Directed by George Roy Hill and written by William Goldman, Butch Cassidy and the Sundance Kid is the story of a pair of outlaws whose notoriety forces them to flee America to Bolivia in the hope of robbing more banks. The film is an unconventional western that play into two men trying to live a good life and make money through robbery as they also endure the changes of the West. Starring Paul Newman, Robert Redford, Katharine Ross, Strother Martin, Jeff Corey, and Henry Jones. Butch Cassidy and the Sundance Kid is an adventurous and thrilling film from George Roy Hill.
Set in the late 1890s before the turn of the century, the film revolves around a pair of outlaws whose work in robbing trains and banks suddenly takes a turn when they’re being pursued by a posse who wants them dead forcing the duo to go to Bolivia with one of their girlfriends in the hope of escape. It’s a film that play into a way of life and the emergence of change towards the end of the century forcing these two men to find another world that hasn’t caught up with these growing changes. William Goldman’s screenplay definitely play into this air of change though it begins with Butch Cassidy (Paul Newman) and the Sundance Kid (Robert Redford) at a small town where the former is looking at a bank while the latter is playing cards as people know about their infamy as robbers. Yet, the lack of serious work prompts many to question Cassidy’s leadership in the gang he runs as they would eventually find a train to rob. For all of its success, it would be fleeting as a second robbery would be the catalyst for not just trouble but also being pursued by a posse that is unlike anything else.
Butch and Sundance are just two men who know what to do as Butch is the man with ideas while Sundance is a man of action but they still bring out the best in each other as they also have an unlikely partnership with Sundance’s lover Etta Place (Katharine Ross) who knows about their exploits but often remains quiet until she chooses to join them on the journey to Bolivia. Much of the film’s first half is set in America while the second half is set in Bolivia where Goldman play into this idea of uncertainty but also culture shock. Still, it does give the duo an advantage in robbing banks with Etta’s help for some of the robberies where it does bring this sense of euphoria for all three but there’s also elements of paranoia as it relates to the posse that was pursuing them. The third act in Bolivia also play into Butch and Sundance’s attempt to go straight but the notoriety they had created in Bolivia has only created more trouble.
George Roy Hill’s direction is definitely engaging for the way he captures this air of change in the American West and the need for these two outlaws to go to Bolivia to maintain their idea of robbery in the old ways. Shot on various locations in Utah, New Mexico, Colorado, Arizona, and California for the scenes in America with the scenes in Bolivia shot in Mexico, the film does play into this world of the American West as a world that was wild and free but a growing sense of law and order is emerging but also the idea that big business can control things. The film’s opening sequence is shot in a sepia-like look reminiscent of early photographs as it play into their sense of adventure but also in being men that are becoming out of step with the times. Then the film goes into color as Hill would use wide shots of the locations along with unique compositions to play into the danger as it relates to the posse that is going after Butch and Sundance. Even as the shot would be shown from their perspective where they see the posse from afar who are a determined group that isn’t fooled by any tricks. The film would also have Hill use medium shots and close-ups as it relates to the conversations between Butch, Sundance, and Etta that add to the sense of character and their motivations for a good life.
The film would include a great sequence of old-school photograph stills montage to play into the journey that the three would embark from the West to South America as it has elements of humor but also this air of adventure until they arrive in Bolivia not realizing that it’s a totally different world with some different rules. Notably as Butch and Sundance know little Spanish forcing Etta to teach them certain phrases during the robberies. The film’s third act definitely marks a shift in tone where it is darker with the added element of violence along with revelations into Butch and Sundance’s own infamy in their robberies. It also include the fact that the Bolivians are a completely dangerous whenever they feel antagonized leading to this epic showdown that is thrilling but also with a lot at stake. Overall, Hill crafts an exhilarating film about two outlaws trying to maintain their way of life in the West and in Bolivia.
Cinematographer Conrad Hall does amazing work with the film’s cinematography from the usage of sepia-like colors for the film’s opening sequence to the dreamy look of some of the exterior scenes in the day and night in the deserts along with some low-key lights for some of the interiors at night. Editors John C. Howard and Richard C. Meyer do excellent work with the editing as its usage of dissolves, montages, and transitional wipes help play into the action and humor with some rhythmic cuts to play into bits of the suspense. Art directors Philip M. Jefferies and Jack Martin Smith, along with set decorators Chester Bayhi and Walter M. Scott, do fantastic work with the look of the farm that Etta lives at as well as the places in Bolivia and the train carts in America.
