Crash (1996 film)

Originally an Alternate Review Written and Posted at Epinions.com on 10/13/03 w/ Extensive Revisions.

Based on the J.G. Ballard novel, Crash is a film where a married couple seeks out new sexual thrills by watching and participating in car crashes. Written for the screen and directed by David Cronenberg, Crash is a film that pushes sex to new levels as its premise is to shock and provoke. Dealing with elements of destruction, sadomasochism, homosexuality, infidelity, and all sorts of stuff, Cronenberg takes everything to the extreme for this intense film. Starring James Spader, Holly Hunter, Deborah Kara Unger, Elias Koteas, and Rosanna Arquette. Crash is a mesmerizing yet confrontational film from David Cronenberg.

Film producer James Ballard (James Spader) and his wife Catherine (Deborah Kara Unger) are seeking some new thrills in their sex life as they even try to have sex with other people. During a ride into increasing traffic on a highway, James get himself in a car accident where he sees another injured driver who exposes her breast and masturbates following the intense crash. Suffering multiple injuries, James sees the woman named Dr. Helen Remington (Holly Hunter) who is at the same hospital where she is accompanied by man named Vaughn (Elias Koteas). Vaughn checks into James's injured leg as he's intrigued as James returns home to find his damaged car. Meeting up with Helen, the two begin an affair based on their love for traffic accidents.

When Helen takes James to a performance art show hosted by Vaughn, James watches Vaughn and a stuntman named Colin (Peter MacNeill) recreate James Dean's infamous car crash for their show as they both survived. Meeting up with a friend of Vaughn in Gabrielle (Rosanna Arquette) who is surrounded by leg and back braces, James takes part in Vaughn's cult as he brings Catherine along who finds thrills as she becomes interested in Vaughn who believes that car crashes and its destructive aftermath is a work of art. With Catherine becoming more attracted to Vaughn with James becoming uneasy, another horrific incident leaves James worried as he later has an affair with Gabrielle.

With Vaughn set to create his next big presentation with claims that it will be his masterpiece. James wonders if he and Catherine are going too far in their fetish for the chaos of car accidents.

What makes Crash intriguing is the way Cronenberg pushes things on sex and pain. With fast-paced camera work on the driving scenes by Peter Suschitzky, Cronenberg gives a look of everything that seems off and something might tick. The film as it goes by keeps on getting shocking and shocking by each scene with the ending being the icing on the cake. The real flaw of the film is in its extremities whether it’s the nature of violence or the graphic sex scenes, which features a lot of female genitalia from Unger, Arquette, and Holly as well as scenes involving Spader and Koteas with other women including themselves in a scene. Cronenberg makes sure, nothing gets off easy as he creates something that is truly confrontational and thrilling.

On the performance front, all the five main players in the film standout on their own or with the other actors where everyone seems to have some kind of chemistry whether its brilliant or discomforting. Holly Hunter brings a dark, masterful performance as Helen Remington where she proves she can be sexy and powerful as a broken soul trying to plan the next crash. Rosanna Arquette, who is always underrated, brings in a chilling, fragile performance as Gabrielle as she keeps walking on a cane and wanting more and more pain. Deborah Kara Unger is the film’s sexiest performance as she starts out as this bored woman who becomes more aroused into her own, dangerous personality. Elias Koteas is brilliant as the manipulative, psychotic Vaughn who is played with great indulgence that makes Koteas the most interesting actor in the film. James Spader is the film’s more moralistic character as he is trying to figure out if everything he’s doing is wrong while this film, would slow his career down a bit.

Crash is a chilling yet harrowing film from David Cronenberg that features a superb cast and a phenomenal premise. While it may not live up to earlier great films like Dead Ringers and Videodrome, it is a very interesting yet chaotic film that only Cronenberg can pull off. While it's definitely not a film for everyone, particularly those with extremely-conservative films. It's a film that works because it challenges the idea of what is normal as Crash is a powerful from David Cronenberg.

David Cronenberg Films: Stereo - Crimes of the Future - Shivers - Rabid - Fast Company - The Brood - Scanners - Videodrome - The Dead Zone - The Fly (1986 film) - Dead Ringers - Naked Lunch - M. Butterfly - eXistenZ - Spider - A History of Violence - Eastern Promises - A Dangerous Method - Cosmopolis - Maps to the Stars - Crimes of the Future (2022 film)

The Auteurs #26: David Cronenberg Pt 1 - Pt. 2

© thevoid99 2011

Jules & Jim

Originally Written and Posted at Epinions.com on 6/12/08 w/ Additional Edits.

After the release of the 1959 seminal masterpiece Les Quatre Cents Coups (The 400 Blows), Francois Truffaut helped usher in a new era of French cinema simply known as the French New Wave. Helping breaking the doors down for new directors like Jean-Luc Godard, Alain Renais, Eric Rohmer, and Jacques Rivette. A year later, he followed up with Tirez Sur Le Pianiste (Shoot the Piano Player) in his tribute to American cinema. Though it was well-received and loved by many, it wasn't as good as his feature-film debut. In 1962, Truffaut returned with what some considered to be his masterpiece about a love triangle told through the years in the early 20th Century before, during, and after World War I entitled Jules et Jim (Jules & Jim).

Directed by Francois Truffaut, Jules et Jim tells the story of a shy Austrian writer and his extroverted French friend whose lives change through meeting of a young woman. Based on the semi-biographical novel by Henri-Pierre Roche and adapted by Truffaut and Jean Gruault, the film is an exploration into a love triangle that lasts for many years as two men compete for the woman they fall for as well as their desire to please her. Starring Oskar Werner, Henri Serre, and Jeanne Moreau. Jules et Jim

It's 1912 as a shy, Austrian writer named Jules (Oskar Werner) meets a Frenchman named Jim (Henri Serre) as they become friends over their love of Bohemia and women. Yet, with the extroverted Jim often flirting with many women including his frequent lover Gilberte (Vanna Urbino), Jules managed to briefly date a young woman named Therese (Marie Dubois). When they decided to meet their friend Albert (Boris Bassiak), he showed them a slide of pictures he took that included a statue that the two men are entranced by. They go to the site to see the statue as they believe she has the image of the perfect woman. Days later, they meet a free-spirted woman named Catherine (Jeanne Moreau) whom they immediately fall for. Though she is more attracted to Jules, she enjoys her company with them as she dresses up like a man and go on a foot race. For a while, everything seems to be fine and everyone is having fun.

