions from Michael Hurley and Marisa Anderson who both appear in the film as musicians in the film’s third act and Kendra Smith with a song that appears in the film’s final credits.
The casting by Kerry Barden, Simon Max Hill, and Paul Schnee is wonderful as it feature some notable small roles from Isiah Stone as a teenage farm boy that Tom befriends, Derek John Drescher as a homeless veteran Will does business with, Michael Prosser as Will’s social worker, Dana Millican as Tom’s social worker, David M. Pittman as a former Army medic in the film’s third act that helps Will, Jeff Kober as a tree farm owner, and Dale Dickey in a terrific small role as a trailer park owner in the film’s third act who helps Will and Tom find a new home as well as a stable lifestyle. Finally, there’s the duo of Ben Foster and Thomasin McKenzie in phenomenal performances in their respective roles as Will and Tom. Foster brings that ragged tone to his character that is full of anguish and regret as a man that is trying to live away from society as he is unable to handle with a lot of the things that hurts him. McKenzie’s performance is the most revelatory as this young woman who had little encounter with the outside world and society yet finds some of its value as it relates to community and a sense of belonging. Even as she manages to be natural in her reaction to things while she has a great rapport with Foster as it adds to the understated tone of her performance.
Leave No Trace is a magnificent film from Debra Granik that features tremendous performances from Ben Foster and Thomasin McKenzie. Along with its ensemble cast, gorgeous visuals, minimalist story, a somber music score, and a study of a father/daughter relationship against the ideas of the modern world. It’s a film that explore two people living away from the trappings of society as they later cope with the modern world and what it would offer with one struggling to be part of and another wanting to be part of it. In the end, Leave No Trace is an outstanding film from Debra Granik.
Debra Granik Films: Down to the Bone - Winter's Bone - (Stray Dog (2014 film))
© thevoid99 2020
It’s August which means that it’s time once again the annual Against the Crowd Blog-a-thon hosted by Wendell of Dell on Movies . Having participated in this event for the past five years, it’s a chance to go against everyone and be on your own as it’s something I like to do as my contributions in these past years have been really fun as anyone who hasn’t participated should cite my contributions from 2015 , 2016 , 2017 , 2018 , and 2019 . Here are the rules with a few updates for this year’s edition:
• Pick one movie “everyone” loves (the more iconic, the better). That movie must have score of 75% or more on rottentomatoes.com (or at least 7.5 on imdb.com). Tell us why you hate it.
• Pick one movie that “everyone” hates (the more notorious, the better). That movie must have a score of 35% or less on rottentomatoes.com (or 4.0 or less on imdb.com). Tell us why you love it.
• Include the tomato meter scores of both movies.
• Use one of the banners in this post, or feel free to create your own (just include all the pertinent details), or just mention this blogathon if using an audio or visual medium.
• Let us know what two movies you intend on writing, vlogging, posting, or podcasting about in one of the following ways: Comment on this or any ACB 2020 post on this site, tweet me @w_ott3, or e-mail me at dellott@yahoo.com.
• Publish your post on any day from Friday, August 21 through Sunday, August 23, 2020, and include a link to this announcement. If you’re a podcaster or YouTuber that is interested in participating just talk about your chosen movies during your closest podcast and/or video to those dates and mention that you are taking part in this blogathon.
• If posting on social media, use the hashtag #AgainstTheCrowd2020
I don’t understand the adulation that James L. Brooks have other than his work as a producer as he does deserve some praise for his work on television as shows like The Mary Tyler Moore Show , The Simpsons , Taxi, and other shows while launching the careers of filmmakers such as Wes Anderson and Cameron Crowe. Other than that, why do people think he’s a big deal in the world of film? He’s only made one film that I liked that is Broadcast News which was a different film in comparison to everything else he did. Other than that, a lot of them have a lot of overwrought sentimentality that is just sappy and manipulative. He’s only made six films in his career so far yet half of them have not been well-received as the last film he did in How Do You Know was trashed by the critics and was a massive box office flop. Spending $120 million for a lame rom-com plus $30 million in marketing is just irresponsible.
Having already trashed As Good As It Gets back in 2016, it’s time to trash the film that made him famous and won a bunch of Oscars including Best Picture. It’s a drama about a relationship between mother and daughter that spans for 30 years as it is full of drama and all sorts of shit with Shirley MacLaine being possessive prompting her daughter in Debra Winger to rebel and wanting a life of her own despite the fact that the man she married is a total pussy and cheats on her as she would cheat on him. MacLaine would go into a relationship with Jack Nicholson that is all over the place where it wants to be funny but the humor feels forced while it gets extremely sappy towards the end. This is the film that beat The Big Chill and The Right Stuff for Best Picture and Brooks beat the likes of Ingmar Bergman and Mike Nichols for Best Director? Oscars definitely fucked up that year.
In his lifetime, Chris Farley has only been in two films that were well-received as a lot of the films he did weren’t exactly favorites with the critics though there were a few that did like his approach to physical comedy. Yet, the characters he played are these naïve, well-meaning, underachieving slackers who are actually kind people despite the fact they also have a temper. Farley knew his limits but he was good at what he did and knew how to bring the laughs. In this 1997 film directed by Dennis Dugan who also had a career of poorly-received films despite such films like Problem Child , Brain Donors , Happy Gilmore , Big Daddy , and Saving Silverman that are actually really good films. This film about a white orphan boy who is raised by ninjas as he is eager to be this legendary Great White Ninja yet also aspires to be revered like his adopted older brother. When an American woman comes to the monastery asking for help, Farley travels to Beverly Hills to help her and hilarity ensues.
