Thief (1981 film)

Based on the novel The Home Invaders: Confessions of a Cat Burglar by John Seybold (under the pseudonym Frank Hohimer), Thief is the story of a safecracker who decides to go straight upon completing one more diamond heist only for everything to go wrong. Written for the screen and directed by Michael Mann, the film is a look into a thief who is known for his professionalism as he deals with the dangers of his profession as he is eager to start a new life. Starring James Caan, Tuesday Weld, Robert Prosky, James Belushi, Tom Signorelli, Willie Nelson, and Dennis Farina. Thief is an entrancing and gripping film from Michael Mann.

The film follows the life of a safecracker who has decided to end his life of crime to focus on living a cleaner and safer life but a crime boss offers him a job that would make him rich as he copes with what the job will do for him but also if it can really set him free. It’s a film that is really more of a character study of a man that does have a couple of businesses that he runs in a bar and in a car dealership yet he makes great money in being a safecracker. Yet, when a fence who is supposed to pay him is killed and unable to give the safecracker named Frank (James Caan) his money. Frank learns that his dealer owes money to a crime boss in Leo (Robert Prosky) who wants to offer Frank a job to steal diamonds in California. The job would allow Leo a chance to not just get the money he’s owed but also so much more including a way out of the life of crime as he had been to prison and doesn’t want to go back. Michael Mann’s screenplay follows the world that Frank lives in as despite his legitimate businesses, he is at his best when he is opening safes and steal its goods while maintaining a low profile as he answers to no one.

Still, he has endured so much trouble and wants to stay away from trouble just as he’s getting his life going upon meeting and dating a restaurant cashier in Jessie (Tuesday Weld). He also has this idea of a dream he wants to do of a life outside of crime and major responsibilities that he wants to share with Jessie as there is this scene at a diner that is seven-minutes long where Frank talks about this dream he has with a picture he had been carrying. A man in that picture is his mentor Okla (Willie Nelson) who is incarcerated for his time as a safecracker but has a chance of getting out. For Frank to do that, he has to take Leo’s job offer as he and his friend Barry (James Belushi) go to California to do this job. The second act isn’t just about Frank accepting the job but also trying to get things the right way as he also has to deal with corrupt cops. The third act is about this heist but also its troubling aftermath.

Mann’s direction is rapturous for the way he creates an atmosphere of a man in his element as a safecracker as the first seven minutes showcases Frank breaking into a safe with a drill and hammer with great attention to detail. Shot largely in Chicago with some of the film shot in California, Mann would maintain a tone that does bear elements of film noir as much of the action is shot at night with very little scenes shot on a sunny day. Mann’s usage of wide shots do play into the locations yet he aims for something more intimate in the fact that the film is character-driven with Frank in nearly every frame of the film whether he’s having this conversation with Jessie about his life in a seven minute scene filled with monologues or a meeting with Leo at a restaurant with its medium shots and close-ups. Much of the film’s first two acts are driven mainly by suspense and drama with little emphasis on action as it play into the planning of this big heist in California.

Mann’s direction is also intoxicating for the way he builds up this slow attention to detail into how a heist would work but also Frank’s desire to make sure that Jessie wouldn’t know too much despite telling her what he really does. The climatic heist is also a slow build in not just what Frank, Barry, and their friend Joseph (William LaValley) do but also the tools and such they need to open a vault. It’s an amazing sequence that has Mann be patient in his approach as well as what is in the vault. The aftermath as it relates to everything Frank is given and what he wants do come into play where it’s not just violent but also play into the idea of loyalty in the world of crime which is something Frank has a problem with. It would lead to a showdown that is intense but also chilling in the way Mann approaches every shot in what is to come as well as the attention to detail into Frank’s professionalism. Overall, Mann creates a mesmerizing and riveting film about a safecracker trying to go straight while being asked to do one more job.

Cinematographer Donald Thorin does incredible work with the film’s cinematography with its usage of low-key lighting for some of the interiors as well as scenes set at night with its emphasis on stylish lighting as it’s a highlight of the film. Editor Dov Hoenig does excellent work with the editing as it help play into the rhythm of the suspense in its pacing as well as some stylish cuts for some of the action and drama. Production designer Mel Bourne, along with set decorator John M. Dwyer and art director Mary Dodson, does amazing work with the look of the home that Frank would get from Leo as well as the bar and his car dealership as well as the room where the big vault for the film’s climax is presented.

The special effects of Russel Hessey and Doug Hubbard is terrific for some of the film’s action scenes as well as a few moments in the heist scenes. Sound mixer David M. Ronne does superb work with the sound in the way a drill sounds in breaking into a safe as well as other objects that help play into the suspense and action. The film’s music by Tangerine Dream is brilliant for its electronic-based score that has elements of somber and moody pieces along with eerie cuts that play into the suspense while a score piece by Craig Safan for the film’s final moments is intense in its art-rock sound as the soundtrack also includes some Chicago-based blues in a few scenes in the film.

The casting by Vic Ramos is wonderful as it feature some notable small roles and appearances from William Petersen as a bartender at a blues bar, Dennis Farina as one of Leo’s hoods, Patti Ross as Barry’s girlfriend Marie, William LaValley as an associate of Frank’s in Joseph, Hal Franks as Frank’s fence Joe Gags who didn’t inform Frank about the money he owes to Leo, and Tom Signorelli as Leo’s right-hand man Attaglia as a low-level crime boss that refuses to give Frank his money as he would get in touch with Leo to deal with Frank. Willie Nelson is superb in a small but memorable performance as Frank’s mentor Okla as a man that is incarcerated as he’s dealing with ailments prompting Frank to get him out of prison legally.

James Belushi is fantastic as Barry as Frank’s friend who works as a mechanic at Frank’s dealership while also aiding him in the heist as he also hopes the job would give him a good life. Robert Prosky is excellent as Leo as a crime boss who offers Frank a major job with a big payday as he also helps him get a few things where it is clear what his motives are as it play into the ideas of loyalty and greed. Tuesday Weld is amazing as Jessie as a cashier waitress at a restaurant Frank falls for as she is suspicious about his attitude towards life while learning about what he does as she tries to help him start a new life. Finally, there’s James Caan in a tremendous performance as Frank as a safecracker who runs a dealership and a bar that is eager to go straight until he’s not given the money he’s owed as it’s a performance of intensity but also with an air of calm and restraint as a man who has been through too much and is eager that this one job will be his last as it is Caan in one of his best performances.

Thief is a spectacular film from Michael Mann that features an incredible performance from James Caan. Along with its ensemble cast, gorgeous visuals, riveting screenplay, offbeat suspense, and a hypnotic score by Tangerine Dream. The film is definitely an early major achievement from Mann that would showcase his approach to crime and man dealing with his situations as it is also this engrossing character study that isn’t afraid to show flaws in the decisions that a man makes. In the end, Thief is a phenomenal film from Michael Mann.