Then World War I begins as Jules and Catherine flee to Austria to be married as Jules has to go home to serve his country while Jim stays his France to fight for his country. For years, the war ravaged on as both men are afraid to kill each other. When it ends and both men surviving, Jim decides to visit Jules at his home in the Austrian mountains. Arriving at the station, Jim meets Catherine and her daughter Sabine (Sabine Haudepin) as they revisit old times and such. Yet, Jim begins to notice that the marriage between Jules and Catherine is disintegrating with Catherine now engaging in numerous affairs with men. Catherine confesses to Jim about her affairs including one with their old friend Albert, who was wounded in the war. An attempt to seduce Jim almost happens as Catherine tries to figure out her happiness. After a visit from Albert that reawaken old times, Jim finally professes his feelings for Catherine.

Living in their home and with Jules' blessing, Jim and Catherine begin their affair as for a while, everything seems blissful following their wedding while Jim returns to France to finish a few things. During their marriage, things start to die down when the bliss the trio seem to share start to wane. Catherine's marriage to Jim is worse than her marriage to Jules where she and Jim separate for a few months where Jim returns to Paris to meet with Gilberte. Learning that Catherine is pregnant, he isn't sure if he believes her considering her mood swings and cold behavior. When he learns it's true, he plans to return to Austria only to learn that an accident had occurred and their relationship is officially over. With the years gone by, Jim runs into Jules who has returned to France with Catherine. Yet, Catherine's attempts to win Jim back proved to be challenging as an event would change the lives of Jules, Jim, and Catherine.

Love triangles often involved a woman in love with one man while the other man is in love with her. Yet, what makes this love triangle interesting is the fact that it's about two men, who are both in love with the same woman and are willing to share with her. The only problem is that she'll love this guy for a moment and then go for the other guy for another moment. Yet, it would cause problems for herself as one guy tries to accept it for what it is while another seems to have enough. Still, the two men remain devoted to their friendship and love for the woman while the woman is trying to keep this bizarre love triangle intact.

Co-screenwriter and director Francois Truffaut creates a film and story that is truly exhilarating in the exploration of this love triangle that spans throughout the years in the early 20th Century told through a narrator (Michel Subor). The narrative is unique for revealing the emotions and what happened during the time frames when dialogue isn't involved and such. The first act is about Jules and Jim being attracted to this free-spirited, exciting young woman who likes to make them happy and challenge their personalities as she chooses the shy Jules.

The second act that follows the events of World War I as Jim goes to Austria to spend time with Jules, Catherine, and their daughter Sabine. He also watches the marriage disintegrate as he comes to term with his feelings for Catherine. The third act begins with his return to Austria to marry Catherine and their own marriage disintegrating that leads to the lost spirit and excitement of the relationship between the trio with Catherine still trying to bring that unpredictability back.

Truffaut' direction is evocative with the use of stock footage to convey the sense of the times and the different locations of Paris in the first act, Austria in the second, and the French suburbs near Paris in the third. It's a worldly film that moves as the camera just captures the relationship in its sense of spirit and movement. The scenes themselves are truly memorable from the race on the bridge to the interaction between everyone at Jules' Austrian home. It's a mesmerizing film from start to finish as Truffaut captures the scenes with great compositions to present the scenes as they're being shown. The result is a truly fascinating, stylistic, and evocative direction from the late Francois Truffaut.

Cinematographer Raoul Coutard does superb work with the film's black-and-white film stock as well as the use of hand-held cameras to capture the drama of what's happening. Coutard's look in the black and white is brilliant and also, beautiful in the scenes he's shooting while using early examples of tracking shots for the film's memorable racing scene. Coutard’s work is truly amazing in every shot he creates with in large part to Truffaut's presentation. Editor Claudine Bouche` does a superb job with the film's editing in its emphasis on style. Using jump-cuts, freeze frames, dissolve transitions, and other styles, the film moves very leisurely yet energetic to capture the film's sense of style and spirit as Bouche`'swork is phenomenal. Art director & costume designer Fred Capel does a great job with the look of the period clothing as well as the set decoration for the different places and locations that occur.

The music of George Delerue is absolutely brilliant from its upbeat, melodic score for the film’s early scenes to more sweeping, dramatic score with his eerie string arrangements. Delerue's rich score is a highlight in the many of the film’s technical highlights as it plays well to the film's emotional spirit. One piece of music written and performed by Boris Bassiak entitled Le Troubillon is sung by Jeanne Moreau which is a great, folky song that has Moreau singing very beautifully.

The cast is truly unique with small but memorable performances from Marie Dubois as an anarchist named Therese who enjoys smoking like a train, Sabine Haudepin as Jules and Catherine's daughter Sabine, and Boris Bassiak as their longtime friend Albert. Vanna Urbino is also good in her role as Gilberte, Jim's lover in Paris who has been a constant companion of his as his frustrations towards Catherine leads him to Gilberte. Oskar Werner is great as the shy, resigned Jules who is soft-spoken and reserved as he marries Catherine first only to feel unhappy as he tries to observe everything quietly while letting Jim take a chance on Catherine. Werner's performance is very subtle and charismatic as a man who watches everything unfold.

Henri Serre is brilliant as the extroverted Jim who likes to flirt with women but once he meets Catherine, he admires her from afar as he waits for his chance to be with her. Serre's performance is great for its restraint and earnestness as he tries to be a great man for Catherine but also Jules' best friend as he is a man filled with internal conflict that encourages him to push people away that becomes his weakness. Finally, there's Jeanne Moreau in what is truly a fabulous, sprawling performance from the legendary actress. Moreau is full of spirit, energy, and charm in the film's first act as she goes from this charismatic young woman to a disenchanted wife searching for love in the second act. Moreau's complex, evolving performance is amazing to watch as she carries the film with a lot of charm, energy, and spirit as it's definitely one of her defining performances.

Jules et Jim is a fun, romantic, and certainly worldly film from Francois Truffaut featuring amazing performances from Jeanne Moreau, Henri Serre, and Oskar Werner. This film isn't just one of Truffaut's finest but also an essential film of what is representative in the French New Wave. While some might prefer the angst of Les Quatre Cents Coups, Jules et Jim is a great film for the romantic at heart who might enjoy bizarre love triangles. In the end, Jules et Jim is an exhilarating masterpiece from the late, great Francois Truffaut.