The film also features Chris Rock as a bellboy who is amazed by Farley’s ninja skills as he is eager to become a ninja as the scenes with Farley and Rock are a joy to watch while Robin Shou does a great supporting performance as Farley’s adopted older brother who is surprisingly quite pretty when he’s dressed up like a woman. The laughs never stop as it often finds a way to be funny with Farley also showing he has range as he is someone that knows that he’s not as skilled as other great ninjas but has a lot of heart. It’s a film that needs to be re-evaluated yet it does get praise from one of cinema’s great actors in Christian Bale.
© thevoid99 2020
In the 34th week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into female buddy movies where it’s about the ladies and them being sisters to one another. Even if they had to involve themselves in misadventure and chaos. Here are my three picks:
1. Daisies
The 1960s saw a new wave of films from Czechoslovakia that was known as the Czech New Wave as this film is one of its pillars. A story about two young women just causing all sorts of crazy-ass shit as a way to rebel against society is just absolutely insane from start to finish. Yet, Vera Chytilova just lets the absurdity go all out and there is never a dull moment in the film at all. Even when things slow down, it never stops the fun as it’s a film that a lot of people need to see.
2. Modern Girls
An underrated film from the 1980s by Jerry Kramer, the film revolves around a night where three young women go clubbing as one of them wants to find a rock star while another stands up a date with a nice guy. It is a film of its time yet the performances of Cynthia Gibb, Virginia Madsen, and Daphne Zuniga as well as Clayton Rohner in a dual role as the rock star and the nice guy do keep it engaging. Even as it features an amazing music soundtrack from acts like Icehouse, Toni Basil, the Jesus & Mary Chain, and Depeche Mode.
3. Dick
Andrew Fleming’s 1999 film about two teenage girls who play a role in the Watergate scandal is probably one of the strangest films in the 20th Century that explore the world of political scandals. Though the identity of Deep Throat has been unveiled, the idea that two dim-witted teenage girls in Kirsten Dunst and Michelle Williams being Deep Throat is hilarious. Yet, Dunst and Williams really maintain that air of exuberance and joy while the film features Dan Hedaya in probably the most definitive performance of Richard Nixon while the ensemble that features Will Ferrell and Bruce McCullough respectively as Woodward and Bernstein, Jim Breuer as a guilt-ridden John Dean, Harry Shearer as G. Gordon Liddy, Dave Foley as Bob Hadleman, and a young Ryan Reynolds. It's just a joy from start to finish as it does create a valid explanation about the missing 18 ½ minutes of tape that Nixon erased.
© thevoid99 2020
Written, scored, edited, directed, and co-starring Charles Chaplin, Pay Day is the story of a laborer who tries to use his wages to get a drink as he deals with his wife taking some of the wages he makes. The 28-minute silent comedy has Chaplin play the role of the Tramp as he tries to cope with his job and life at home. Also starring Edna Purviance, Mack Swain, Syd Chaplin, and Phyllis Allen. Pay Day is a wondrous and entertaining film from Charles Chaplin.
The film follows the day in the life of a laborer in the Tramp as he is late for work as he does what he can to get his daily wages in the hopes of not having to give any to his cruel wife (Phyllis Allen). It’s a film with a simple premise as the Tramp would do his job while he fawns over the foreman’s daughter (Edna Purviance) who eats lunch with her father Mack Swain). Still, Chaplin does play into the Tramp’s attempt to find some joy in his dreary life as it’s the wages that allows him the chance to be happy for a brief moment despite the fact that his wife would take much of it. Yet, the Tramp would get the chance to drink with his co-workers but would have trouble trying to get home.
Chaplin’s direction not only has him creating some unique gags and compositions that help play into the humor. Much of the compositions are straightforward with a lot of usage of medium shots to get coverage of the location as well as a gag one of which involves an elevator where the Tramp tries to a bit of lunch. Another gag has Chaplin looking over his wages and hiding them unaware that his wife is behind him as it play into the dynamic of his relationship with his wife. Chaplin would get some camera movement for a sequence of the Tramp trying to catch a street car as it showcased some of the obstacles his character would go through. Also serving as editor and music composer, Chaplin keeps the cutting straightforward while the score (that he created in the 1970s) has this playful tone that help add to the humor with its usage of woodwinds and strings. Overall, Chaplin creates an engaging and joyful film about a tramp trying to make an honest day’s work despite the drawbacks in his life.
Cinematographer Roland Totheroh does brilliant work with the film’s black-and-white photography in capturing the richness of the exterior scenes at night as well as in the chase with its usage of available light. Art director Charles D. Hall does excellent work with the look of the construction site as well as the home the Tramp and his wife live in. The film’s marvelous as it feature some notable small roles from Sydney Chaplin in a trio of roles as a mustached workman, a friend of the Tramp, and a lunch cart owner, Henry Bergman as a fat workman, Al Ernest Garcia in a dual role as a tall workman and a police officer, Edna Purviance as the foreman’s daughter whom the Tramp is smitten with, Mack Swain as the pushy foreman, and Phyllis Allen as the Tramp’s cruel wife. Finally, there’s Chaplin in an incredible performance as the Tramp as a laborer trying to make an honest day’s work yet arrives late and often creates chaos without meaning to as he also wants to find some joy endures trouble in his journey to return home.
Pay Day is a remarkable film from Charles Chaplin. Featuring some great visual gags, funny performances from its cast, and a simple yet effective story about the day in the life of a laborer. It’s a film that has Chaplin play into his approach to physical humor and gags while showcasing the struggles of a laborer through his famed Tramp character. In the end, Pay Day is an incredible film from Charles Chaplin.