Michael Mann Films: The Jericho Mile – The Keep – Manhunter – L.A. Takedown – The Last of the Mohicans (1992 film) – Heat – The Insider – Ali – Collateral – Miami Vice – Public Enemies (2009 film) – Blackhat - Blackhat - Ferrari - (Heat 2) - The Auteurs #73: Michael Mann Pt.1 - Pt. 2

© thevoid99 2018

The Yards

Directed by James Gray and written by Gray and Matt Reeves, The Yards is the story of a convict who has been released from parole as he finds himself being part in a crime scheme with a friend for a subway rail yard leads to trouble. The film is a crime drama set in New York City where a man who went to jail for his friend deals with being drawn into a world that might put him back in prison as he also copes with loyalty and doing what is right. Starring Mark Wahlberg, Joaquin Phoenix, Charlize Theron, Faye Dunaway, Ellen Burstyn, and James Caan. The Yards is an evocative and mesmerizing film from James Gray.

The film follows a young man who has returned from prison for a crime he didn’t commit as he is eager to lead a straight-and-narrow life only to be coerced by his best friend to be involved in the world of corruption relating to the subway train yards only for things to go wrong. It’s a film that is a bit about redemption but also about the fallacy of loyalties in the streets as this young man is just trying to find work and not get in trouble but he is lured into a world he doesn’t want to go back to. The film’s screenplay by James Gray and Matt Reeves explore the motivations of its characters such as the protagonist Leo Handler (Mark Wahlberg) who returns home as he learns that his mother Val (Ellen Burstyn) is dealing with a heart condition and wants to set things right for her. At his homecoming party that is attended by his mother, his aunt Kitty (Faye Dunaway), his cousin Erica (Charlize Theron), and best friend Willie Gutierrez (Joaquin Phoenix), Leo learns that Kitty’s new husband Frank Olchin (James Caan) could get him a job working at the railway car repair company.

Yet, Frank is unable to give Leo a job immediately though he offers to fund his studies for a two-year machinist program as Leo chooses to work closely with Willie, who also works for Frank, where he does bribes and such to get contracts against competing companies. It may give Leo some money in his pocket but he becomes uneasy as he also learns what Willie and his friends do in ruining other companies in order to get contracts where one night in an attempt to sabotage another company’s trains would lead to chaos as Leo gets into a scuffle with a police officer (David Zayas) and knocks him unconscious. Yet, that is nothing compared to what was happening at the same time where a yard master is killed as Leo becomes a suspect where he goes into hiding with a few people to trust. Among them is Erica whom Leo is close to, despite the fact that she’s engaged to Willie, as she would look after her aunt for Leo as she becomes aware of what had happened as she turns to her stepfather for help.

Gray’s direction does have elements of style in terms of the compositions that he creates as it play into the suspense and drama. Shot on location in New York City with much of it set in the boroughs of Queens, the film does play into this world that is away from the usual aspects of the city which is often set in Manhattan. Instead, Gray plays into this world that is a mixture of upper-class suburbia as it relates to the home that Frank and his family live in as well as the apartment that Leo shares with his mother. Gray’s approach to the compositions does having him using some wide shots not just in establishing the location but also this world where there is so much at stake in the world of the subways where companies are trying to compete to get contracts where it eventually becomes deadly.

Gray’s approach to the drama is more straightforward in the compositions where he uses some medium shots and close-ups as it relate to what the characters are reacting as well as what they’re dealing with. One noted scene is where Leo is being asked to kill the cop he knocked unconscious as a way to solve all of his problems where Gray uses the space of the room and everything in it to play into the suspense. It says a lot of who Leo is as well as the conflict he has in his loyalty to his friends but he’s also thinking about the fact that he might return to prison. It’s an effective scene as would the third act where it is about family as it relate to Leo’s relationship with his mother and Erica where he really cares about them with the latter as someone he can really trust. Even as he would make a bargain to ensure that he and the family would be safe despite the fact that he could still be public enemy number one against those he would rat out. Overall, Gray crafts a gripping yet compelling film about a former convict being lured into a deadly scheme where his loyalty towards friends is being tested.

Cinematographer Harris Savides does incredible work with the film’s cinematography with its usage of low-key yet grimy lighting for the scenes set at night including scenes during black-outs and low-light situations while maintaining something natural for the daytime exterior scenes. Editor Jeffrey Ford does excellent work with the editing as it is very straightforward to play into the drama and suspense which includes a scene of Leo dealing with a hood wanting to kill him. Production designer Kevin Thompson, with set decorator Ford Wheeler and art director Judy Rhee, does fantastic work with the look of the home that Frank lives in with the family as well as the apartment that Leo lives with his mother.

Costume designer Michael Clancy does nice work with the costumes as it is mostly casual with some of the stylish clothes that Erica wears. Sound editor Phil Benson, along with sound designers Kyrsten Mate and Gary Rydstrom, does superb work with the sound in creating that atmosphere of how trains are repaired as well as the atmosphere of the streets including the hospital room scene which is very low-key yet also chilling. The film’s music by Howard Shore is brilliant for its orchestral-driven score that play into the suspense and drama while music supervisor Dana Sano provide a mixture of music from acts and artists like Macy Gray, Brand New Heavies, KRS-One, Peggy Lee, George Benson, and Petula Clark.

The casting by Douglas Aibel is wonderful as it feature some notable small roles from Chad Aaron as Erica’s little brother Bernard, David Zayas as Officer Jerry Rifkin whom Leo would knock unconscious, Joseph Ragno as Leo’s parole officer, Robert Montano as a railway yard contractor in Hector Gallardo whom Willie doesn’t like, Steve Lawrence as a boroughs president who wants to keep the murder quiet until after the election, and Tomas Milian as a rival contractor who feels cheated by Frank’s company and the politicians over contracts. Faye Dunaway is fantastic as Erica’s mother Kitty as a woman that doesn’t approve of the engagement between Erica and Willie as she is also concerned with what Frank is doing with his business. Ellen Burstyn is superb as Leo’s mother Val as a woman who is happy to see her son as she also copes with what is happening to him as it is affecting her health but knows that he hasn’t done anything wrong. James Caan is excellent as Frank Olchin as a railway repair contractor who wants to help Leo out in finding a good job as he later copes with the murder of yard securities officer where he tries to do some cover-up as well as make decisions that would later be troubling.

Charlize Theron is brilliant as Erica as Leo’s cousin/Willie’s girlfriend who is happy to see Leo back as she becomes concerned with what’s happening to him after being accused of murder while taking care of her aunt where she would learn about what happened which disturbs her. Joaquin Phoenix is remarkable as Willie Gutierrez as Leo’s best friend who is part of a crew that helps sabotage rival subway trains as well as bribe officials where he goes too far into his work to the point that he thinks about getting rid of his best friend. Finally, there’s Mark Wahlberg in a marvelous performance as Leo Handler as convict who is on parole that is trying not to get into trouble as it’s a very restrained performance from Wahlberg as someone that is quiet as well as knowing what he had to do to save himself and those he cares about.

The Yards is a phenomenal film from James Gray. Featuring a great cast, top-notch cinematography, a chilling score, and captivating themes on loyalty and corruption. It’s a film that explores a world that is very competitive with those being caught in the middle of a dark and violent game where a man is forced to live by the code of the streets or do what is right. In the end, The Yards is a sensational film from James Gray.

James Gray Films: Little Odessa - We Own the Night – Two Lovers – The Immigrant (2013 film) - The Lost City of Z – Ad Astra - The Auteurs #67: James Gray

© thevoid99 2017

Countdown (1968 film)

Based on the novel The Pilgrim Project by Hank Searls, Countdown is the story of two American astronauts competing with one another in a crash project to see who can become the first man to walk the moon during the space race against the Soviet Union. Directed by Robert Altman and screenplay by Loring Mandel, the film is an exploration into the real-life space race that was happening in the 1960s where two men do what it takes to make history. Starring James Caan, Robert Duvall, Joanna Moore, Barbara Baxley, Michael Murphy, and Ted Knight. Countdown is a by-the-numbers and dull film from Robert Altman.