Francois Truffaut Films: The 400 Blows - Shoot the Piano Player - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours

(The Auteurs #40: Francois Truffaut: (Pt. 1) - (Pt. 2))

© thevoid99 2011

Modern Times

Written, directed, and starring by Charles Chaplin, with additional un-credited writing by Paulette Goddard, Modern Times tells the story of a man trying to find a job in a modern world filled with industrialization while falling for an orphan girl. The film is Chaplin’s final silent film with elements of sound effects and spoken dialogue as the film has Chaplin commenting on the world of industrialization during the Great Depression. Also starring Paulette Goddard, Henry Bergman, Stanley Sandford, and Chester Conklin. Modern Times is a witty yet enchanting film from Charles Chaplin.

Working at an assembly factory where he tries to deal with the accelerating machine, a tramp (Charles Chaplin) finds himself overwhelmed by the demands as he was even tested for a machine to shorten lunch hours. After suffering a breakdown and later sent to jail when he‘s mistaken for a Communist protest leader, the tramp deals with the world in prison where he becomes a hero during an attempted break-in by fellow prisoners. Pardoned for his actions, the tramp tries to deal with the harsh world outside of prison where he meets an orphaned girl (Paulette Goddard) who he tries to help after she stole some bread.

Though he tries to take the rap for her, the two escape as they hope to find some work for a better life. After getting a job as a night watchman, the tramp takes the young girl in where they have fun until he causes more trouble to lose his job and get arrested. After the girl finds a home following his return from jail, the tramp learns about work at a factory where he gets a job as a mechanic’s assistant for a while. Again, things don’t work out as it’s planned until he learns that the girl has gotten a job as a dancer at a café. Just as things were starting to pick up for the two of them, trouble ensues leaving them unsure about their future.

The film is a hybrid of sorts in Charles Chaplin’s pantomime silent comedy with some spoken dialogue that plays out in the film through a few characters. Yet, it’s Chaplin providing some commentary about the rising world of the industry where everything is assembled for profit. The film’s opening sequence reveals that Chaplin’s famed tramp character having a hard time trying to pick up the pace to tighten up bolts. He is then suddenly thrust inside the machine in a wonderful, playful scene that would set up a series of comedic situations throughout the film.

The film is also Chaplin providing insight into a world where he’s the individual in a society where everything feels like a machine from the way men walk and sit in unison in prison to the way he tries to help a mechanic later in the film. When the tramp is fired from his first job at the factory, he suddenly comes across a Communist march where he is mistaken as one of them as the film has a lot of commentary about the increasing world of industrialization and conformity. Yet, Chaplin manages to balance the commentary with the story of a man falling for a poor girl who had lost her family and is desperate to find work for a good life.

Chaplin’s direction throughout the film is truly mesmerizing where he creates a world that is oppressing for the factory scenes to the chaos for scenes in the cities. Still, Chaplin maintains a very engaging approach to the way he frames the scene as he lets audience know that whatever machine or job he’s taking on. Something will go wrong where it’s about when is something bad is going to happen. Yet, Chaplin does it in great comic style where he either goes inside the machine or let the machine provide some comedic elements. Another of what makes Chaplin so enduring as a filmmaker is the way he choreograph big scenes involving lots of extras where he would often be in a background or be in the middle of it. It’s all about Chaplin creating a form of chaos where he captures enough detail in the frame.

Chaplin also creates a wonderful sense of intimacy for many of the film’s romantic scenes as he keeps things simple. Chaplin creates some wonderful yet playful scenes at a mall where he rides around in skates to display his pantomime talents along with a great fantasy scene of the tramp and girl in their ideal life. For the film’s climatic moment at a restaurant, Chaplin does finally allow the tramp to say something for the audience to hear. Yet, he does it with style to display that he is set to embrace the world of the talkies but on his own terms. Overall, Charles Chaplin creates what is truly a magical yet heartwarming film.

Cinematographers Ira H. Morgan and Roland Totheroh do some wonderful work with the film‘s black-and-white photography that includes some great exterior shots in the daytime scenes. Notably some of the interior scenes as the look of black, white, and gray has a richness that is truly intoxicating in its look. Chaplin and Wilard Nico do some great work with the film’s editing by employing some wonderful fade-outs and inter-title cards to help set the mood for the scene or to display bits of dialogue. Yet, the editing is mostly straightforward throughout most of the presentation as it is a highlight in the film.

Production designer Charles D. Hall and art director J. Russell Spencer do a fantastic job with the set pieces created including the factory scenes that includes the famous bolt scene where the tramp is inside at and fixes along with the roller-skating at the mall sequence. The film’s score by Charles Chaplin is superb as it’s another of the film’s technical highlights. Filled with whimsical themes to play up the comedy along with the satirical tone of the film, it is among one of Chaplin’s finest score pieces that includes some arrangements by David Raskin. One of the film’s memorable pieces includes a nonsensical song that Chaplin sings through different languages along with the soothing romantic theme that would become the famed Chaplin song Smile.

The casting by Al Ernest Garcia is excellent as it includes some appearances from Gloria DeHaven and Gloria Delson as the orphan girl’s young sisters, Stanley Blystone as the girl’s father, and Richard Alexander as the tramp’s brutish cellmate. Other notable small performances include Henry Bergman as the sympathetic café manager, Tiny Sanford as the tramp’s factory co-worker, the film’s casting director Al Ernest Garcia in a rare speaking role as the factory president, and Chester Conklin as the mechanic who becomes an unfortunate victim of the tramp’s attempts to be helpful.

Finally, there’s the duo of Paulette Goddard and Charles Chaplin as they give glorious performances to their respective roles as the orphan girl and the tramp. Goddard displays a wonderful beauty as a young woman trying to find work and a life so she can regain her young sisters while proving to be a captivating dancer. Goddard brings a wonderful sense of grace and humor to her performance as she and Chaplin have great physical interplay to the comedic performances they give. Chaplin does a lot of his best work in being someone who means well but often bumbles his way while maintaining a sense of charm to bring joy throughout the film. It is Chaplin at his finest that is complemented by Goddard’s delightful presence.