Charles Chaplin Films: (Twenty Minutes of Love) - (Caught in the Rain) - (A Busy Day) - (Her Friend the Bandit) - (Mabel’s Married Life) - (Laughing Gas) - (The Face On the Bar Room Floor) - (Recreation) - (The Masquerader) - (His New Profession) – The Rounders (1914 film) - (The Property Man) - (The New Janitor) - (Those Love Pangs) - (Dough & Dynamite) - (Gentlemen of Nerve) - (His Musical Career) - (His Trysting Place) - (Getting Acquainted) - (His Prehistoric Past) - (His New Job) - (A Night Out) - (The Champion) - (In the Park) - (A Jitney Elopement) - (The Tramp) - (By the Sea (1915 film)) - (His Regeneration) - (Work (1915 film) - (A Woman) - (The Bank) - (Shanghaied) - (A Night in the Snow) - (Burlesque on Carmen) - (Police (1916 film)) - (Triple Trouble) - (The Floorwalker) - (The Fireman) - (The Vagabond) - (One A.M. (1916 film)) - (The Count) - (The Pawnshop) - (Behind the Screen) - (The Rink) - (Easy Street) - (The Cure (1917 film)) - (The Immigrant (1917 film)) - (The Adventurer) – A Dog's Life - (The Bond) – Shoulder Arms - Sunnyside - A Day's Pleasure - (The Professor) – The Kid (1921 film) - The Idle Class - The Pilgrim (1923 film) - A Woman of Paris - The Gold Rush - The Circus (1928 film) - City Lights - Modern Times - The Great Dictator
- Monsieur Verdoux - Limelight - A King in New York - (A Countess from Hong Kong)
© thevoid99 2020
Written, edited, directed, and co-starring Charles Chaplin, The Rounders is the story of two drunks who get into trouble with their wives as they decide to cause trouble. The sixteen-minute film is a silent comedy that has Chaplin and co-star Roscoe “Fatty” Arbuckle be two men who decide to stay away from their wives because of their drunken behavior. Also starring Phyllis Allen and Minta Durfee. The Rounders is a whimsical and enjoyable film from Charles Chaplin.
The film is the simple story of two men who are both drunk as they bring nothing but disappointment to the wives as they decide to hang out and get drunk. That is the plot as a whole as it just plays into two men who just want to drink and that’s it while they’ve managed to upset their wives who learn that their husbands have stolen their money just so they can have a drink. Charles Chaplin’s direction is largely straightforward as it’s just a simple static shot where there are no camera movements as everything is presented in a medium shot that allows Chaplin to get coverage of a room or location as well as a physical comedic set-up.
With the aid of cinematographer Frank D. Williams shooting the film’s black-and-white film stock, Chaplin maintains this air of controlled chaos in the film as it play into the physical humor and the outcome of these two drunks. Despite the appearance of a man in black face, Chaplin does maintain a sense of exuberance in his humor where he allows Phyllis Allen and Minta Durfee in their respective roles as Chaplin and Arbuckle’s wives to be funny as the film does belong to both Charles Chaplin and Roscoe Arbuckle maintain that sense of physicality in their approach to comedy with Chaplin often being the one being dragged and Arbuckle as the heavy.
The Rounders is an excellent film from Charles Chaplin. Featuring some amazing hijinks and comedy from Chaplin and Roscoe Arbuckle, it’s a silent comedy that has the actors play to their strengths as well as telling a simple story about two guys just wanting to get drunk. In the end, The Rounders is a fantastic film from Charles Chaplin.
Charles Chaplin Films: (Twenty Minutes of Love) - (Caught in the Rain) - (A Busy Day) - (Her Friend the Bandit) - (Mabel’s Married Life) - (Laughing Gas) - (The Face On the Bar Room Floor) - (Recreation) - (The Masquerader) - (His New Profession) - (The Property Man) - (The New Janitor) - (Those Love Pangs) - (Dough & Dynamite) - (Gentlemen of Nerve) - (His Musical Career) - (His Trysting Place) - (Getting Acquainted) - (His Prehistoric Past) - (His New Job) - (A Night Out) - (The Champion) - (In the Park) - (A Jitney Elopement) - (The Tramp) - (By the Sea (1915 film)) - (His Regeneration) - (Work (1915 film) - (A Woman) - (The Bank) - (Shanghaied) - (A Night in the Snow) - (Burlesque on Carmen) - (Police (1916 film)) - (Triple Trouble) - (The Floorwalker) - (The Fireman) - (The Vagabond) - (One A.M. (1916 film)) - (The Count) - (The Pawnshop) - (Behind the Screen) - (The Rink) - (Easy Street) - (The Cure (1917 film)) - (The Immigrant (1917 film)) - (The Adventurer) – A Dog's Life - (The Bond) – Shoulder Arms - Sunnyside - A Day's Pleasure - (The Professor) – The Kids (1921 film) - The Idle Class - Pay Day – The Pilgrim (1923 film) - A Woman of Paris - The Gold Rush - The Circus (1928 film) - City Lights - Modern Times - The Great Dictator - Monsieur Verdoux - Limelight - A King in New York - (A Countess from Hong Kong)
© thevoid99 2020
Directed by Nicolas Roeg and written by Terry Johnson that is based on the play by the latter, Insignificance is the story of a meeting between four famous figures in a hotel room in New York City in the year 1954 as they all deal with fame and such. The film is an exploration of four famous people who deal with their own celebrity as none of them are named by who they are as they all talk about their own world inside a hotel room. Starring Gary Busey, Michael Emil, Theresa Russell, Will Sampson, Patrick Kilpatrick, and Tony Curtis. Insignificance is a rapturous and enthralling film from Nicolas Roeg.