The film revolves around the space race to see who can become the first man to walk on the moon as a veteran astronaut is forced to train a civilian after learning that the Soviets have put a civilian for their first mission to land on the moon. It’s a film with a simple story that follows what happens during a mission training where a man is given the chance to go on the moon despite his inexperience as an astronaut but has to endure a lot of pressure. While the plot itself is unique, it’s Loring Mandel’s script that unfortunately suffers as it doesn’t really do much to be engaging in terms of the story as it is quite predictable while not doing enough to play into the tension between the civilian Lee Stegler (James Caan) and the veteran astronaut Chiz (Robert Duvall) as the former feels bad that he’s taking Chiz’s spot. Adding to the drama are the politics behind the scenes at NASA as well as what his happening at home as Lee’s wife Mickey (Joanna Moore) wonders what could go wrong leading up the mission at hand.

Robert Altman’s direction is definitely very straightforward though it does bear a few elements that would be key to the style that Altman is known for. While the few stylistic moments such as a few close-ups and moments at a party where Altman would put in bits of over-lapping dialogue. Much of it has Altman just using a lot of wide and medium shots to capture some of the locations around Florida with the scenes on the moon shot at the Mojave Desert with some visual effects as it has moments that are gorgeous. The problem is that the script Altman is given doesn’t do anything to give the film any kind of looseness as it just feels by-the-book in what to do as Altman was fired during production of the film. It does feel like that a lot of the film was handled in post-production as it just goes for something that is straightforward yet doesn’t do enough to make it engaging which hurts the film and slows it down to the point that it becomes quite boring. Overall, Altman ends up making a film about astronauts trying to go into the moon into something that is dull to watch.

Cinematographer William W. Spencer does excellent work with the film’s cinematography from the sunny look of the daytime exteriors to the usage of lighting and filters for some of the scenes on the moon. Editor Gene Milford does nice work with the editing as it has bits of slow-motion cuts as much of it is straightforward. Art director Jack Poplin and set decorator Ralph S. Hurst do fantastic work with the look of the crash station and simulators at NASA as well as the space capsule. The sound work of Everett A. Hughes is terrific as it play into the atmosphere at the simulators as well as the way rocket sounds from afar. The film’s music by Leonard Rosenman is good for its orchestral flourishes though there’s moment where it acts as a dramatic or a suspenseful crutch where it does become overwhelming.

The film’s brilliant cast include some notable small roles and appearances from Bobby Riha as Lee and Mickey’s son Stevie, Michael Murphy as a fellow astronaut in Rick, Steve Inhat as a NASA official in Ross, Barbara Baxley as Chiz’ wife Jean, Charles Aidman as a NASA director/doctor in Gus, and Ted Knight as the NASA press secretary/official Walter Larson. Joanna Moore is excellent as Lee’s wife Mickey as a woman who is dealing with some of the problems going on at NASA as she wonders if her husband will survive as well as the idea of things going severely wrong. Robert Duvall is brilliant as Chiz as an Air Force colonel-turned-astronaut who becomes reluctant in training Lee as he is filled with jealousy but is forced to swallow his pride to help Lee knowing that he might not have a chance to walk on the moon. Finally, there’s James Caan in an amazing performance as Lee Stegler as a civilian who has some training in being an astronaut as he endures the pressure of what he has to do while knowing the dangers he is facing as it’s a very reserved performance from Caan.

Despite solid performances from James Caan and Robert Duvall as well as some nice visuals, Countdown is just a terrible film from Robert Altman though it’s not really his fault. For a film about the space race of the 1960s, it’s very boring as it doesn’t really do anything new while it bear little touches of what Altman is known for as fans of his work will see this as just one of his bad films before he would become the great filmmaker that’s been lauded for so many years. Countdown is just a drab and uninteresting film from Robert Altman.

Robert Altman Films: (The Delinquents) – (The James Dean Story) – (That Cold Day in the Park) – M.A.S.H. - Brewster McCloud – McCabe & Mrs. Miller - (Images) – The Long Goodbye - Thieves Like Us – California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson – 3 Women - (A Wedding) – (Quintet) – (A Perfect Couple) – (HealtH) – Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) – (Streamers) – (Secret Honor) – (O.C. and Stiggs) – Fool for Love - (Beyond Therapy) – (Aria-Les Boreades) – (Tanner ’88) – (Vincent & Theo) – The Player - Short Cuts - Pret-a-Porter - (Kansas City) – (The Gingerbread Man) – Cookie's Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) – A Prairie Home Companion

© thevoid99 2017

The Killer Elite

Based on the novel Monkey in the Middle by Robert Syd Hopkins, The Killer Elite is the story of an American spy who has been betrayed by his best friend as he finds himself wanting revenge unaware of a power struggle that is emerging for the company they work for. Directed by Sam Peckinpah and screenplay by Marc Norman and Stirling Silliphant, the film is a suspense-thriller that plays into a man who tries to cope with betrayal as well as wondering about his loyalty to the people he work for. Starring James Caan, Robert Duvall, Burt Young, Bo Hopkins, Mako, Arthur Hill, and Gig Young. The Killer Elite is a compelling and thrilling film from Sam Peckinpah.

Following an assignment that ends with betrayal and injury, the film is about a spy who works for a private company as he struggles to get back in the game and seek revenge. It’s a film that play into an ever-changing world where a spy who is known for doing his job and having fun is given a rude awakening where his assignment to protect a defector leaves him wounded where his best friend shot him in the elbow and on a kneecap. The film’s script is quite straightforward as it play into the struggle of its protagonist Mike Locken (James Caan) would endure in getting himself back up as well as return to work despite the fact that his superiors believe he’s done. Yet, he would accept an assignment to protect a Chinese political figure who is eager to return to his home country while dealing with Asian rivals as well as his friend George Hansen (Robert Duvall). Yet, Locken and Hansen are both unaware of what is happening behind the scenes as it relates to the ideas of what men want to control their idea of the world.

Sam Peckinpah’s direction is actually quite restrained in some aspects with the exception of its climax which bear many of the elements of stylish violence that he’s known for. Shot entirely on location in San Francisco and areas near the city, the film is quite straightforward as Peckinpah would create some nice wide and medium shots of the locations to play into this sense of a world that is very modern but the characters are quite comfortable with the setting. There are some close-ups to play into some of the suspense along with the medium shots as Peckinpah knows how to maintain some momentum and build it up. At the same time, there are elements that showcases what is going on behind the scenes as it relates to the ideals that Locken hold about doing his job in the hope to do something good.

Yet, there is an air of cynicism as it is more about power and wanting to maintain some form of the status quo with greed also being a factor. Especially in the confrontation between Locken and Hansen as it shows two men who are forced to deal with the emergence of a new world order. It is later followed by another confrontation where one is about honor but the other is about the realities of a new world where ideals and loyalty would become obsolete. Overall, Peckinpah crafts a fascinating yet gripping thriller about a spy’s thirst for revenge complicated by those he is working for.