Modern Times is a brilliant yet exhilarating film from Charles Chaplin that includes amazing contributions from Paulette Goddard. The film is among one of Chaplin’s best work as he provides some insightful commentary about the industrialization of the work place as well as conformity with his own unique brand of humor. The film is also a graceful exit for Chaplin to move away from silent film as he does it with comical style only the way he can do it. In the end, Modern Times is a dazzling film from Charles Chaplin.

Charles Chaplin Films: (Twenty Minutes of Love) - (Caught in the Rain) - (A Busy Day) - (Her Friend the Bandit) - (Mabel’s Married Life) - (Laughing Gas) - (The Face On the Bar Room Floor) - (Recreation) - (The Masquerader) - (His New Profession) - The Rounders - (The Property Man) - (The New Janitor) - (Those Love Pangs) - (Dough & Dynamite) - (Gentlemen of Nerve) - (His Musical Career) - (His Trysting Place) - (Getting Acquainted) - (His Prehistoric Past) - (His New Job) - (A Night Out) - (The Champion) - (In the Park) - (A Jitney Elopement) - (The Tramp) - (By the Sea (1915 film)) - (His Regeneration) - (Work (1915 film) - (A Woman) - (The Bank) - (Shanghaied) - (A Night in the Snow) - (Burlesque on Carmen) - (Police (1916 film)) - (Triple Trouble) - (The Floorwalker) - (The Fireman) - (The Vagabond) - (One A.M. (1916 film)) - (The Count) - (The Pawnshop) - (Behind the Screen) - (The Rink) - (Easy Street) - (The Cure (1917 film)) - (The Immigrant (1917 film)) - (The Adventurer) - A Dog’s Life - (The Bond) - Shoulder Arms - Sunnyside - A Day’s Pleasure - (The Professor) - The Kid (1921 film) - The Idle Class - Pay Day - The Pilgrim - A Woman of Paris - The Gold Rush - The Circus - City Lights - The Great Dictator - Monsieur Verdoux - Limelight - A King in New York - (A Countess from Hong Kong)

© thevoid99 2011

City Lights

Written, directed, produced, edited, and starring Charles Chaplin, City Lights is the story of a street tramp who falls for a blind flower seller while dealing with a drunken millionaire. The film is considered to be one of Chaplin’s finest films in the era of silent comedies as the film also marks as a great progression of his work as a filmmaker. Also starring Virginia Cherrill, Florence Lee, and Harry Myers. City Lights is a heartwarming yet whimsical film from Charles Chaplin.

After causing chaos at monument ceremony, the tramp (Charles Chaplin) wanders around the city where he meets and falls for a blind flower girl (Virginia Cherrill). Smitten by her, he buys a flower as she later mistakes him for a millionaire when she hears a man walking out of a car. The tramp is unable to correct her as he later wanders around the city when he meets a drunken millionaire (Harry Myers) trying to kill himself as he saves him. The millionaire befriends him as he takes the tramp all over the city and to his home where the tramp uses the millionaire’s drunken state for his own gain. Borrowing the man’s Rolls Royce, he pretends to be a millionaire to win over the flower girl who lives with her grandmother (Florence Lee) as he takes her home.

When he makes another visit to see the flower girl, he learns that she is sick while later discovering she owes rent money to her landlord. With the millionaire often being sober by day where he doesn’t recognize the tramp only to be drunk at night to treat the tramp like a friend. Deciding to take a job to raise money, the tramp visit’s the flower girl as he wants to help her after reading about a cure for blindness. When he decides to take a big money gig by boxing, it becomes a disaster only to meet the drunken millionaire who helps him until trouble occurs involving burglars. Wanting to do what is right, he makes a big sacrifice for the woman that he’s fallen for.

Made at the time when the era of silent films was becoming extinct in favor of the talkies in the early 1930s, Charles Chaplin was still trying to keep the style of filmmaking alive in his own grand style. For this romantic comedy, Chaplin takes the simple story of a tramp trying to win the heart of a blind flower girl by pretending to be a millionaire and using a drunk millionaire for financial reasons to help her. Along the way, a lot of hi-jinks ensure where Chaplin’s famed tramp character tries to do everything he can to help this blind woman while taking the chance to befriend a drunken millionaire.

The story is an endearing one as the tramp starts out being unaware that he was sleeping on some new statues for a city monument ceremony. When he wakes up, he causes all sorts of problems as he tries to rectify everything. The tramp is a character that is filled with innocence while proving to be someone who has a heart of gold when he helps out people like the millionaire and the flower girl. When he tries to help out in taking a job or trying to make bigger money by boxing, it’s all done with a sense of naiveté that makes the character more enjoyable.

Chaplin’s direction is truly charming throughout the film from the opening sequence of the film to many of the film’s comedic moments. The way Chaplin frames many of the slapstick comedy scenes such as the boxing sequence or the scene where the tramp tries to save the millionaire at the river bank. The way the physical comedy is choreographed and framed shows how fluid Chaplin’s work as a director is. He makes the audience be engaged by the comedy not just as a performance but as art. Chaplin even goes for simplicity in the scenes where he keeps the camera still for the more romantic moments involving the tramp and flower girl.

Chaplin also keeps things straightforward as he creates some wonderful, rhythmic cuts to keep the film going as he uses inter-title cards to display bits of dialogue or to set up a scene. Still, he adds a bit of style in the use of fade-outs to help out with the transitions while creating some wonderful close-ups to capture the emotional moments of the film for the romantic moments. The film’s ending is where Chaplin’s direction really goes for the emotional kick with just some simple close-ups and heart wrenching dialogue as he ends the film in such a romantic way. It is truly a great ending to one of Chaplin’s best films.

Cinematographers Gordon Pollock and Rollie Totheroh, along with un-credited work by Mark Marklatt, does some excellent work with the film’s black-and-white photography from the bright look of the daytime scenes to the lush, soft look of the close-ups to heighten the romantic feel. Set decorator Charles D. Hall does some great work in the look for the millionaire’s home as well as the restaurant where the tramp and millionaire ate at. Sound supervisor Theodore Reed does some good work with the bits of sound that occurs such as the whistle that the tramp swallows to gun shots during a key scene in the film.