Set during a day at a hotel in New York City in 1954, the film revolves around four iconic figures who all meet at a hotel room as they all discuss themselves and their contributions to the world. It’s a film with a simple premise as it revolve around these four people as they would all meet at the hotel room of one of the film’s protagonists in the Professor (Michael Emil). Terry Johnson’s screenplay play into this period that spans nearly 24 hours as it has the Professor going over notes as he would meet with the Senator (Tony Curtis) while the Actress (Theresa Russell) is making a movie while her husband in the Ballplayer (Gary Busey) watches with disdain. Later on as the Senator goes into his room at the hotel after a discussion with the Professor doesn’t go well as he planned. The Actress would meet the Professor as it would lead to discussions of existence as the Ballplayer and the Senator would later join in as the script has these four characters plus an elevator attendant known as the Indian (Will Sampson) be part of this sociological experience on existence.
Nicolas Roeg’s direction is definitely stylish in the fact that much of the action takes place inside a hotel and a hotel room as much of the film is shot inside a studio soundstage in Wembley. While there are some exterior shots of New York City, the film is more about four people often engaging in conversations in a hotel room with recurring flashbacks appearing every now and then as it play to these people and who they are. There are some wide shots in the film including in a few of the locations as it relates to some of the flashbacks that the Professor is thinking about that also include these dark images as it relates to his own guilt. Much of Roeg’s direction is intimate in its usage of medium shots and close-ups to get the characters to talk with one another as there’s also a lot of close-ups relating to the Actress and her beauty that also feature flashbacks of how she became this icon through extreme close-ups of her ass and breasts.
There are also a lot of symbolism in the imagery whether it’s the Actress in how she’s seen by the world or images of clocks and watches as it relates to time where the Professor carries a stopwatch with the time 8:15 as if it means something. Roeg also maintains this air of tension once the Ballplayer appears at the Professor’s room while there are also these chilling images of the Actress dealing with her insecurities. Even as she is trying to prove that she’s not this dim-witted beauty as she does know things yet her husband doesn’t get it as he’s kind of a raging buffoon who does mean well. It also play into this air of foreshadowing and the growing sense of fear in all four of these characters whether it’s from their past or what is to come. Most notably its ending as it relates to time and the guilt that looms from the Professor into what he’s created as well as what the Senator wanted from him and the Ballplayer pleading to have another chance with the Actress. Overall, Roeg creates a provocative yet captivating film about four popular figures in the 1950s meeting in a hotel to deal with their fame and the world around them.
Cinematographer Peter Hannan does brilliant work with the film’s cinematography with its stylish usage of lighting and shadows for the scenes in the hotel room along with the way a bar is lit and the streets at night as it is a highlight of the film. Editor Tony Lawson does excellent work with the editing as it help play into the drama and emotional suspense as well as the stylish usage of jump cuts for some of the flashback scenes. Production designer David Brockhurst, with art directors Arthur Max and Celia Barnett, does amazing work with the look of the hotel room and other interiors as well as the bar and a few of the exteriors in the film. Costume designer Shauna Harwood does fantastic work with the costume from the suits that the Senator and the Ballplayer wear as well as the sweatshirt that the Professor wears and the white dress that the Actress wears.
Hair stylist Jan Archibald and makeup designer Christine Beveridge do terrific work with the look of the Professor with his hair and the Actress with her platinum blonde hair. The special effects work of Alan Whibley is wonderful for the film’s end sequence as it play into the horrors and fears of the characters involved in the film. The sound work of Paul LeMare is superb for the way things sound in and out of the hotel room as well as the sounds of things happening in the hallway and in some of the exterior settings outside of the hotel. The film’s music by Stanley Myers and Hans Zimmer is incredible for its mixture of jazz, lush orchestral music, hip-hop, and electronics to play into the sense of chaos and drama that occurs throughout the film that also features a soundtrack of music ranging from jazz, blues, and country that are performed by Roy Orbison, the trio of Will Jennings, Glenn Gregory, and Claudia Brucken on a song, and Theresa Russell.
The casting by Lucy Boulting and Margery Simkin is marvelous as it feature some notable small roles from Patrick Kilpatrick as the Actress’ driver, Raynor Scheine as an autograph hunter, and Will Sampson in a fantastic performance as the elevator attendant known as the Indian who is often in the elevator meeting the protagonists and have brief conversations with them while observing everything they’re thinking about. Gary Busey is excellent as the Ballplayer as a man driven with envy for his wife while trying to understand what she wants as he’s also a man with some knowledge despite the fact that he is a bit of buffoon that means well yet knows a lot about baseball. Tony Curtis is brilliant as the Senator as a man trying to uphold some idea of law and order as well as get some documents from the Professor and have him testify or else the Professor gets in trouble as Curtis brings a charm and a devious approach to the character.
Michael Emil is amazing as the Professor as a man trying to come up with answers about existence and the shape of the universe while dealing with his pasts and the horrors of what he had created as it would haunt him as he’s also looking at his stopwatch. Finally, there’s Theresa Russell in a phenomenal performance as the Actress as this woman who exudes immense beauty but is also insecure yet curious about the ideas of existence and the universe as Russell has this charm and exuberance in her character as well as selling the chaos that is her emotions as it is a career-defining performance from Russell.
Insignificance is a tremendous film from Nicolas Roeg. Featuring a great ensemble cast, dazzling visuals, studies of fame and existence through these famous cultural figures of the 1950s, incredible art direction, and a sumptuous music score. The film is definitely a unique look into the world from the viewpoint of four famous figures along with the events that haunt them. In the end, Insignificance is a spectacular film from Nicolas Roeg.