Costume designer Edith Head does excellent work with the costumes as it play into the turn of the century with some stylish dresses that Etta wears as well as the uniforms worn by the Bolivian police and its military. The sound work of David Dockendorf and Bill Edmondson is terrific for the way it captures gunfire and other sound effects as well as the intense atmosphere of the film’s climatic showdown between Butch and Sundance against the Bolivians. The film’s music by Burt Bacharach is incredible as its playful usage of orchestration add a lot to the film’s sense of adventure and humor that would also include the song Raindrops Keep Fallin’ on My Head written by Bacharach and Hal David that is sung by B.J. Thomas for a lively scene involving Butch and Etta with the new invention in a bicycle.
The film’s wonderful cast include some notable small roles from Cloris Leachman as a prostitute Butch occasionally sleeps with, Ted Cassidy as a gang member who challenges Butch’s leadership in Harvey Logan, Charles Dierkop as a gang member in Flat Nose Curry, Kenneth Mars as a marshal trying to get everyone to find Butch and Sundance, George Furth as a railroad bank worker named Woodcock whom Butch and Sundance run into, Henry Jones as a bicycle salesman, Jeff Corey as Sheriff Bledsoe who helps Butch and Sundance evade the posse, and Strother Martin as mining company boss in Percy Garris who runs a Bolivian mining company that tries to give Butch and Sundance a chance to live a straight life.
Katharine Ross is remarkable as Etta Place as a schoolteacher who runs her own farm as she is Sundance’s lover as someone who isn’t entirely fond of what Sundance does but does join him and Butch to Bolivia where she helps them rob banks until danger starts to emerge. Finally, there’s the duo of Paul Newman and Robert Redford in phenomenal performances in their respective roles as Butch Cassidy and the Sundance Kid where they both have this air of camaraderie in the way they deal with each other but also bring out the best with Newman being the man who is the thinker and trying to come up with ideas and Redford as the man of action who is also skeptical of Butch’s ideas but often follows along as Newman and Redford are a joy to watch as well as provide that air of true friendship that is often lost in films.
Butch Cassidy and the Sundance Kid is a magnificent film from George Roy Hill. Featuring top-notch performances from Paul Newman, Robert Redford, and Katharine Ross along with William Goldman’s inventive screenplay, Burt Bacharach’s whimsical score, gorgeous visuals, and the theme of changing times in the West. The film isn’t just a western that has a lot of thrills but also play into two men trying to hold on to their ideals and way of life before the arrival of the 20th Century. In the end, Butch Cassidy and the Sundance Kid is an outstanding film from George Roy Hill.
George Roy Hill Films: (Period of Adjustment) – (Toys in the Attic) – (The World of Henry Orient) – (Hawaii) – (Thoroughly Modern Millie) – (Slaughterhouse-Five) – The Sting – (The Great Waldo Pepper) – (Slap Shot) – (A Little Romance) – (The World According to Garp) – (The Little Drummer Girl) – (Funny Farm)
© thevoid99 2018
Written and directed by Mel Brooks, The Producers is the story of a Broadway producer who teams up with an accountant in financing a sure-fire flop hoping to make money out of the flop and live happily. The film is a look into two different men who team up to find a flop as their choice would prove to be something that might offend so many in the hopes they can succeed by creating a Broadway bomb. Starring Zero Mostel, Gene Wilder, Kenneth Mars, and Dick Shawn. The Producers is a whimsical and lively film from Mel Brooks.
The film follows the life of a washed-up Broadway producer who hears his accountant talking about the ideas of making money in investing a flop where the two come together to find a sure-fire flop as they choose a play written by a former Nazi called Springtime for Hitler. It’s a film with a simple premise in which two men decide to take part in a scheme in the hopes they can make some serious money but the journey in finding the flop, getting the worst director to helm the play, and get a terrible cast would prove to be hard. Mel Brooks’ screenplay play into this unlikely partnership between the producer Max Bialystock (Zero Mostel) and the account Leo Bloom (Gene Wilder) as the former coaches the latter in what it takes to raise funds and such while convincing the Nazi playwright Franz Liebkind (Kenneth Mars) to have his play be made with the help of the notoriously-flamboyant director Roger De Bris (Christopher Hewett). It all play into this scheme where Bialystock and Bloom take careful planning into as it would culminate in the opening night where they hope to unleash the mother of all Broadway bombs.