The film’s music by Chaplin himself, with orchestration by Arthur Johnston and Alfred Newman that also includes new recording by Carl Davis for later home video releases, is among the film’s highlights. Played throughout the film, the score is filled with sweeping yet playful score for many of the film’s comedic moments. There is also a somber score piece which is written by Jose Padilla for theme of the flower girl as it is a highlight to a great film soundtrack for the film.

The cast is truly superb as it includes appearances from Jean Harlow as an extra in the restaurant scene, Henry Bergman as the mayor in the opening scene of the film, Robert Parrish as a snotty newsboy, Al Ernest Garcia as the millionaire’s snooty butler, and Hank Mann as the boxer the tramp fights. Florence Lee is very good as the flower girl’s kind grandmother while Harry Mann is brilliant as the drunken millionaire who brings a great physicality to his scenes with Chaplin. Virginia Cherrill is radiant as the flower blind girl whose angelic face and sensitive expressions brings all of the right note that the tramp needed for motivation as it’s a truly mesmerizing performance from Cherrill. In his role as the tramp, Charles Chaplin is marvelous for the famed character that he’s played in the way he adds a lot of humor with just his physicality and warm facial expressions. It is among one of Chaplin’s iconic performance as it is very funny and heartwarming.

City Lights is a phenomenal yet charismatic film from Charles Chaplin as it is among one of his best films of his career. It is no doubt that the film is among one of the best films ever made while anyone who is new to Chaplin might find this film as a worthy place to start. In the end, City Lights is a beautiful yet touching romantic-comedy from the great Charles Chaplin.

Charles Chaplin Films: (Twenty Minutes of Love) - (Caught in the Rain) - (A Busy Day) - (Her Friend the Bandit) - (Mabel’s Married Life) - (Laughing Gas) - (The Face On the Bar Room Floor) - (Recreation) - (The Masquerader) - (His New Profession) - The Rounders - (The Property Man) - (The New Janitor) - (Those Love Pangs) - (Dough & Dynamite) - (Gentlemen of Nerve) - (His Musical Career) - (His Trysting Place) - (Getting Acquainted) - (His Prehistoric Past) - (His New Job) - (A Night Out) - (The Champion) - (In the Park) - (A Jitney Elopement) - (The Tramp) - (By the Sea (1915 film)) - (His Regeneration) - (Work (1915 film) - (A Woman) - (The Bank) - (Shanghaied) - (A Night in the Snow) - (Burlesque on Carmen) - (Police (1916 film)) - (Triple Trouble) - (The Floorwalker) - (The Fireman) - (The Vagabond) - (One A.M. (1916 film)) - (The Count) - (The Pawnshop) - (Behind the Screen) - (The Rink) - (Easy Street) - (The Cure (1917 film)) - (The Immigrant (1917 film)) - (The Adventurer) - A Dog’s Life - (The Bond) - Shoulder Arms - Sunnyside - A Day’s Pleasure - (The Professor) - The Kid (1921 film) - The Idle Class - Pay Day - The Pilgrim - A Woman of Paris - The Gold Rush - The Circus - Modern Times - The Great Dictator - Monsieur Verdoux - Limelight - A King in New York - (A Countess from Hong Kong)

© thevoid99 2011

The 400 Blows

Originally Written and Posted at Epinions.com on 6/27/05 w/ Additional Edits.

Throughout the emergence of cinema, international cinema has always been dominated by Americans. After World War II, that all began to change as Europeans began to take over. The Italians begin to a new wave of neo-realism while Sweden found a hero in Ingmar Bergman. In France meanwhile, French cinema was going under a new re-emergence since the end of the World War II but amidst the numbers of American films that were coming, only a small group of film critics from the magazines Cahiers du Cinema were starting to feel oppressed by not just the lack of quality in American films but the lack of personal introspection in their native films. Thus, a new wave was about to emerge and leading the pack was Francois Truffaut.

Born in February 6, 1932, Truffaut along with the likes of Jean-Luc Godard, Claude Chabrol, Alain Resnais, Jacques Rivette, Jacques Demy, and Eric Rohmer were writing serious, scathing reviews that attacked the farcical of American cinema with their mentor Andre Bazin. Though Truffaut left the magazine over tastes with Bazin, his reviews and knowledge had made him notorious to the point that the Cannes Film Festival would ban him because of his reviews. After making a few shorts, Truffaut was ready to make his feature film, an autobiographical story of a young boy who is misunderstood by the world as he rebels against authority in Les Quatre cents coups (The 400 Blows).

Written with Marcel Moussy, Les Quatre cents coups is a drama about a misunderstood child named Antonie Doinel. Feeling troubled by his bickering parents and tormented by an insensitive teacher, Doinel rebels and tries to live life on his own terms through watching films and getting into trouble. Playing the troubled kid is Jean-Pierre Leaud who brings a youthful study of a kid who isn’t sure why he does all the things he does and why he defies his parents. Based on Truffaut's own life, the film is one of the first of many landmark features of the French New Wave that would change the face of not just French cinema but also International cinema in the years to come. Also starring Robert Beauvis, Claire Maurier, Albert Remy, Guy Decomble, Patrick Auffay, with guest appearances from Jeanne Moreau and Jacques Demy. Les Quatre cents coups is a brilliant, whimsical drama from one of French Cinema's most enduring figures.

For the young Antoine Doinel, he is really a misunderstood child only understood by his best friend and schoolmate Rene (Patrick Auffay). In school, Doinel often gets in trouble, even if he hadn't done anything in front of his insensitive, strict teacher (Guy Decomble) who Antoine often calls Sourpuss. Even one of Antoine's schoolmates would often get him in trouble as Rene often calls that kid a rat. At home, Antoine's life isn't any better since the behavior of his parents would often shift from love to hate. On this particular day, it's his mother (Claire Maurier) that would be mean to him for not getting flour for dinner and love from his father (Albert Remy).

With Rene, Antoine skips school to go to the cinema and go to a funfair where they would be seen by Antoine's mother with another man and the rat kid who often wears goggle-like glasses. Antoine and his mother never said anything until the kid tells Antoine's father that he missed school and Antoine got into trouble. Forced to be out of the house, Antoine would live in a printing plant for the night where he would go out to steal milk or help a woman (Jeanne Moreau) to find a dog. Antoine returns to school where his mother takes him home after making a deal with the schoolmaster (Robert Beauvais). Antoine's mother asks him to be good by writing an essay for his class and if it makes it to the top 5, she gives him 1000 Francs. Antoine gets an idea while his father cools down a bit as he takes the family to the cinema.