Nicolas Roeg Films: Performance - Walkabout - (Glastonbury Fayre) – Don't Look Now - The Man Who Fell to Earth - (Bad Timing) – (Eureka) – (Castaway) – (Aria-Un ballo in maschera) – (Track 29) – (The Witches (1990 film)) – (Heart of Darkness (1993 film)) – (Two Deaths) – (Full Body Massage) – (Samson and Delilah) – (Puffball)
© thevoid99 2020
In the 33rd week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into the subject of school as usually in August, kids would return to school but given the circumstances we’re in here in Shitsville. It’s best they stay at home and learn online though that seems impossible yet some parts of the country such as Dumbfuck Georgia chooses to let schools re-open as kids are likely to get sick or die from COVID. School sucked. Here are my three picks:
1. Zero de Conduite
Jean Vigo’s third film released in 1933 is this exploration of rebellion in a school where a group of kids decide to be unruly at a boarding school in France. It plays into this ceremony that is to occur where a group of kids including a new student decide to fuck things up and be as rowdy as they want to be. It’s a film that is influential with a short running time of 44-minutes as it does showcase the sides of two camps with the authority figures not really being evil but rather oppressive with the kids just tired of being in detention and all sorts of shit.
2. if...
A film that was influenced by Vigo’s film is the 1969 Palme d’Or winner at the Cannes Film Festival that year by Lindsay Anderson that also explores rebellion at a boarding school. This time, the setting is in Britain as it play into a group of students who endure abuse and humiliating punishments at the hands of their cruel teachers, upperclassmen, and authority figures while the arrival of the student Mick Travis only increases the tension. It also play into a world that is completely disconnected with what is going on in the outside as the film features a breakthrough performance from Malcolm McDowell as Travis who is the leader of these rebels as it is a film that play into the ideas of reality and surrealism that includes its ending.
3. All I Wanna Do
A gem that not many people (unless you were alive during the late 90s/early 2000s) have seen that is written and directed by Sarah Kernochan is a film set in a 1960s all-girl’s boarding school that stars Lynn Redgrave, Kirsten Dunst, Gaby Hoffman, Heather Matazarro, Rachel Leigh Cook, Merritt Weaver, Monica Keena, and Vincent Kartheiser is about a school that is in danger going coed against the wishes of its student and headmistress. It’s a film that is a different take of rebellion except it’s about a bunch of girls who deal with the idea of their school becoming coed as some are excited about it at first but then realize that a lot of the boys at the other school are a bunch of dicks. It’s got some humor but it’s also a film that definitely at least allow women to have their say about using their institution as a place of sanctuary and to help them get into whatever college they want to.
VIDEO © thevoid99 2020
Based on articles from the 1956 editions of The Saturday Evening Post by Joseph F. Dinneen, Underworld U.S.A. is the story of a 14 year-old boy who goes after a group of mobsters who beat his father to death in an act of revenge by infiltrating their gang 20 years later. Written for the screen and directed by Samuel Fuller, the film is a look into the American underworld of the mob where a young boy seeks justice for his father. Starring Cliff Robertson, Dolores Dorn, Beatrice Kay, and Richard Rust. Underworld U.S.A. is a riveting and intense film from Samuel Fuller.
The film follows a twenty-year journey of a 14-year old boy who becomes a man seeking vengeance for the death of his father who was beaten to death by four men prompting him to go into their criminal underworld. It’s a film with a simple premise as it play into a young hustler who witnessed his father brutally beaten as he only saw the face of one of his killers as he would go look for him by becoming a juvenile delinquent and later to prison as a man. Samuel Fuller’s screenplay is largely straightforward in its narrative as much of the first act follows the protagonist of Tolly Devlin (David Kent) at the age of 14 as he had witnessed his father’s murder and gets himself into trouble where he later becomes an adult (Cliff Robertson) where he eventually goes to prison where he would find one of his father’s killers who would give Devlin information that lead to Devlin’s release and his infiltration into the mob where he would also make contact with a FBI agent who is trying to take down the mob himself and do it legally.
Fuller’s direction does have elements of style yet much of his direction is straightforward in terms of the overall presentation. Shot on location in Hollywood and various parts of Los Angeles, Fuller creates a world that seems like a place where nothing is happening but underneath is a dark underworld that is trying to run things and make money off of it. There are some unique wide and medium shots that Fuller uses to establish the locations yet much of his direction is intimate in the conversations he captures with the medium shots as well as the close-ups. Notably as it help play into the drama and suspense where Fuller maintains that sense of dread such as a scene of Devlin hiding in a closet or a very chilling scene in which a hitman goes after a young girl in her bicycle. Fuller also play into this world of authority that is trying to do the right thing as they eventually get Devlin involved by playing a double-agent for them where Fuller show some of its drawbacks as well as the fact that Devlin is a flawed character who is unable to comprehend the idea of life after revenge but also what to do next. Even in the third act where he does make a decision of what to do but is still intent on finishing the job no matter how much it would cost him. Overall, Fuller crafts a gripping and evocative film on a man’s quest for revenge against the men who killed his father.
Cinematographer Hal Mohr does brilliant work with the film’s black-and-white cinematography as it help play into the atmosphere of the locations as well as its usage of shades and shadows to enhance the mood of a dramatic or a suspenseful scene. Editor Jerome Thoms does amazing work with the editing as it help play into the suspense and drama along with some unique rhythmic cuts to help build up some of the suspenseful moments as it is a highlight of the film. Art director Robert Peterson and set decorator William F. Calvert do excellent work with the look of the homes of a few characters as well as the pool that one of the mobsters go to. Costume designer Bernice Pontrelli does fantastic work with the costumes from the suits that the men wear to the dresses that the women wear. The sound work of J.S. Westmoreland is superb for its approach to sound in capturing the sounds of assault and gunfire as well as the atmosphere of the locations. The film’s music by Harry Sukman is wonderful for its sweeping orchestral score that does play into the drama as well as the suspense.