Brooks’ direction is quite straightforward in terms of the compositions and setting as much of the film is shot on location in New York City with some of its interiors shot at the Chelsea Studio in the same city. While there are some wide shots including a key scene at the Metropolitan Opera House, much of Brooks’ direction rely on close-ups and medium shots to play into the interaction of the protagonists and the adventure they take. At the same time, Brooks would infuse elements of life-hearted banter as it relates to the nerve-stricken Bloom and the aggressive Bialystock where they encounter so many things. Brooks would also put in some moments that are funny such as a Swedish receptionist named Ulla (Lee Meredith) whom they hire just so she can wear skimpy clothes and dance. When the character known as L.S.D. (Dick Shawn) comes into the picture to audition for Hitler, the humor would amp up into the film’s climax for the play’s opening night. Yet, its aftermath that would lead to the funnier moments as it relates to the reaction of Springtime for Hitler and what the audience would see whether Bialystock and Bloom’s scheme would work. Overall, Brooks creates a witty yet exhilarating film about two Broadway producers trying to cash in by financing a sure-fire flop.
Cinematographer Joseph Coffey does excellent work with the film’s cinematography as it is straightforward and colorful for many of the scenes in the day as well as the way the play is presented in its lighting. Editor Ralph Rosenblum does nice work with the editing as it is straightforward with some rhythmic cuts to play into the humor. Production designer Charles Rosen and set decorator James Dalton do amazing work with the look of Bialystock and Bloom’s office as well as the staging of the play. Costume designer Gene Coffin does fantastic work with the lavish costumes from the dress that De Bris wear as well as the costumes at the play. Sound editor Alan Heim does terrific work with the sound as it is straightforward to play into the atmosphere of the crowds at the play. The film’s music by John Morris is wonderful for its playful orchestral score that add a lot to the film’s humor as it include a few original songs by Mel Brooks such as the titular song to the play.
The casting by Alfa-Betty Olsen is great as it feature some notable small roles from William Hickey as a drunk at a bar, Renee Taylor as an actress playing Eva Braun, Madelyn Cates as a landlord claiming to be a concierge, Barney Martin as an actor playing Hermann Goring, Andreas Voutsinas as De Bris’ assistant Carmen, Estelle Winwood as one of the old ladies that Bialystock woos to get her money, and Lee Meredith in a funny performance as the very attractive receptionist Ulla. Christopher Hewett is superb as the flamboyant and openly-gay play director Roger De Bris who cares more about extravagance rather than the story. Dick Shawn is hilarious as L.S.D. as a singer who auditions to play Hitler as he acts like a Beatnik of sorts as he consistently brings in the laughs.
Kenneth Mars is excellent as Franz Liebkind as the author of Springtime for Hitler as this former Nazi who wrote the play to show Adolf Hitler in a different light while being furious if things don’t go his way. Finally, there’s the duo of Zero Mostel and Gene Wilder in incredible performances in their respective roles as Max Bialystock and Leo Bloom. Mostel brings an energy and determination to his role as a man that is willing to humiliate himself to pleasure old ladies as well as deal with the struggles of being a producer. Wilder is definitely the funnier of the two in the way he is wracked with nerves as he comforts himself with a tiny piece of his blanket as well as display this abundance of energy that had been repressed in him. Mostel and Wilder are a joy to watch in the way they interact with each other as well as be foils to each other.
The Producers is a phenomenal film from Mel Brooks. Featuring a great cast, a witty story, some catchy songs, and an abundance of funny moments that are fun to watch. The film is a whimsical comedy that play into two men trying to pull a scheme by choosing the worst story ever in the hopes they can make money. In the end, The Producers is a spectacular film from Mel Brooks.
Mel Brooks Films: (Twelve Chairs) – Blazing Saddles - Young Frankenstein - (Silent Movie) – High Anxiety - (History of the World Pt. 1) – Spaceballs - (Life Stinks) – Robin Hood: Men in Tights - (Dracula: Dead and Loving It)
© thevoid99 2018
Based on the novel Frankenstein by Mary Shelley, Young Frankenstein is about the grandson of Dr. Frankenstein who decides to create the same experiment his grandfather did with some hilarious results. Directed by Mel Brooks and screenplay by Brooks and Gene Wilder, the film is a spoof of sorts of the monster movies where it plays up into the myth and legends of the Frankenstein monster while being filled with a lot of absurd innuendos. Starring Gene Wilder, Peter Boyle, Teri Garr, Madeline Kahn, Kenneth Mars, Cloris Leachman, Marty Feldman, and Gene Hackman. Young Frankenstein is a stylish and hilarious film from Mel Brooks.