Antoine seems to make good but his teacher claims the essay he wrote is a copy of the works of Balzac which Antoine denies. Antoine runs away again with the help of Rene as he lives secretly in an unused room of Rene's home. The two decide to cause more trouble and Rene has an idea to steal something that would make them a lot of money. Antoine suggests his father's typewriter but after a sale falls apart, Antoine tries to return the typewriter only to be caught by his father. Being taken to a policeman (Jacques Remy) and the commissioner (Folco Jacques Monod), Antoine goes to jail as the commissioner suggests that he is to be taken to a detention center for young juveniles. Antoine tries to understand his own behavior through a psychiatrist while revealing a dark family secret as his mother makes a brief visit with Antoine pondering his own destination.

While most coming-of-age stories seem to have some formula of a child growing up, in Truffaut's approach, it's more of a study of behavior and motives as he is trying to figure out what he did wrong in his own life. It's Truffaut commenting on his own childhood with the help of a confidant in Marcel Moussy as they try to figure out what good is in young Antoine Doinel and why does he do all of these bad things to his parents. The story from Truffaut and Moussy is very realistic in how a kid can be affected by bickering parents, an insensitive teacher, and everything else with only another kid at his side to find some answers and trouble. It's a very powerful story with an ending that really leaves things hanging but that is another story.

If the script that Truffaut and Moussy has concocted is the source of the film, there’s also Truffaut's directing style which is a bit documentary-like but also featuring some of the traditional frameworks of modern-day cinema. Using his script as a source, Truffaut goes for shots as if he is another person watching while there's some great shooting sequences including the famous scene of Doinel in the spinning ride where the camera moves in circles. There's also that final shot that is often imitated with that final freeze-frame shot and the word Fin (The End) appearing.

Helping Truffaut in the directing is cinematographer Henri Decae for bringing a natural, somewhat grainy black-and-white look to the film. With art director Bernard Evein, the film has a very realistic look on the locations and street life of Paris while editor Marie-Joseph Yoyette gives the film a rhythmic, jump-cut editing style on some sequences with traditional dissolving cuts. Finally, there's Jean Constantin's playful, innocent score that gives the film a sense of youthful vibrancy and melancholy in the dramatic sequences.

With a wonderful cast that includes standout performances from the children plus memorable cameos from Truffaut, Jacques Demy, and Jeanne Moreau, who would star in Truffaut's 1962 film Jules & Jim. The performances of Claire Maurier and Albert Remy as Antoine Doinel's bickering parents are wonderfully complex as loving yet flawed parents who don't understand their son while are desperate to make him good only to be destroyed by a family secret. Maurier gives the more memorable of the two, especially in the film's final moments when she confronts her son. Robert Beauvis and Folco Jacques Monod are memorable in their appearances as the respective authority figures of schoolmaster and commissioner who aren't mean but are trying to understand Doinel. The two best supporting performances come from Guy Decomble as the insensitive teacher with his cruelty to the children and Patrick Auffay as Rene, the only confidant that Doinel has who too has an affinity for trouble and rebellion but unlike Doinel, he seems to come from a more comforting home than the one that Doinel has in a wonderful, calculating performance.

Finally, there's the young Jean-Pierre Leaud who gives a brilliant performance in the complex role of Antoine Doinel. Leaud gives the kid a bit of sympathy but also a bit of sleaziness. Leaud makes sure that Doinel isn't a good kid or a bad kid but he's a bit of both. He makes Doinel someone many kids can relate to, he hates school, his parents are a mess, he has an awful teacher, and he can’t stand authority. Yet, he has dreams and escapes that every kid has. By the time the film goes, we see Leaud trying to understand this kid as he is playing him and wondering, why is he unhappy, why does he do all of these things. It's truly a mesmerizing performance.

When Les Quatre cents coups came out at the 1959 Cannes Film Festival, removing the ban off of Truffaut, the film was an international hit as Truffaut won Best Director while the film helped open the door for brand new, introspective films to come as part of the French New Wave. With Truffaut also contributing to Jean-Luc Godard's A Bout de Souffle, The film's wide acclaim would help get across to America where Truffaut and co-writer Marcel Moussy both received Oscar nominations for Best Original Screenplay.

Truffaut would create many more films to come including Jules & Jim, Shoot the Piano Player, Day for Night, Wild Child, The Last Metro, and Two English Girls while appearing in Steven Spielberg's 1977 film Close Encounters of the Third Kind before his death in 1983. Truffaut would continue the story of Antoine Doinel with Leaud in the role including the 1962 short Antoine et Colette, 1968's Stolen Kisses, 1970's Bed & Board, and 1979's Love on the Run. Leaud meanwhile continues to find success as an actor appearing in films for Bernardo Bertolucci and Jean-Luc Godard while being an icon in French cinema when in 2003, he played himself in the recreating of a speech in Bertolucci's tribute to French cinema in The Dreamers.

While a bit more conventional but less stylized than Godard’s debut film A Bout de Souffle, Les Quatre cents coups is still a landmark film from the French New Wave. Thanks to Francois Truffaut's mesmerizing directing and storytelling and the performance of Jean-Pierre Leaud, this film is a wonderful introduction to French Cinema and the works of Truffaut. More than 40 years since its release, this film still holds up for its approach to storytelling and character study as the movie still resonates with an audience, notably its idea of youth. With Les Quatre cents coups, it's a great place to start for those interested in French Cinema.

Francois Truffaut Films: Shoot the Piano Player - Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - The Story of Adele H. - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours

(The Auteurs #40: Francois Truffaut (Pt. 1) - (Pt. 2))

© thevoid99 2011

Blog News 8/8/11 & Blogging Around

Well, the summer is coming to an end in less than a month and well, it's been a bit underwhelming despite two great movies this year. Yet, I have to admit that for me personally. It hasn't been a bad year in film so far as the fall season is coming and it's usually my favorite season of the year. Still, it's been a pretty dull summer as far as new movies are concerned. Yet, it was a post from Jim Turnbull at Anomalous Material about the fall of the Blockbuster.