Cinematographer Philip Lathrop does excellent work with the film‘s cinematography from the usage of low-key lighting for some of the interior/exterior settings at night to the gorgeous look of the scenes set in the daytime. Editors Monte Hellman and Tony de Zarraga do terrific work with the editing as it has some stylish montage sequences that play into Locken‘s attempt to get revenge with a scene of what is going on in the company he works for as well as some stylish jump-cuts. Production designer Haworth and set decorator Rick Gentz do nice work with the set design from the look of the home Locken would live in his recovery to the secret base of a Chinese client that he is trying to protect.

Costume designer Ray Summers does wonderful work with the costumes as it is mostly casual with the exception of the old-school Chinese garb that the Chinese clients wear. Sound editor Fred Brown does superb work with the sound as it play into some of the violence as well as some of the sparse moments in the quieter scenes in the film. The film’s music by Jerry Fielding is brilliant for its mixture of jazz and orchestral music as it play into the suspense and sense of action as it is a major highlight of the film.

The casting by Jane Feinberg and Mike Fenton is marvelous as it feature some notable small roles from Tiana Alexandra as Yuen Chung‘s daughter Tommie, Kate Heflin as Locken‘s nurse Amy, Victor Sei Yung as an associate of Chung in Wei Chei, Takayuki Kubota as a rival Japanese mob figure wanting to take out Chung, Tom Clancy as Hansen‘s right-hand man O‘Leary, and Helmut Dantine as the Eastern European client Vorodny whom Locken and Hansen were protecting in the film‘s opening sequence. Bo Hopkins is terrific as Locken’s weapons specialist Jerome Miller who is good with guns while Mako is fantastic as the Chinese political figure Yuen Chung who is eager to return to his home country in the hopes of bringing some form of democracy to the country. Burt Young is brilliant as Mac as a civilian who is Locken’s getaway driver and associate who is also the film’s conscience of sorts where he goes into detail over what Locken is fighting for and why it doesn’t mean anything.

Gig Young is superb as Weybourne as a private security leader who is trying to do whatever he can to maintain his own status in the spy business while using both Locken and Hansen to clean up his dirty work. Arthur Hill is amazing as Cap Collis as Locken’s superior who gives Locken the assignments as he deals with Weybourne in a power struggle where he wants some control but for his own selfish reasons. Robert Duvall is remarkable as George Hansen as a spy who is trying to survive for himself as he copes with what he had to do for Locken while also coping with this emergence of a new world order that he isn’t sure he wants to be a part of. Finally, there’s James Caan in an incredible performance as Mike Locken as a spy who has been betrayed and nearly crippled as he seeks revenge while also dealing with what he has and trying to hold on to some idealism that is starting to become obsolete in a more cynical and crueler world where it isn’t about doing the right thing.

The Killer Elite is a remarkable film from Sam Peckinpah that features excellent performances from James Caan, Robert Duvall, and Burt Young. While it may be considered one of Peckinpah’s weaker films, it is still a fascinating suspense-thriller that does play into Peckinpah’s fascination with man and changing times as well this growing sense of cynicism where honor and loyalty are becoming non-existent. In the end, The Killer Elite is a marvelous film from Sam Peckinpah.

Sam Peckinpah Films: The Deadly Companions - Ride the High Country - Major Dundee - Noon Wine - The Wild Bunch - The Ballad of Cable Hogue - Straw Dogs - Junior Bonner - The Getaway - Pat Garrett and Billy the Kid - Bring Me the Head of Alfredo Garcia - Cross of Iron - Convoy - The Osterman Weekend - The Auteurs #62: Sam Peckinpah

© thevoid99 2016

Altman (2014 film)

Directed by Ron Mann and written by Len Blum, Altman is a documentary that explores the life and career of one of American cinema’s great artists in Robert Altman. Featuring audio interviews with his widow Kathryn Reed Altman, their children, and the people who had worked with him. The film plays into Altman and his peculiar approach to filmmaking and storytelling along with rare footage of behind-the-scenes footage and rare home movies provided by his family. The result is an enchanting and exhilarating portrait of one of American cinema’s great voices.

The term “Altmanesque” is something that best describes the style of the kind of films that Robert Altman makes which are based on real things that are happening with overlapping dialogue while refusing to play by traditional and conventional aesthetics that usually happens in mainstream cinema. For those that had worked with him and those like Paul Thomas Anderson who was inspired by him, it’s a term that means many thing. Especially to a man that didn’t live his life by conventional means as he was someone that liked to have a good time and treat his actors and collaborators as part of his family. It’s a film that isn’t just a tribute to Altman but also to his body of work which were all defined by its refusal to play by the rules whether they were successful or not.

Each chapter opens with a collaborator of Altman such as Lily Tomlin, Lyle Lovett, Sally Kellerman, Elliott Gould, Michael Murphy, Paul Thomas Anderson, Keith Carradine, Robin Williams, and several others to each define the term “Altmanesque” in their own way. These chapters would play into Altman’s early life where he served in the U.S. Air Force in World War II and later found his way into the film industry when he co-wrote the screen story for a film called Bodyguard in 1948 for RKO Pictures. The film would also play into Altman’s time doing industrial films and documentaries during the 1950s, his work on various TV series where he would meet his third wife Kathryn Reed, and his first films as a feature-film director where he would clash with studio heads about how to tell a story.

By the time he broke through with M.A.S.H. in 1970, things would definitely go up as Altman would often have his own family on the set where director Ron Mann would reveal not just a few rare short films but also some rare behind-the-scenes moments and such to show how Altman’s children were part of the set. Notably as his son Stephen would start out as a props man and later be his father’s production designer while Matthew Reed Altman would become a camera operator for much of his father’s films. The success that Altman would have for much of the 1970s where he was able to remain independent while working with studios gave him the chance to create a studio of his own in Lion’s Gate Films (not the US/Canada studio of the same name) that launched the career of Alan Rudolph and several others.

The film would play into Altman’s own innovations as a filmmaker where he would find new ways to record a lot of overlapping dialogue through little microphones on the actors while Altman and a sound mixer would find out which dialogue to use and how to mix it right the way to make it feel natural. While his innovations would be used for a lot of films by other filmmakers including Hollywood, the film also played into Altman’s own exile from Hollywood until 1992’s The Player where he made a big comeback. Some of the scenes that Mann would create would be presented through the work of art directors/animators Matthew Badiali and Craig Small who would create some background images of what Altman might’ve been doing during those times.

With the aid of cinematographer Simon Ennis in shooting some of the testimonies from Altman’s collaborators and Kathryn Reed Altman for its ending along with editor Robert Kennedy to compile footage of Altman’s earlier work and rare home films. Even as the sound work of John Laing would help play into Altman’s innovations in capturing overlapping dialogue while the music of Phil Dwyer and Guido Luciani is playful with its jazz-based score. Music supervisor Mike Rosnick would maintain that sense of playfulness with the music to play into the different periods of time.

Altman is a phenomenal documentary film from Ron Mann. It’s a film that anyone who loves the work of Robert Altman must see this not just for some of the rare home movies and interviews he does but also into a study of his methods. For anyone new to Altman might think of the film as a nice place to start though his own work is the best way to look into the man and his work. In the end, Altman is a remarkable film from Ron Mann.

© thevoid99 2015

Dogville

Originally Written and Posted at Epinions.com on 3/21/04 w/ Additional Edits & Revisions.