Set in the 20th Century, the film is the simple story of a scientist, who is the grandson of Victor von Frankenstein, as he inherited a house in Transylvania where he ends up recreating the same experiment that his grandfather did many years ago. It’s a film that plays up the story of Frankenstein but in a somewhat modern setting where Dr. Frankenstein’s grandson Frederick (Gene Wilder) is trying to deny his family heritage by having his surname be pronounced as “Fron-ken-steen”. The film’s screenplay doesn’t just spoof Mary Shelley’s novel in some ways but also add some absurdity into the film as it relates to the people Frederick Frankenstein meets such as a descendant of Frankenstein’s assistant Igor whose grandson (Marty Feldman) shares the same name but is pronounced “Eye-gore”. It also has these elements that play into the modern world though the people of Transylvania aren’t happy about Frankenstein’s grandson in their hometown as well as the idea that he might do the same experiment that terrorized the town so many years ago.
The screenplay is also filled with a lot of gags as it relates to Dr. Frankenstein’s old housekeeper Frau Buchler (Cloris Leachman) where horses get antsy whenever her surname is spoken. A lot of the gags in the film doesn’t just play into some of the offbeat humor of the film but also in moments that involve the creature (Peter Boyle) who was supposed to have the brain of a deceased yet revered historian but circumstances led to all sorts of trouble. Even as the creature would do things that are also offbeat in its own way that includes a spoof of sorts about the creature meeting a young girl just like the original 1931 film by James Whale.
Mel Brooks’ direction definitely owes a lot to the early horror films and monster movies of the 1930s while it also bears elements of modern-day filmmaking. Shot in soundstages, the film definitely plays up to that air of classic Hollywood where it isn’t afraid to be artificial but also have fun with it. Many of Brooks’ compositions are quite simple in terms of its framing and the way he creates these lively and often improvised moments in the comedy. Notably in a short but hilarious sequence where the monster meets a blind hermit (Gene Hackman) as it is a whole lot of fun to watch while Brooks uses some wide and medium shots to capture the whole sequence. There are also these moments that is a homage to the 1931 James Whale film such as the machine that is used to create the monster as it’s the actual machine that was used from the original by its original designer Kenneth Strickfaden. Brooks’ approach to some of the intimacy in the film as well as the non-comical moments have him use some close-ups while providing subtle bits of humor without deterring too much from the story. Overall, Brooks creates a very witty and entertaining film about Dr. Frankenstein’s grandson carrying the legacy he tried to run away from.
Cinematographer Gerald Hirschfeld does brilliant work with the film‘s black-and-white photography as it has this very atmospheric look in the photography with Hirschfeld providing some unique lighting and moods for many of the interior/exterior scenes in the film. Editor John C. Howard does excellent work with the film‘s very stylized editing with its usage of transition wipes, iris outs, dissolves, and other stylish cutting techniques to not just play with the humor but also pay tribute to the editing style of the past. Production designer Dale Hennesy and set decorator Robert de Vestel do amazing work with the look of Dr. Frankenstein‘s home as well as the town and the lab that features the original props from the original 1931 film.
Costume designer Dorothy Jeakins does nice work with the costumes as it is a mixture of the period clothes of the past with some of the modern suits that Frankenstein wears. Makeup creator William Tuttle does fantastic work with the look of the creature as well as the look of the blind hermit. Sound editor Don Hall does terrific work with the sound from the way the thunderstorms and lightning sound to the way some of the machines sound like. The film’s music by John Morris is wonderful as its orchestral score play into some of the humor and light-dramatic moments as well as an inspired and hilarious usage of the standard Puttin’ on the Ritz.
The casting by Jane Feinberg and Mike Fenton do incredible work with the casting as it include some notable small roles from Richard Haydn as an executor of Dr. Frankenstein’s estate, Rolfe Sedan in a dual role as a train conductor in America and in Europe, Danny Goldman as a medical student who is interested in Frankenstein’s heritage, and Gene Hackman in a superb cameo as the blind hermit Harold as it’s a very funny brief role from Hackman who does a lot with the few minutes he’s in. Kenneth Mars is fantastic as Inspector Kemp as this one-eyed police inspector with a prosthetic right arm who is suspicious about Frankenstein where he keeps an eye on him while also being very funny. Cloris Leachman is brilliant as Frau Buchler as Dr. Frankenstein’s housekeeper who has a secret about Frankenstein’s grandfather as she would play a role in the monster’s freedom.