I commented at the post expressing my thoughts yet I still think about what's going on. I'm also thinking of what is ahead and to be quite honest with you. I'm not looking forward to what is coming next summer or the summers afterwards. It's getting really boring with not a lot of films to go see. Sure, there's The Avengers and The Dark Knight Rises but that's it as far as summer blockbuster seasons are going. Still, I'm being put off by the slew of leaked and official pictures coming out for the latter because I don't want to know what's going on. I'd rather be kept in the dark.

Still, I think there will be some good movies around but it's becoming a bit less as I'm keeping expectations low and just see what is ahead. Besides, it's been a fruitful summer as far as watching movies at home as there's a lot I've watched and enjoyed. I'm doing more while taking the time to work on various projects. So far, I'm half-finished with writing my script as I plan to collect all of the chapters and assemble it into a full script hopefully around the fall. I'm also nearly done with my 1991 Music essay projects as I hope to do some polishing later this month. I'm also starting work on my Gus Van Sant project as I'm doing everything right now chronologically. That's all I'm doing as I'm just doing things a bit slowly along with my music review stuff at my other blog.

In the world of the blogs, there's a lot going on. James @ Cinema Sights about revisiting films. It's something I do every once in a while though there's some films I'm not eager to watch again for a variety of reasons.

JBT @ Big Thoughts from a Small Mind has a great piece about one of the best character actors working today in Oliver Platt. Who could not love that dude? Just make sure you don't see him Ready to Rumble aka the Film that Put WCW Out of Business.

Marshall @ Marshall and the Movies reveals why The Change-Up isn't a good movie at all. I like Ryan Reynolds but please Hollywood, stop trying to make him a movie star. Turning people into stars don't work overnight. Remember how long it took Christian Bale to become before he became Batman?

Speaking of Batman, Dan @ Dan the Man's Movie Review has a great review about Tim Burton's take on the Caped Crusader. Whenever I think about that film. There's two things I think of. Jack Nicholson and Prince's song "Batdance" where I always do air guitar to that solo.

Laura @ City Lights has this great rant about some claim that Franco Zeffirelli's The Champ as "the saddest movie ever". Are you fucking serious? What about Bicycle Thieves, Never Let Me Go, Breaking the Waves?

Jake @ Not Just Movies has a review of Satyajit Ray's The Music Room that makes me want to explore the work of Ray whose films I had never seen before.

Bonjour Tristesse has a review of Louis Malle's Black Moon that I think everyone should read.

Andy @ Andy Buckle's Film Emporium attended the Melbourne Film Festival where one of the films he saw is Lars von Trier's Melancholia that has gotten me more intrigued about the film.

Stevee @ Cinematic Paradox is about to turn 16 by celebrating 16 of her favorite things about film starting with her love for Christopher Nolan.

Finally, there's a new blog that I want to pimp out. It's a blog called Cinemecca that is run by a group of dudes including one of my former Epinions.com colleagues in Jason Haskins aka JiggyJay. Jason is one of the few writers at Epinions that actually knows his shit and is a damn good writer. I just want to help him and the rest of the gang out by giving them more exposure so please, check them out.

Well that is all. Expect some expanded reviews of the films from Gus Van Sant to come around often as I'm set to work on the DVD content of My Own Private Idaho while I'll be watching a slew of films by Charles Chaplin, Jacques Tati, Jean-Luc Godard, Francois Truffaut, Alain Renais, and the upcoming LAMB Movie of the Month in Renny Harlin's A Long Kiss Goodnight which I did see in the theaters a long time ago. Until, then...

Black Narcissus

Based on Rumer Godden’s book, Black Narcissus is the story about a convent of nuns who are haunted by their surroundings as they’re isolated inside the Himalayan valley. Even as tensions begin to mount with the nuns as they deal with the strange surroundings of the world they‘re in. Written for the screen, produced, and directed by Michael Powell and Emeric Pressburger, the film is considered to be one of their great collaborations of their celebrated career. Starring Deborah Kerr, Sabu, Jean Simmons, David Farrar, Flora Robson, Kathleen Byron, and Esmond Knight. Black Narcissus is a captivating yet extraordinary drama from the team of Powell-Pressburger.

Sister Clodagh (Deborah Kerr) is a teacher at a convent in Calcutta as she’s called by her Mother Dorothea (Nancy Roberts) to head up a new school/hospital at an old palace in the Himalayas near Darjeeling. Clodagh accepts the job though she receives a letter from a British agent named Mr. Dean (David Farrar) who warns her about the land. Clodagh along with a small group of nuns make their way to the palace where they meet a woman (May Hallatt) who lives at the place along with the old General (Esmond Knight) who hopes for good things to come from the nuns. Yet, the nuns deal with winds and other things making it uneasy as Clodagh meets Mr. Dean where the two dislike each other.

With Clodagh and her fellow nuns trying to get the place working and available for the small children with help from an English-speaking boy named Joseph (Eddie Whaley Jr.). Two different visitors come to the place for different reasons in a mysterious dancing girl named Kanchi (Jean Simmons) and the General’s young nephew named the Young General (Sabu) who seeks an education from the nuns. Things go well for a while though the tension between Clodagh and Dean still rages on during a Christmas service where Dean is drunk but manages to charm the troubled Sister Ruth (Kathleen Byron) from afar. Things start to get tense when the elder Sister Philippa (Flora Robson) feels ill while a tragic incident leaves the loving Sister Honey (Jenny Laird) consumed with guilt.

After talking to Dean about what happened along with Kanchi’s infatuation with Young General, Dean is aware that a lot is going on as he reveals that everyone should calm down and wait a few days. Clodagh realizes that Dean’s warnings were right as Sister Philippa wants to be transferred and Sister Ruth becoming more erratic. With only the tough Sister Briony (Judith Furse) being able to help out, Clodagh realizes something isn’t right as she deals with Ruth who has become more unstable in her love for Dean.

The film is a very provocative piece about a woman who is asked to head up and start a convent in the middle of the Himalayan mountains. For this woman who is now supposed to be the head of this convent, she has no idea what’s in store for her as she is warned by a British agent about the abandoned palace and landscape that a previous group of missionaries tried to inhabit. She still forges ahead where the place she encounters is very mysterious as she and her nuns all have good intentions and were very nice to the locals around them including the children. Yet, it becomes a world that is very strange in its beauty where some of the nuns become transfixed by their surroundings.