The film’s terrific cast feature some notable small roles and appearances from Joni Beth Morris as a young girl on a bicycle who is pursued because of her father, Robert P. Lieb as the corrupt police chief Fowler, Sally Mills as Fowler’s daughter, Peter Brocco as one of the four men who killed Devlin’s father in Vic Farrar who would confess what he did to Devlin on his deathbed, Allan Gruener and Gerald Milton are fantastic in their respective roles as Smith and Gunther as a couple of mob leaders where one of them is involved in the death of Devlin’s father, Neyle Morrow as a mob henchman in Barney, and David Kent in a superb performance as the 14-year old Devlin who would witness his father’s murder as he is hoping to get his revenge. Richard Rust is fantastic as a mob henchman in Gus Cottahee who does horrific things to get the job regardless of who that person is. Paul Dubov is brilliant as Gela as a top mob boss connected with the mob head in Connors as he finds himself in trouble upon meeting Devlin.
Robert Emhardt is amazing as Earl Connors as a top mob boss who was involved in the death of Devlin’s father as he had become a big-time kingpin unaware of Devlin’s true identity as he is hoping to create so much more in the criminal underworld through legitimate means. Larry Gates is excellent as FBI agent John Driscoll who knew Devlin as a 14-year old as he is trying to take down Connors and his syndicate while also takes Devlin in as a double agent while warning him about how far Devlin would go into. Dolores Dorn is remarkable as Cuddles as Cottahee’s girlfriend whom Devlin saves and later gets her to help him as she thinks about a life away from the criminal underworld. Beatrice Kay is incredible as Sandy as a maternal figure for Devlin as she is also a conscience of sorts as she worries about what Devlin is doing while trying to get him to see a future outside of vengeance with Cuddles. Finally, there’s Cliff Robertson in a phenomenal performance as Tolly Devlin as a man who saw his father killed when he was a teenager as he is eager to get revenge on the men who killed his father as he is also someone with flaws in the way he tries to take everyone down but is unable to think about a life outside of vengeance as well as a future as it is a charismatic and eerie performance from Robertson.
Underworld U.S.A. is a sensational film from Samuel Fuller that features great performances from Cliff Robertson and Beatrice Kay. Along with its supporting cast, simple yet effective script, study of the criminal underworld, dazzling visuals, and other technical high points. It’s a noir film of sorts that explore a man infiltrating the criminal underworld in an act of revenge while is forced to deal with himself and the ideas of life after vengeance. In the end, Underworld U.S.A. is a phenomenal film from Samuel Fuller.
Samuel Fuller Films: I Shot Jesse James - The Baron of Arizona - The Steel Helmet - Fixed Bayonets! - Park Row - Pickup on South Street - (Hell and High Water) – House of Bamboo - (China Gate) - Run of the Arrow - Forty Guns - Verboten! - The Crimson Kimono
- Merrill's Marauders - Shock Corridor - The Naked Kiss - (Shark!) - (Dead Pigeon on Beethoven Street) – The Big Red One - White Dog - (Thieves After Dark) - (Street of No Return) - (The Madonna and the Dragon)
© thevoid99 2020
In the 32nd week of 2020 for Wandering Through the Shelves' Thursday Movie Picks. We go into the themes of the seven deadly sin with the final one in pride. Defined as the most deadly of the seven deadly sins in terms of Dante’s definition as “love of self-perverted to hatred and contempt for one’s neighbor” as it play into some of the darkest aspects of human nature. Here are my three picks:
1. The Bonfire of the Vanities
Brian de Palma’s adaptation of the Tom Wolfe novel is definitely one of his worst films in the way it showcases some of the awful aspects of humanity. While the film tried to showcase a rich yuppie’s downfall after a hit-and-run caused by his mistress who would later throw him under the bus to protect herself. The film is a total fucking mess as it has individuals involved in politics, religion, and journalism all trying to put their own spin on this incident. It’s a film that falls apart with characters that are irredeemable with Tom Hanks miscast in the role of Sherman McCoy while Bruce Willis is just phoning it in as the journalist Peter Fallow. So far, it’s de Palma’s worst film.
2. American Psycho
Let’s see what Huey Lewis and Weird Al Yankovich think of this film…
VIDEO 3. Foxcatcher
Bennett Miller’s dramatic real-life story of John du Pont and Schultz brothers in their quest to bring importance to the American amateur wrestling and maintain its dominance in competitions such as the Olympics. The film is a study of this man who is eager to make wrestling a big deal yet succumbs into madness as he would take in Mark Schultz as someone under his wing and eventually get Mark’s older brother Dave into the picture which only complicate things. Even as Mark would see this downward spiral emerge that eventually lead to tragedy as the film features great performances from Steve Carrell as du Pont with Channing Tatum and Mark Ruffalo respectively playing Mark and Dave Schultz as it is a fascinating exploration of a man losing himself in his glory.
© thevoid99 2020
Written and directed by Rainer Werner Fassbinder, Satansbraten (Satan’s Brew ) is the story of a revolutionary poet whose life is in a freefall due to debt and lack of inspiration as he borrows money from a nymphomaniac prostitute to find new ideas through the gay underground in West Germany. The film is a study of a man who is trying to re-start his career as a poet as he would explore new cultures as well as base his life on the German poet Stefan George. Starring Kurt Raab, Margit Carstensen, Helen Vita, Volker Spengler, Ingrid Caven, Ulli Lommel, Brigitte Mira, and Marquad Bohm. Satansbraten is an offbeat and whimsical film from Rainer Werner Fassbinder.