Written and directed by Lars von Trier, Dogville is about a young woman named Grace in 1930s Great Depression running away from the mob as she hides in a quiet town in the Rocky Mountains where she befriends a man who helps her. Seeking refuge in the town where the locals give her labor work, things start out fine until it escalates where Grace becomes mistreated by the locals. Playing the role of Grace is Nicole Kidman who leads a rich ensemble cast that includes von Trier veterans Sioban Fallon-Hogan, Stellan Skarsgard, Jean-Marc Barr, Udo Kier, and Zeljko Ivanek, as well as film veterans Phillip Baker Hall, James Caan, Lauren Bacall, and Ben Gazzara plus Paul Bettany, Jeremy Davies, Chloe Sevigny, Patricia Clarkson, Blair Brown, and narration by John Hurt. Dogville is a haunting yet provocative film from Lars von Trier.

In the small mining town of Dogville in the Rocky Mountains, a philosopher named Tom Edison (Paul Bettany) hears a gunshots nearby as a woman named Grace arrives into town seeking refuge. With Grace hiding in the mines, Tom learns that Grace is hiding from a mob led by its leader (James Caan) as they want to know about her whereabouts. While Tom told him that she's not here, he is given a card in case she does arrive as they leave. Tom holds a town meeting with the locals to introduce Grace as she is given a two-week trial run to see if she can fit by doing usual labor work. While she manages to befriend the blind Jack McKay (Ben Gazzara) and help out various locals including the grouchy apple farmer Chuck (Stellan Skarsgard) during the trial-run. Grace is accepted where things seem to go fine as she continued to help out and such.

After a 4th of July picnic when a cop posted posters of Grace being wanted for robbery, things become tense as Grace chooses to work for less wages. Yet, Grace finds herself dealing with all sorts of trouble as she gained the ire of the local women led by Chuck's wife Vera whose young son Jason (Miles Purton) was spanked when he was trying to provoke Grace. After Grace claimed that Chuck had raped her during a visit from the cops, Vera refuses to believe by smashing the little figurines Grace had bought some time ago. Grace decides to leave Dogville with the help of Tom and garage worker Ben (Zeljko Ivanek) that doesn't go well at all when Ben returns to Dogville as Grace had been accused of stealing money from Tom's father (Philip Baker Hall).

Grace is forced into doing slave labor while being a sexual tool for the men in the town as Tom feels that things have gone too far. After some truths were unveiled, Tom decides to call up the mob leader where a bigger shock is revealed about Grace's identity in relation to the mob.

The film presentation of Dogville is clearly one of the most original ideas as the entire movie feels like a play with minimal settings, cars driving in and out of the soundstage while doors are being opened by mimic since there's no doors built, and a fake mountain near the edge of the set. In many respects, Lars von Trier has once again made his mark as a groundbreaking filmmaker by just stripping everything down to the essentials. With help from production designer Peter Grant and set decorator Simone Grau, the film's set plays up to Great Depression-era America as well as the costumes by Manon Rasmussen. The film has this strange look where in the day scenes, there's a white background surrounding and a black for night.

Even when there's weather, leaves, snow, and all sorts of things fall down just to give the film a strange, cinematic feel. Even the film's score from the compositions of Antonio Vivaldi plays up to the innocence of the town as well as its suspense and drama as the film's mood changes. One notable musical piece that is set to the film's disturbing final credits of America in ruins is presented with the musical accompaniment of David Bowie's Young Americans.

With a dizzying, video look from cinematographer Anthony Dod Mantle, the film has this strange, avant-garde tone to the film as von Trier also plays the role of camera operator as the film has not just a hand held feel. Also a TV-like production feels as if a play is being filmed. The real genius of the film is easily von Trier as he brings in a fluent, storytelling direction that is masterful as he doesn't even let the pacing of the film slow things down or make things fast, especially since the film is 3-hours long.

Even the film's screenplay is filled with brilliance as the story and characters starts off innocently and then evolves into something very ugly. Now for those who found the ending to Dancer in the Dark to be quite sadistic will find the ending in Dogville much more disturbing and ugly. At times, the characters can be sympathetic but as the story evolves, it becomes blurry as the actions of the people of Dogville become more sadistic.

What makes Dogville such a compelling film isn’t just how American society is back then but in relation to today's society. What von Trier does is provide all sorts of ambiguities and symbolism, particularly in the little things in the set like the China figurines that Grace cherishes and Ma Ginger's Gooseberry bushes. There's a fine line in the story at what goes on and when it comes to the ending, it comes with this sense of realization at not just what the people in Dogville are but to America as well. In many aspects, von Trier isn't trying to knock down American society but the politically incorrectness and restriction on what this country has become.

If von Trier has had a great cast before in his previous films, he certainly topped them all with everyone in this film. You can never put a better ensemble cast as better as this. While the roles of Cleo King, Harriet Andersson, Shauna Shims, Jean-Marc Barr, and Udo Kier are small, they were all well-performed and fun to watch as Cleo King plays up to the mood of the African-American housemaid while overcoming the stereotype just as the film evolves since she ends up being treated like a equal. The roles of Chuck and Vera's children are well-performed, particularly Miles Purinton as Jason who probably gets his first S&M lesson from Nicole Kidman in one of the film's most hilarious scenes. While Blair Brown and Bill Raymond are well used as the Henson parents as well as Jeremy Davies as the dimwitted Bill is used, Chloe Sevigny stood out the most among the family as she tries to play up as a rival to Kidman's Grace for the affections of Tom Edison.

Siobhan Fallon Hogan and Zeljko Ivanek also does standout performances in their roles as well as the enigmatic Lauren Bacall as the wise Ma Ginger who ends up becoming a real mean lady to Grace. Stellan Skarsgard is excellent as the grouchy Chuck as he plays up in a very vulnerable role in earlier scenes with Grace as he shines in the rape scene where he reveals his huevos grandes. Phillip Baker Hall is also excellent in his role as Tom Sr. while Ben Gazzara is amazing as the blind Jack McKay, who too becomes a dirty old man.

Of the entire supporting cast, no one stood out better than Patricia Clarkson (who replaces the late Breaking the Waves actress Katrin Cartlidge, who the film was dedicated to) as Vera, who starts out very nice but once she gets mean, she is really mean as the current indie queen gives Kidman a lesson in indie meanness. James Caan, of course is brilliant in the film's final act as he meets with great with a surprise revelation as he doesn's come off as the classic mob criminal by just playing the role charismatically and with subtlety that is very surprising from the film legend.

Of the male cast, no one shines more than Paul Bettany. Bettany brings in an anguished, sympathetic performance as Grace's love interest while he comes up with all of these mindless theories. As the film develops, Bettany's Tom Edison might seem to be the most innocent of all characters but as the film ends, he's not what he seems as well. The narration of John Hurt of course is spoken very elegant as if he plays the lost citizen of Dogville as he watches everything through his own words and it's easily one of the best narrations ever heard in cinema. Finally, there's Nicole Kidman in one of her great performances of her career in the role of Grace. Kidman brings a real vulnerability to a woman just wants to do good though there is also something not right about her as the film progresses giving Kidman a bigger edge to her character.