Madeline Kahn is excellent as Frankenstein’s fiancée Elizabeth as this socialite who wants to remain pure as Kahn is just delightful to watch while her scene in meeting the monster is just a riot. Marty Feldman is phenomenal as Igor as Frankenstein’s humpback assistant who is also the grandson of the original Igor as he says some very funny things as well as create a moment that would inspire one of the greatest rock songs ever made. Teri Garr is amazing as Inga as Frankenstein’s assistant who would also have her funny moments but also be someone who can calm Frankenstein where she would eventually become his love interest. Peter Boyle is great as the monster as this large man with an abnormal brain where Boyle doesn’t get to say much but his physical presence and awkward comedic timing makes him a joy to watch as he nearly steals the film from everyone. Finally, there’s Gene Wilder in a sensational performance as Frederick Frankenstein as this man of science who is reluctant to follow in his grandfather’s footsteps where his desire for recognition in the field has him crazed where Wilder is full of energy and bravado in what is one of his defining performances.
Young Frankenstein is a spectacular film from Mel Brooks that features great performances from Gene Wilder, Peter Boyle, Teri Garr, Marty Feldman, and Madeline Kahn. Along with a superb supporting cast, visual homage to the 1931 James Whale film, gorgeous visuals, and some hilarious moments. It’s a film that isn’t just one of the most inventive comedies ever made but it’s also a film that manages to be entertaining through and through. In the end, Young Frankenstein is a tremendous film from Mel Brooks.
Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)
© thevoid99 2016
Directed by Peter Bonerz and written by Stephen J. Curwick, Police Academy 6: City Under Siege is the story of the gang of misfit police officers who are tasked to investigate a series of crimes in a section of the city while trying to figure out who has been leaking information for these criminals. The film is another departure of sorts where it revolves into the world of suspense and mystery along with elements of comedy as the misfit band of cops do whatever to take down the bad guys. With returning cast members Bubba Smith, David Graf, Michael Winslow, Leslie Easterbrook, Marion Ramsey, Matt McCoy, Bruce Mahler, Lance Kinsey, George R. Robertson, G.W. Bailey, and George Gaynes reprising their roles from previous films. The film also stars Gerrit Graham, Brian Seeman, Darwin Swalve, and Kenneth Mars as the city’s mayor. Police Academy 6: City Under Siege is a fun but very uneven film from Peter Bonerz.
Following a series of robberies and crimes in a section of the city, a group of police officers work together to stop the criminals while discover that there’s a leak within the group as trouble ensues from within. It’s a film that is a simple suspense story of sorts but also an exploration where a precinct leader in Captain Harris (G.W. Bailey) is trying to nab these criminals himself for his own glory yet manages to bungle his way at every opportunity. Harris is forced to work with Commandant Lassard (George Gaynes) and his team while Harris would talk to the city’s mayor in an attempt to get Lassard out of the case.
It’s a film that has a lot happening but it’s script is very uneven where there’s a lot going on but it is uncertain into where it wants to go. While the villains in the film are essentially hired guns for this mysterious mastermind where his motivations are unveiled. It is clumsily written as the reveal of the mastermind is a bit of a let down as it also becomes very obvious who is the leak that caused all of the trouble for the police. Especially as the script portrays Harris more as the bumbling idiot with his partner Lt. Proctor (Lance Kinsey) in tow while Commandant Lassard and his team are the most competent with their mixture of old-fashioned police work and unconventional methods.
Peter Bonerz’s direction is quite simple in terms of its compositions where it does create some unique close-ups and medium shots. Though there’s a few scenes shot in Toronto, much of it shot in Los Angeles soundstages and back lots to play into a city that is coming undone by crime. There are some unique usage of crane shots to play into the bigness of the city while most of the robberies are presented with a bit of humor and some suspense. Yet, Bonerz is unable to balance it where the mix of the two don’t work in some parts of the film as it gets silly at times where it often involves Captain Harris’ bumbling attempts to capture the criminals. Some of the comedy is inspiring such as a scene where Sgt. Jones (Michael Winslow) entertain people at a comedy club while the film’s climax is exciting where Jones, Sgt. Tackleberry (David Graf), and Lt. Hightower (Bubba Smith) each face off their equals. Overall, Bonerz creates a worthwhile but very messy film about a group of misfit cops dealing with some bad guys.