The film follows a poet who was once a revered revolutionary as his life is falling apart due to financial ruin and a disintegrating marriage while his relationship with his mistresses and prostitutes haven’t fulfilled him until a source of inspiration has him channel the works of the German poet Stefan George. It is a film that explores a man trying to re-start his career and life as a writer/poet as his life is in a whirlwind as he also wants to create anarchy where a moment of inspiration has him writing a poem yet in the style of Stefan George. Rainer Werner Fassbinder’s screenplay doesn’t have a lot of plot as it’s more of a study of the actions of its protagonist Walter Kranz (Kurt Raab) who lives in an apartment with his wife Luise (Helen Vita) and his mentally-challenged brother Ernst (Volker Spengler) as the latter likes to play with flies and expose his genitals to guests. Kranz has a few mistresses and dalliances with prostitutes in an attempt to find fulfillment yet he is eager to go into the world of crime as an act of defiance due to his writer’s block. His refusal to play into the conventions of society does give him ideas unaware that he’s borrowing heavily from Stefan George whom he would study and be inspired by his own actions.
Fassbinder’s direction does have elements of style in some of the tracking dolly shots he creates for some parts of the film as it is shot largely on location in Munich. The usage of wide and medium shots have Fassbinder capture the world of the bourgeoisie that Kranz wants to be a part of yet is considered too much of a radical to be accepted as he is also a narcissist. Fassbinder also maintains an intimacy of having much of his action take place in rooms with a lot of close-ups and medium shots to play into the drama and humor. Notably when one of Kranz’s devotees in Andree (Margit Carstensen) who is a virginal mistress from the country as she is mistreated by people in Kranz’s circle. Due to the lack of a strong plot and Kranz’s anarchist actions, the film does meander in its pacing at times as it also includes a murder mystery involving Kranz and a prostitute where the gun is missing. Fassbinder also play into some of the fallacies of Kranz’s persona as well as revelations about George as it relates to his exploration of the gay underworld in an attempt to gain more followers in the film’s third act with Andree becoming troubled by Kranz’s fanatical ideas and some revelations about him. Overall, Fassbinder crafts a messy yet wild film about a revolutionary poet trying to restart his career through the works of Stefan George.
Cinematographers Jurgen Jurges and Michael Ballhaus do excellent work with the film’s cinematography as it is largely straightforward to capture the natural look of the interior locations along with the stylish usage of candles for a couple of Kranz’s reading sessions dressed as George. Editor Thea Eymesz does terrific work with the editing as there isn’t a lot of style other than a few rhythmic cuts to play into the humor. Art directors Kurt Raab and Ulrike Bode do amazing work with the look of Kranz’s apartment home and the places he go to with Bode creating some lavish costumes for some of the clothes the women wear as well as a costume that Kranz wears as George. The sound work of Rolf-Peter Notz and Paul Scholer is superb for the way music is presented on location as well as the emphasis on natural sounds for the scenes set in a room or in a certain place. The film’s music by Peer Raben is wonderful for its orchestral score as it has some upbeat themes as well as some somber pieces to play into some of the drama.
The film’s brilliant cast feature some notable small roles from Armin Meier as a gay hustler, Brigitte Mira as an old lady Kranz turns to for money, Ulli Lommel as the private detective Lauf, Katherina Buchhamer as a nymphomaniac lover of Kranz, Y Sa Lo as an Asian lover of Kranz, Marquad Bohm as a friend/husband of one of Kranz’s mistresses who takes a liking towards Andree, Ingrid Caven as a posh lover of Kranz who would also take a liking towards Andree, and Volker Spengler as Kranz’s mentally-challenged brother Ernst who likes to expose himself and play with dead flies. Helen Vita is excellent as Kranz’ wife Luise as a woman who feels unloved and always tending to him as she feels neglected and mistreated to the point that she becomes ill where only Ernst and later Andree takes notice.
Margit Carstensen is amazing as Andree as a woman from the country who is a devotee to Kranz as she does whatever she can to help him despite putting herself in awful situations to the point of abuse as she later have revelations about the man she is devoted to. Finally, there’s Kurt Raab in an incredible performance as Walter Kranz as a revolutionary writer seeking to restart his writing career after some setbacks where Raab brings a lot of energy despite the fact that his character is a fucking asshole who only cares about himself with little regard for those who care about him.
Satansbraten is a stellar though flawed film from Rainer Werner Fassbinder that does feature amazing performances from Kurt Raab and Margit Carstensen. Along with its ensemble cast and offbeat tone, it’s a film that explores a man trying to mirror the ideals of a great German poet unaware of his personal life. While it is messy due to its lack of a strong plot, it is still a fascinating character study that explore a man and his narcissism as he is eager to become great again despite his many faults. In the end, Satansbraten is a superb film from Rainer Werner Fassbinder.
Rainer Werner Fassbinder Films: Love is Colder Than Death - (Katzelmacher) - (Why Does Herr R. Run Amok?) - (Rio das Mortes) - (The American Soldier) - (Whity) - (Beware of a Holy Whore) - The Merchant of Four Seasons - The Bitter Tears of Petra von Kant - Eight Hours Don’t Make a Day - (Jailbait) - World on a Wire - Ali: Fear Eats the Soul - (Martha (1974 film)) - (Effi Briest) - (Fox and His Friends) - (Mother Kuster’s Trip to Heaven) – (I Only Want You to Love Me) - (Chinese Roulette) - (Germany in Autumn) - (Despair) - (In a Year of 13 Moons) - The Marriage of Maria Braun - (Third Generation) - Berlin Alexanderplatz - (Lili Marleen) - Lola (1981 film) - Veronika Voss – Querelle
© thevoid99 2020
Written and directed by Samuel Fuller, The Crimson Kimono is the story of two detectives who go on a case to solve the murder of an entertainer as they get involved in a love triangle with a key witness as one of the detectives is Japanese. The film is a noir-style suspense film that play into a murder mystery as well as a taboo relationship between a white woman and an Asian detective. Starring James Shigeta, Glenn Corbett, Victoria Shaw, and Anna Lee. The Crimson Kimono is a chilling yet intense film from Samuel Fuller.