Dogville is a dark yet extraordinary film from Lars von Trier featuring a brilliant performance from Nicole Kidman. The film is one of von Trier's essential projects as well as one of his most daring in terms of presentation and what von Trier had to say about American intolerance. While it's not an easy film to watch due to its theme and a three-hour length. It is still a film that dares to ask big questions while being powerful enough to be provoking. In the end, Dogville is a magnificent film from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dancer in the Dark - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012

The Godfather

Originally Written and Posted at Epinions.com on 7/3/04 w/ Additional Edits.

One of the greatest films of all-time that's been imitated but never duplicated, The Godfather based on Mario Puzo's novel is one of the greatest crime stories ever told. Unlike previous mob films in the age of cinema, the film was entirely about family rather than crime. Directed by Francis Ford Coppola from a script he co-wrote with Puzo, The Godfather is in some ways a family tragedy about a don and his relationship with crime and his family and how tries to balance his role as family and crime boss. Starring Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, John Cazale, and many more. The Godfather is a classic film that remains a landmark in American cinema as it inspired generations of actors and filmmakers to rethink the landscape of filmmaking.

The Godfather begins with a story of Don Corleone (Marlon Brando) at the wedding of his daughter Connie (Talia Shire) to Carlo Rizzi (Gianni Russo) in post-World War II 1940s. After conducting business with an undertaker named Bonasera (Salvatore Corsitto), Don Corleone returns to the wedding reception with wife (Morgana King), sons Sonny (James Caan) and Fredo (John Cazale), and his adopted son/advisor Tom Hagen (Robert Duvall). The don is awaiting the arrival of his youngest son Michael (Al Pacino) who arrives with girlfriend Kay (Diane Keaton). The wedding was a wonderful ceremony where Kay learns about what Don Corleone does but Michael insists, he's not a part of the crime thing.

The Corleone's business may be a mob business where Tom Hagen visits film producer Jack Woltz (John Marley) to convince him to have Johnny Fontane (Al Martino) to be in a film with an offer he couldn't refuse. Don Corleone may be a man of crime but his business is only to help people but when a fellow mob rival named Sollozzo (Al Lettieri) wants to make business-involving drugs, the Don refuses. The Don sends Luca Brasi (Lenny Montana) to talk with Sollozzo but things go wrong when an assassination attempt on Corleone leaves him wounded and Tom Hagen being kidnapped. Upon Hagen's return, Michael visits his father learning that he's in danger as he tries to move him but gets in trouble with corrupt police captain McCluskey (Sterling Hayden). With help from the Don's right hand men Clemenza (Richard Castellano) and Tessio (Abe Vigoda), Michael decides to meet with Sollozzo and McCluskey where he kills them both.

With Michael out of the country in Siciliy and the Don at home but still wounded, it's up to the hot-headed Sonny to run things but his temper would lead him to trouble where Michael, upon returning from Sicily after a brief marriage to a woman named Apollonia (Simonetta Stefanelli), takes over. He realizes that Tattaglia (Tony Giorgio), Moe Greene (Alex Rocco), and Barzini (Richard Conte) are trying to overpower the Corleone family. Michael knew he has to take control even with the Don's decline where he would have to confront his foes in order to move the family out.

What makes The Godfather such a vastly powerful film is Coppola's subtle, wandering direction where he lets the cameras flow with such grace in its dramatic, intimate sequences while being a bit more stylized and extreme in its violent nature. The screenplay by Puzo and Coppola definitely plays up to a great Shakespearean tragedy but in a modern, American context where the nature of the story balances between crime and family drama. Easily one of the greatest adapted scripts ever written in film not for its dramatic structure but also, its catchy one-liners that is both philosophical and witty. Complementing Coppola's vision is a lush, Italian-regality look from cinematographer Gordon Willis who brings a Goth-like look in the more interior scenes while capturing more color with real-time look in the Sicilian scenes. Helping Willis in its looks is longtime Coppola-associate Dean Tavoularis for his detailing of 1940s America with lovely art direction from Warren Clymer and costume design from Anna Hill Johnstone. Another memorable moment about The Godfather is its famous score of woodwinds and arrangements from Nino Rota and Carmine Coppola's score for the wedding suite.

Then there's the film's wonderful cast of actors from the smaller roles of characters from John Marley, Salvatore Corsitto, Alex Rocco, Richard Conte, Tony Giorgio, Lenny Montana, Al Lettieri, Lenny Montana, and Gianni Russo. There is no bad performance in that film. Talia Shire's role as the abused Connie is sympathetic and harrowing to watch and towards the final act of the film, we begin to see how damaged she is that would lead to darker textures in the upcoming series of The Godfather trilogy. Diane Keaton brings a strong supporting performance as Kay; a woman who is reluctant to enter the world of the mob is understandable as we see her become the moral cornerstone that Michael would later neglect. Abe Vigoda and Richard Castellano are excellent in their performances as Don Corleone's right hand men while John Cazale is amazing as the sweet but weak Fredo whose character comes more into fruition in the second film.

Robert Duvall is brilliant as Tom Hagen, although not a son by blood, who serves as the intellectual side of Don Corleone while brings a moral guidance in the business of the mob while knowing his role in the family. James Caan is amazing as the temperamental Sonny as someone who just wants to do things his way but keeps forgetting to do things right. While he makes his character someone we care about in family matters, we see how he is doomed due to his angry nature. Al Pacino is the film's best supporting performance as a reluctant son who starts off innocent but when he descends into the mob world for revenge of his father's attempted murder, he evolves into someone darker. By the film's second half, we see that he becomes colder and more sinister where he begins to lose sight as who is which continues through the second film.

Finally, we have Marlon Brando in a performance that was regarded as a comeback at the time the film came out in the spring of 1972. While his performances like On the Waterfront, A Streetcar Named Desire, Guys & Dolls, and The Wild One were classics; his roles had been erratic and strange until he returned to form in The Godfather. His performance of Don Corleone wasn't just one of the most complex performances he did but he brought a character that was likeable despite what he does for a living. Brando brings a presence that is charming as he makes Don Corleone a man that has flaws but you can forgive him for that. Brando brings a moralistic intelligence to his performance with his great one-liners along with his regrets and sadness that makes his role of the Godfather one of the greatest performances of all-time. It's clearly one of his greatest performances that would follow with Bernardo Bertolucci's Last Tango in Paris and Coppola's 1979 Vietnam film Apocalypse Now where after that, Brando became a legend with methods that were unsound. Despite his behavior, Brando is just an actor who will continue to inspire many, even with his recent passing.

In the end, The Godfather is just an undisputed classic that everyone will seem to love. It has romance, violence, wit, and drama that have something for everyone. For Francis Ford Coppola, it's one of his greatest films while on the IMDB poll, is still the # 1 film of all-time. For many of the actors, it would be a role that would give them newfound attention and make new legends in Pacino, Keaton, Caan, and Duvall while for Brando; it was the role that would define his legend. Thirty-two years since its release, The Godfather is a film that just doesn't die since its release and it's a film everyone must see.

Francis Ford Coppola Films: Dementia 13 - (You're A Big Boy Now) - (Finian's Rainbow) - (The Rain People) - The Conversation - The Godfather Pt. II - Apocalypse Now/Apocalypse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Garden of Stone) - (Tucker: The Man & His Dream) - New York Stories - The Godfather Pt. III - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2010

Bottle Rocket

Originally Written on 12/23/04 at Epinions.com w/ Additional Edits & Expanded Content.