Cinematographer Charles Rosher Jr. does excellent work with the cinematography as it’s quite straightforward while using some unique lighting for some of the scenes set at night. Editor Hubert C. de la Bouillerie does nice work with some of the editing as it is quite straightforward in terms of capturing the rhythm of the humor and suspense. Production designer Thomas Azzari and set decorator Tom Bugenhagen do fantastic work with the look of the city as well as the precinct office where Commandant Lassard, Captain Harris, and their team try to discuss plans to nab the criminals.
Costume designer Peter Flaherty does terrific work with the costumes as it‘s mostly straightforward to play into what some of the characters wear off-duty. Sound editor Jeff Clark does superb work with the sound to play into the elements of gun and some of the chaos that occurs in the city. The film’s music by Robert Folk is amazing for some of the orchestral themes that plays into the suspense along with the film’s theme music that helps play into its sense of triumph.
The casting by Glenn Daniels and Brad Davis is brilliant as it features notable small roles from Billie Bird as an old society lady that Jones knows, Allison Mack as a young girl who is impressed by Proctor’s bus-driving skills, and Arthur Batanides as Tackleberry’s father-in-law. In the roles of the villainous trio, there’s terrific performances from Darwyn Swalve as the gigantic Ox, Brian Seeman as the acrobatic and martial arts expert Flash, and Gerrit Graham as the skilled gunner Ace. Kenneth Mars is very good as the city mayor who is always having trouble with what to say while talking to Harris about the progress to fight off the bad guys. George R. Robertson is superb as Commissioner Hurst who tries to ensure that things go well while Bruce Mahler is fantastic as Sgt. Fackler who makes his return to the gang after a hiatus as he’s still the accident-prone officer that causes trouble.
Lance Kinsey is very funny as Lt. Proctor as Captain Harris’ aide who tries to help him while realizing that they’re the ones screwing things up. George Gaynes is excellent as Commandant Lassard who helps Captain Harris in capturing the bad guys as he tries to use tactics to get the job done until he becomes a suspect for the leaks. Amazing performances from Marion Ramsey as Sgt. Hooks, Leslie Easterbrook as Lt. Callahan, David Graf as Sgt. Tackleberry, Michael Winslow as Sgt. Jones, Matt McCoy as Sgt. Nick Lassard, and Bubba Smith as Lt. Hightower help not only provide some humor but also moments that showcases why they’re great at their jobs. Finally, there’s G.W. Bailey in a wonderful performance as Captain Harris as a man trying to prove his worth as a cop as he bungles his way as he becomes a liability of sorts due to his own ego.
Police Academy 6: City Under Siege is a good yet messy film from Peter Bonerz. While it does have elements of past films that makes it enjoyable, it’s a film where it tried to be a lot of things but ends up being inconsistent though its cast keeps it fun to watch. In the end, Police Academy 6: City Under Siege is a terrific film from Peter Bonerz.
Police Academy Films: Police Academy - Police Academy 2: Their First Assignment - Police Academy 3: Back in Training - Police Academy 4: Citizens on Patrol - Police Academy 5: Assignment Miami Beach - Police Academy: Mission to Moscow
© thevoid99 2015
Written, directed, and starring Woody Allen, Shadows and Fog is the story about a clerk who is asked by a vigilante group to help him capture a serial killer where he later meets a circus performer as they spend an entire night encountering strange things. Based on Allen’s one-act play called Death, the film is a tribute to the works of Franz Kafka as well as the German Expressionism films of early 20th Century as Allen explores the world of death and love. Also starring Mia Farrow, John Malkovich, Madonna, John Cusack, Jodie Foster, Kenneth Mars, Kathy Bates, Philip Bosco, Lily Tomlin, John C. Reilly, Kurtwood Smith, and Wallace Shawn. Shadows and Fog is a visually-entrancing though sort of messy film from Woody Allen.