The film revolves around the murder of a stripper in Los Angeles near the Little Tokyo area where a Japanese-American detective and his white partner are tasked to solve the case while they both engage into a love triangle with a key witness. It’s a film with a simple premise that plays into two men trying to solve a case as it involves characters in Little Tokyo as well as the taboo subject of interracial relationships. Samuel Fuller’s screenplay is straightforward in its narrative yet it is more about characters dealing with this case and why this stripper was killed. It is filled with some stylish dialogue as it play into the language of film noir while it also showcases some of the banter between the detectives in Detective Sgt. Charlie Bancroft (Glenn Corbett) and Detective Joe Kojaku (James Shigeta). The two would gain a key witness in a student-artist in Christine Downes (Victoria Shaw) as it would lead into an attraction from both men yet Detective Kojaku would hide his feelings fearing that his pursuit of Downes would lead to all sorts of trouble.
Fuller’s direction does have elements of style in the compositions he creates yet he aims for realism as he shoots the film on location in Los Angeles with the section of Little Tokyo being its centerpiece as well as a major character in the film. Fuller’s usage of wide and medium shots doesn’t just play into the vast locations of Little Tokyo but also in some of the conversations such as a scene where a witness is interrogated while Bancroft is in the background and Kojaku is shown from the mirror listening with the witness in the foreground. It’s among some of the most inventive bits of direction that Fuller has created while he also manages to create simple compositions including some close-ups that play into the conversations and interaction between the characters. Fuller’s direction also play into this world of Japanese-American relations in the aftermath of World War II with Kojaku feeling like he’s not fully accepted while the idea of him being with someone like Downes would only cause trouble.
Fuller also dwells into the world of Little Tokyo where it is this section in Los Angeles where Japanese-Americans pay tribute to the traditions of their home country as well as create a united front with the Americans as a form of peace. Yet, Kojaku feels like it could be ruined in being with someone like Downes as he would also start to feel like he’s a liability to the case as it relates to people involved in Little Tokyo. Especially as it play into a kimono that the stripper was going to wear for a show as it serves as a motive for why she was killed. It would play into its climax in the third act as it relates to the kimono but also the mystery of who killed this stripper and why as it would be followed by revelations for Kojaku about his own identity and how people see him. Overall, Fuller crafts a gripping yet compelling film about a Japanese-American detective and his white partner solving a murder while falling for their witness.
Cinematographer Sam Leavitt does brilliant work with the film’s black-and-white photography as it play into the look of the film with some stylish usage of shadows for some interior scenes at night as well as lights for the exterior scenes at night. Editor Jerome Thoms does excellent work with the editing as it has some style in some of the rhythmic cuts that play into some of the dialogue exchange as well as in some of the suspenseful moments in the film. Art directors Robert F. Boyle and William Flannery, with set decorator James Crowe, do fantastic work with the look of the apartment that Kojaku and Bancroft live in as well as a few places in its interior in Little Tokyo.
Costume designer Bernice Pontrelli does nice work with the costumes from the design of the crimson kimono as well as some of the clothes the women wear as well as the clothes of the stripper. The sound work of J.S. Westmoreland is superb for its atmosphere in capturing natural sound on actual locations as well as the sounds of gunshots. The film’s music by Harry Sukman is wonderful for its soaring orchestral score that feature some somber yet elegant themes emphasized by strings as well as some traditional Japanese instrumental passages based on strings and percussions.
The film’s marvelous ensemble cast feature some notable small roles from Kaye Elhardt as a nun living in Little Tokyo, George Yoshinaga as a local hood in Willy Hidaka, Gloria Pall as the stripper Sugar Torch, Neyle Morrow as an admirer of Sugar Torch in Hansel, Paul Dubov as a witness/admirer of Sugar Torch who saw her get shot, and Jaclynne Greene as the wigmaker Roma. Anna Lee is amazing as Mac as a local artist and friend of Bancroft and Kojaku who likes to drink and have fun but also a keen observer in the way the two men see Downes as she just steals the film whenever she appears. Victoria Shaw is excellent as Christine Downes as a student artist who is also a key witness due to her sketches as she deals with being attracted to both Bancroft and Kojaku. Glenn Corbett is brilliant as Detective Sgt. Charlie Bancroft as a white detective who takes part in the investigation as he falls for Downes yet becomes aware of Kojaku’s feelings for her as he tries not to create trouble in order to finish the case. Finally, there’s James Shigeta in an incredible performance as Detective Joe Kojaku as a Japanese-American detective who also investigates as he asks locals in Little Tokyo about what is going on as he also copes with his feelings for Downes but is troubled by the prejudice that might occur.
The Crimson Kimono is a sensational film from Samuel Fuller that features great performances from James Shigeta, Glenn Corbett, Victoria Shaw, and Anna Lee. Along with its vibrant visuals, study of racial prejudice and interracial romance, sumptuous music score, and an inventive screenplay. The film is an offbeat noir film that plays with its conventions while exploring some taboos at that time that played into racial prejudice and the idea of interracial romance. In the end, The Crimson Kimono is a phenomenal film from Samuel Fuller.
Samuel Fuller Films: I Shot Jesse James - The Baron of Arizona - The Steel Helmet - Fixed Bayonets! - Park Row - Pickup on South Street - (Hell and High Water) – House of Bamboo - (China Gate) - Run of the Arrow - Forty Guns - Verboten! - Underworld U.S.A. - Merrill's Marauders - Shock Corridor - The Naked Kiss - (Shark!) - (Dead Pigeon on Beethoven Street) – The Big Red One - White Dog - (Thieves After Dark) - (Street of No Return) - (The Madonna and the Dragon)
© thevoid99 2020