The heist film genre came back in a big way thanks to Quentin Tarantino's 1992 indie-landmark film Reservoir Dogs. In 1995, Bryan Singer released The Usual Suspects to great reviews as films of crime capers and heists came back to the forefront. Often using catchy one-liners, kinetic editing, and dramatic suspense, the genre was breaking new ground with some old rules. Around the same year when The Usual Suspects came out, another heist film of sorts was in the works but unlike the character study of Singer's landmark film, this little-known heist film was more humorous with a sense of charm and optimism. From an unknown filmmaker from Austin, Texas named Wes Anderson and his college roommate and actor Owen Wilson came a hilarious, quirky caper film called Bottle Rocket.

Written by Wes Anderson and Owen Wilson with Anderson serving as a director, Bottle Rocket is about three guys from Texas who try to build their way up after a little heist into the big times. While hiding in a hotel, problems emerge along with personal directions while it leads up to an even bigger heist with help from a local crime boss. Starring Owen Wilson and his siblings, younger brother Luke and older brother Andrew along with Robert Musgrave, and the legendary James Caan, Bottle Rocket is a funny, heartwarming crime caper film that hits all the right notes while marking the debut of one of the premier new American auteur filmmakers for the next several years.

In a voluntary, psychiatric hospital, a young man named Anthony (Luke Wilson) is set to leave the hospital where his friend Dignan (Owen Wilson) is waiting outside for him to escape. Since Dignan doesn’t know that Anthony is free to leave, Anthony tells his doctor that he's sneaking out just so Dignan can see. The two leave on bus where Dignan tells his plans for a small robbery he wants to do so he can work with big time local crime boss Mr. Henry (James Caan). Dignan has a huge plan while they meet with their friend Bob Mapplethorpe (Robert Musgrave) to plan the heist. Anthony stops by only to meet up with his little sister Grace (Shea Fowler) who is disgusted with her brother's involvement with Dignan. After stopping at Bob’s house where they got harassed by his brother John aka Future Man (Andrew Wilson) and his friend Clay (Brian Tenenbaum) while Anthony talks to Future Man's girlfriend Stacy Sinclair (Jenni Tooley) about Anthony's hospital stay.

With Dignan leading the charge and Bob being the driver, Dignan and Andrew make their first heist in a bookstore where they steal a lot of cash, which was enough to pull a successful heist. The trio drives all the way to a small motel in the middle of Texas to lay low where Anthony falls for a Paraguay-born maid named Inez (Lumi Cavazos). Bob meanwhile, has learned that his brother has been arrested for being accused of a drug dealer even though he and his brother do have a marijuana field grown in their backyard. Bob secretly leaves to Dignan's surprise while he and Anthony continue to lay low while Anthony's romance with Inez blossoms. With the police still trying to find out what’s going on, Anthony and Dignan decides to leave but not before Anthony leaves something for Inez while Inez through a translator wanted to tell Dignan that she loves Anthony.

Dignan learns that Anthony left some money to Inez as he is angry that their plans to go into the big time heist business is shattered and he might not work for Mr. Henry. Dignan and Anthony go their separate ways where Anthony reunites with Bob as the two worked on several jobs while helping to pay Future Man's legal fees. Then one day, Anthony sees Dignan who offers his old friend for a job. The job is to work directly with Mr. Henry for a huge heist with a couple of Henry's associates, Applejack (Jim Ponds) and Kumar (Kumar Pallana). Anthony isn't sure until Mr. Henry tells him a story and after a while, Anthony is officially in if Bob is involved and Dignan organizes the heist. With planning for the heist with Dignan leading the charge with Anthony, Bob, Applejack, and Kumar involved, everyone gets ready but something goes wrong where Dignan wonders what happens and who screwed up?

While some of the film's quirkiness and eccentric characters might be odd to caper-film purists, Bottle Rocket succeeds in its charm and optimism. The credit goes to director Wes Anderson for his slacker-like approach about a few dreamers wanting to have what everyone wants. The film's directing style is often filled with great tracking shots and hand-held camera shots for certain movements, especially in the running scenes that would become a trademark with many of Anderson's film work. Complemented by the colorful cinematography of Robert Yeoman and production designer David Wasco for giving the film a unique, quirky look. Anderson's script that was written with Owen Wilson is filled with great one liners and a hilarious structure of how a heist is build up while in the second act, we see more of the humanity of Dignan and Anthony, notably the romance of Anthony of Inez. The structure works thanks to a nicely paced editing style from David Mortiz. The film also has a wonderful approach to music thanks to some jazz-like numbers and score pieces from Marks Mothersbaugh of Devo and a soundtrack filled with Mexican songs and tracks by Love and the Rolling Stones.

Then there's the film's wonderful cast that is filled with great small, standout performances like Jenni Tooley as flirty Stacy Sinclair, Jim Ponds as crime honcho Applejack, and Shea Fowler as Anthony's cynical little sister. Even some of the Anderson small company regulars like Brian Tenenbaum, Dipak Pallana, Stephen Dignan, and Andrew Wilson (who also serves as associate producer) each make a memorable performance in their brief time but no one brought more laughs than Kumar Pallana as a dim-witted safecracker. Lumi Cavazos is a real standout as the shy, beautiful Inez in an understated performance even though she didn't have to speak English throughout the film as she has wonderful, heartwarming scenes with the Wilson brothers.

James Caan is hilarious as Mr. Henry with his wisecracks and wisdom on heists and crime while having a great scene with Andrew Wilson proving that he's still a bad*ss. Robert Musgrave gives a wonderful performance as the cautious Bob Mapplethorpe who is often at odds with Dignan while having some great comedic scenes as he serves as the conscience of sorts of the trio. Luke Wilson is the film's most charming and likeable performance as the anguished Anthony with his hopes for a better life while trying to have something for people in his family to be proud of. Luke is the film's heart while his older brother Owen is the movie's best performance. Owen brings a charm and optimism that is so refreshing as a dreamer who doesn't quit even though he is naive and somewhat of an idiot. Yet, Owen's intense performance proves to be so entrancing, you can't help but root for him in a performance that serves as a breakthrough for him and his brother as they carry a natural chemistry together.

***The Following is Additional Content Relating to the Criterion DVD written on 8/8/10***

When Bottle Rocket came out in the new DVD format in 1998, it was the only film of Wes Anderson that was released just as a DVD with no extras. In the years since, films like Rushmore, The Royal Tenenbaums, and The Life Aquatic with Steve Zissou were released with Anderson having full control of the DVD material. Through the Criterion Collection distribution company, those three films were released with loads of extras and commentary from Anderson and associates as they were very popular with fans of the director. Yet, Bottle Rocket remained as a DVD with no extras until 2008 after years of fans wanting a proper DVD release of Anderson’s first film.

The Region 1 2-disc Criterion DVD for Bottle Rocket presents the film in the 1:85:1 widescreen aspect ratio format with a restored high-definition transfer and remixed Dolby Digital 5.1 soundtrack all supervised by Wes Anderson and cinematographer Robert Yeomen. The transfer is truly exquisite in its look as the colors look sharper and more pristine. The only special feature, aside from the film, that appears in the first disc of the DVD is a full-length audio commentary track from Anderson and the film’s co-writer/actor Owen Wilson.