A killer (Michael Kirby) is on the loose during a shadowy and foggy night in the early 20th Century where a nebbish clerk named Kleinman (Woody Allen) is reluctantly part of a vigilante group to capture this killer. Meanwhile, a circus performer named Irmy (Mia Farrow) leaves her boyfriend Paul (John Malkovich) after catching him making out with another circus performer. Kleinman and Irmy would cross paths where they would encounter more vigilantes who believe Kleinman is the killer as well as all sorts of strange things in the course of an entire night. It’s a story that definitely recalls some of the work of German Expressionist filmmakers like Fritz Lang as well as the ideas of writer Franz Kafka.
Yet, not everything in Woody Allen’s script works as it’s obvious that Allen wants to create a blend of suspense, comedy, and drama with themes of existentialism and bravery. Unfortunately, all of those ideas couldn’t come together to make something cohesive where things get messy while the Kleinman character is not one of Allen’s great creations.
Allen’s direction is quite entrancing as he definitely wants to go for that look of not just film noir but also German Expressionism as he sets the film in the early 20th Century where it’s always filled with a lots of shadows and fog to create an atmosphere. Filled with some very exotic shots in many of the film’s exteriors as it’s all shot in a studio along with some long-takes to play out this very strange world. There’s also some sequences where Irmy would seek refuge from prostitutes to give the film a break from the suspense for something more relaxing though it does hurt the film’s pacing a bit. While Allen’s approach to humor isn’t anything new, it does have some moments that are fun to watch though the scenes of Kleinman often being accused and such does get tiresome. Overall, Allen creates a fine though messy film about a man and a woman going after a serial killer.
Cinematographer Carlo Di Palma does brilliant work with the film‘s stylish black-and-white photography for many of the film‘s exteriors to create shadows and shades to set the mood while keeping things more straightforward in the interior scenes with the exception of the scenes at the circus. Editor Susan E. Morse does nice work with the editing to play up some of its suspense and humor with its straightforward approach to cutting. Production designer Santo Loquasto, with art director Speed Hopkins and set decorators George DeTitta Jr. and Amy Marshall, does amazing work with the set pieces from the look of the exterior sets to the look of the circus and brothel the characters encounter.
Costume designer Jeffrey Kurland does terrific work with the costumes from the look of the prostitutes and circus performers to the clothes the police and vigilantes wear. Sound editor Robert Hein does excellent work with the sound to play up many of the film‘s suspense with its sparse sounds and other moments to emphasize its humor. The film’s music largely consists of circus music as well as the works of Kurt Weill and Bertolt Brecht to play up the period of the time.
The casting by Juliet Taylor is fantastic for the ensemble that is created as it features appearances from Michael Kirby as the killer, Donald Pleasence as a doctor doing autopsies, John C. Reilly and William H. Macy as police officers, Wallace Shawn as a business rival of Kleinman, Julie Kavner as Kleinman’s ex-fiancee who wants to kill him, Kate Nelligan as Kleinman’s girlfriend who is upset when he asks if Irmy could crash at her place, Charles Chagrin as a mysterious spiritualist named Spiro, James Rebhorn, David Odgen Stier, Daniel von Bargen, Kurtwood Smith, and Fred Gwynne as vigilantes, Josef Sommer as a priest, Philip Bosco as Kleinman’s cruel boss, and Kenneth Mars as the circus magician Armstead whom Kleinman adores.
Other notable small performances includes Madonna as a circus performer Paul makes out with, John Cusack as a student who frequently goes to the brothels, and as the trio of prostitutes, Jodie Foster, Kathy Bates, and Lily Tomlin as they give very wonderful performances. John Malkovich is excellent as Paul as a circus performer who wants to be respected as he cheats on Irmy where he later tries to find her and gain her forgiveness. Mia Farrow is amazing as Irmy as a sword-swallowing performer who is frustrated by Paul as she seeks to find herself while helping Kleinman catch the killer. Finally, there’s Woody Allen in a fine performance as Kleinman as a man who reluctantly takes part in finding a killer though he has no idea what to do as he’s often being cowardly.
Shadows and Fog is a good film from Woody Allen though it’s a messy one despite its gorgeous visuals and a brilliant ensemble cast. Though it’s definitely one of Allen’s weaker films, it is still engaging for the way he is able to create a suspense-comedy in the form of German Expressionism and make it enjoyable. In the end, Shadows and Fog is a terrific film from Woody Allen.
Woody Allen Films: What's Up Tiger Lily? - Take the Money & Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Husbands & Wives - Manhattan Murder Mystery - Don’t Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2013