The commentary is mostly a loose conversation between Anderson and Wilson as they’re both taking a break from the projects they were working. The two reminisce about the making of the film as well as some of the things that went on when they were trying to make the film. They also talk about the people that helped them like James L. Brooks and Polly Platt who discovered them through the short film they prior to the feature film. Wilson talks about not wanting to watch the film on TV because he would end up watching and do a running commentary of his own.

The two also talk about the collaborators they would work in Robert Yeomen, who they love for his work in Gus Van Sant’s Drugstore Cowboy, and David Wasco. The latter of which, they met when they were invited to the set of Pulp Fiction were they also met Quentin Tarantino. Anderson and Wilson also talked about how they wanted Bottle Rocket to be different from the other heist/crime films of the time. Notably because they wanted to have the characters be innocent individuals who are dreamers.

Anderson also reflects on his hatred for test screenings which led to him re-shooting Bottle Rocket where some of the film’s early scenes were material that was re-shot. Anderson and Wilson talked about the test-screening in Santa Monica where they first met Mark Mothersbaugh, who would become one of their key collaborators. The commentary overall is fun to hear as the two reflect on the film and are often surprised at how popular it’s become. Notably with Martin Scorsese who listed it as one of his favorite films of the 1990s.

The second disc of the DVD includes loads of supplements relating to the film. The first of which, is a making of film with new interviews by Wes Anderson, Owen Wilson, other cast members, crew, and producer James L. Brooks. The near 26-minute special shot by Barry Braverman, who was one of the original cinematographers of the Bottle Rocket short, has Anderson, Owen Wilson, and everyone else including Luke and Andrew Wilson discussing the development of the film. The doc also include some deleted scenes that didn’t make it to the original short along with a rare footage of Kumar Pallana’s audition with Luke Wilson and Stephen Dignan, a friend of Wes and Owen who later appeared in the first three films of Anderson.

The script development for the feature took two years were Wes and Owen lived at an office run by James L. Brooks with Polly Platt helping along as a producer. By the time the film started to get into production, it was rough at first but Brooks and Platt let Wes Anderson try to maintain his vision. Then there was the story about the infamous test screening that Mark Mothersbaugh attended. People left during the screening as Luke recalls comments about the film from other people. Making things worse when the film was being re-worked after the disastrous screening was when Brooks tried to get the film submitted for the 1996 Sundance Film Festival where it got rejected. The film did come out where it was Kenneth Turan’s review for the L.A. Times that not only praised the film but called out Sundance for rejecting it.

The documentary overall is fun as the cast and crew also talk about how shocking the film has done well over the years. Yet, it ends with James Caan not happy over not getting a call from Wes to appear in another film which was a very funny moment.

The other big special feature in the second disc is the original 1992 short film for Bottle Rocket that made its premiere at the 1993 Sundance Film festival. Shot in black-and-white in 16mm, the short features early versions of a few key scenes. Notably the scene where Dignan and Anthony steal items from Anthony‘s home along with the gun scenes with Temple Nash Jr. as the gun salesman, and the scene of Dignan planning the robbery where Bob looks over the gun. The short also includes a different ending and jazz music as the score that features a couple of pieces by the Vince Guaraldi trio. The short is truly incredible of what it aims for and what would become later on in the feature film version. The section for the short also includes loads of pictures and storyboards created by Anderson.

Eleven deleted scenes that includes Bob washing his car and another of him talking to Anthony about the job so he can get away from his brother. Other scenes including Dignan, Anthony, and Bob talking about the crop of marijuana that Bob is growing along a scene of Dignan wanting to talk to a girl while he’s in the car with Bob and Anthony. Another deleted scene is a recreation of the gun salesman talking that was from the short where the gun salesman talking about guns. One big scene that got cut which is a scene where cops stop at Bob’s neighborhood where Dignan talks with a cop that eventually leads to Dignan, Bob, and Anthony leaving. That leads to another deleted scene of the trio leaving on a car during the day time with Dignan trying to get everyone to be positive.

A scene of Bob feeling frustrated about Dignan is a funny moment because of Dignan overhearing a part of the conversation that is followed by a scene of Bob talking to Dignan about bailing out Futureman. One cut scene has Anthony professing his love for Inez to Dignan while Dignan talks to Mr. Henry on the phone. The last scene is Dignan and Applejack looking out at Bob’s house just before Dignan would talk to Anthony. A lot of the scenes are shown in rough versions but are fun to watch though it’s obvious why they got cut. Another deleted scene that’s shown in the making-of feature is a scene of Kumar doing his plates trick.

One notable special feature is the Anamorphic test scene where Wes Anderson and cinematographer Robert Yeoman make a test scene at a motel during pre-production to get an idea of how Anderson envisioned the scene. It’s a great little deleted scene that gets an idea of how Anderson frames his scenes with some parts shot very roughly. Another special short is The Shafrazi Lectures, No. 1: BOTTLE ROCKET where Tony Shafrazi discusses about seeing the film for the first time while displaying the movie through an art-like presentation in various forms. It’s definitely one of the most interesting lectures about a film as he also discusses how it’s framed while putting the film on a wall and other objects to display it.

Another short that appears in the second disc is a 1978 short film by Barry Braverman called Murita Cycles that was an inspiration to the people involved during the making of the Bottle Rocket short. The 30-minute short is essentially a portrait of Barry’s eccentric father Murray, a laborer who likes to collect objects while running an old bike shop. The short also has interviews with people talking about Murray along with old family footage. It’s a strange short but one that is certainly interesting about a man and his eccentricities. Two other special features are in the form of galleries. First is a storyboard gallery of storyboards by Wes Anderson in how he wants to frame the film. The second gallery is a collection of photos and behind the scenes shots from Laura Wilson, the mother of Luke, Owen, and Andrew Wilson. The photos date back to 1992 from the early rehearsals at the Wilson home to the editing of the film in 1995.

Along with artwork packaging by Ian Dingman for the sleeve and cover of the DVD is a booklet that features Dignan’s 75-year plan and two essays. The first is from Martin Scorsese that originally appeared in the March 2000 issue of Esquire. In the essay, Scorsese talks about his love for Bottle Rocket and Wes Anderson as he also discusses about Rushmore and its ending. It’s a short piece but certainly one of the best praise about a film from one of cinema’s finest directors. The second is from producer James L. Brooks from the Rushmore screenplay book in 1999 that served as an introduction to that book. Brooks talks about his first meeting with Wes Anderson and Owen Wilson as well as what went on production including the infamous test screening it had. Brooks also praises Kenneth Turan for his review and championing Bottle Rocket. It’s a wonderful little piece that exemplify the importance of the film. The DVD overall is one of the best of the Criterion Collection and a must-have for fans of Anderson.

***End of DVD Content***

While Bottle Rocket didn't get great reviews or good box office numbers when it came out in 1996, the film did receive a great word-of-mouth commentary from a small group of filmgoers as the film became a hit on video. The movie helped gain Wes Anderson a Best New Filmmaker award at the 1996 MTV Movie Awards while Luke and Owen Wilson became big time actors. Since its release and the recent success of Anderson's later films, 1998's Rushmore and 2001's The Royal Tenenbaums, Bottle Rocket has remained a cult favorite with fans. Anyone who enjoys a caper film with loads of laughs and a lot of heart will find Bottle Rocket enjoyable while it's a nice introduction into the world of Wes Anderson.

Wes Anderson Reviews: Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison - The Phoenician Scheme - The Auteurs #8: Wes Anderson

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

© thevoid99 2010