The screenplay that Michael Powell and Emeric Pressburger create is fascinating for its motivations and character study as Sister Clodagh is a woman who is trying to do good as part of her service to God. While Dean is aware of what she’s trying to do, he knows that failure is to be expected despite Clodagh’s determination. Throughout the film, Clodagh would look back into her old life when she lived in Ireland was in love with a man (Shaun Noble). These flashbacks provided an idea of why she became a nun as she struggles to maintain her role while things around start to fall apart.

With characters such as Sister Briony, Sister Philippa, and Sister Honey each providing some support and moments that help Clodagh with her own conflict. It is the Sister Ruth character that is one of the most interesting as she becomes a wild-card throughout the film. Early in the film when Clodagh talks to her superior, the superior suggests Ruth to be part of the team as a way for her to be active. Ruth starts off fine despite feeling ill but as the film progresses, she becomes more unstable in her love for Dean. While the tension between Dean and Clodagh is more about morality and motivations, there is a bit of sexual tension in a subtle manner as both know they can’t be together. Yet, it would provide Ruth to push buttons both sexually and morally leading to a clash between her and Clodagh.

The direction of Powell and Pressburger is truly magnificent not just in scope but also in setting a mood for the film. While it’s shot mostly inside a studio with some shots at a garden in England, there is something magical to the way Powell and Pressburger create something is a world that looks very different and big in the way they frame the film. Particularly this amazing overhead shot of the cliffs during the morning when a nun rings the bell. They also create something where the world the nuns live in is very unique where things seem calm but also unsettling. Notably a scene where Clodagh watches Joseph teaches words to other kids at the garden but Clodagh is filled with unease by what Joseph is saying because of what’s in the garden.

The sense of tension and melodrama do create something that is very heightened in its stylization that is played up by the fact that a couple of British actors play Indians in the film. While it might create some unease of having white British actors play Indians, it’s only because it’s part of this world that is a bit artificial and not a lot of things are real in the world that Powell and Pressburger create. What is real is the tension and the way they push buttons including a scene late in the film involving Ruth and Clodagh. It is there that sexual taboos are pushed but only in a subtle manner with Clodagh trying to remain in control as Ruth pushes her with just this simple thing as an act of defiance. The overall direction of Powell and Pressburger is sensational and mesmerizing as they create what is truly one of their great films.

Cinematographer Jack Cardiff does a spectacular job with the film‘s rich yet colorful cinematography made by Technicolor at the time it was made. Cardiff’s work is magical from the look that he creates for the Himalayan world with its bright green grass and plants to the heightened look of the skies. Cardiff also creates some amazing lighting schemes such as the shading and sunset lights to help set the dark mood including some amazing yet intimate scenes with very little light. Cardiff’s work is definitely the film’s true technical highlight from late, great cinematographer in the second of his three collaborations with Powell and Pressburger.

Editor Reginald Mills does an excellent job with the film’s editing as he creates a wonderful degree of style to help the film move at a nice, leisured pace. Mills also creates some amazing transitions in the use of dissolves, fade-outs, and straight cuts to help maintain the heightened tone of the film. Notably in the flashbacks and more dramatic scenes as Mills’ work is truly dazzling.

Production designer Alfred Junge does a fantastic job with the art direction in creating wonderful backdrops for the decayed palace while the look inside the palace such as the hall is beautiful. Other set pieces such as the chapel is truly amazing as the art direction is another of the film’s highlights. Costume designer Hein Heckroth does a stellar job with the costumes from the look of the nun‘s clothing to the regal yet posh look of the General and the Young General. The sound work of Stanley Lambourne does some fine work with the sound from the group of people around the palace to the intimacy in some of the rooms in the palace

The film’s score by Brian Easdale is another of the film’s highlight as Easdale’s soaring score is filled with wonderful orchestral flourishes mixed in with Indian percussions. Notable pieces include the piece that Kanchi dances to that adds a bit of subtle eroticism that isn’t overt but enough to make it very lively. Easdale also creates some somber themes for the dramatic moments along with intense orchestral bombast in some of the film’s heightened moments. It’s among one of Easdale’s great scores of his career as well in his collaboration with Powell and Pressburger.

The casting by Adele Raymond is phenomenal as it features some notable small performances from Nancy Roberts as Clodagh’s superior, Shaun Noble as Clodagh’s former lover in the flashback scenes, and Eddie Whaley Jr. as the helpful boy Joseph. In the roles of the nuns, Judith Furse and Jenny Laird are excellent in their respective roles as the tough medical specialist Sister Briony and the chatty yet caring Sister Honey. Flora Robson is wonderful as Sister Philippa, an elderly gardener whose health and state of mind leaves her confused about her current place with the world. In a mostly silent performance, Jean Simmons is very good as the exotic Kanchi where Simmons plays a young woman falling for the Young General while using dance as her emotional outlet.

Esmond Knight is also good in a small role as the charismatic General who lets the nuns take the old palace and make into a convent. Sabu is superb as the General’s nephew who wants an education while dealing with the presence of Kanchi that comes to conflict with who he is. David Farrar is great as Mr. Dean, a charming man who tries to help out the nuns as he tries to deal with Sister Clodagh in a truly exhilarating performance. The film’s best supporting performance definitely goes to Kathleen Byron as the unstable Sister Ruth. Byron starts off very quiet as a woman in need to be of importance as she tries to do her duties only to fall for Mr. Dean as she starts to defy Clodagh in a fiery yet towering performance.

Finally, there’s Deborah Kerr in a very radiant performance as Sister Clodagh. Kerr brings a wonderful sense of restraint of a woman that is devoted to duty only to be torn by her own memories of her old life as well as her devotion to God. It is truly an enchanting yet complex performance from Kerr who brings a sense of quiet torment to a woman wanting to do what is right while dealing with the harshness of a world she doesn’t know. It is truly a spellbinding performance from Deborah Kerr who is one of the great actresses of the 20th Century.

***Written from 4/29/16-5/4/16***

The 2010 Region 1/Region A DVD/Blu-Ray release from the Criterion Collection presents the film in a new digital transfer under the supervision of cinematographer Jack Cardiff and Michael Powell’s widow in film editor Thelma Schoonmaker in its original 1:33:1 full-frame aspect ratio with a remastered mono soundtrack that is uncompressed for its Blu-Ray release. The film’s extras would feature an eight-minute and forty-three second introduction by filmmaker Bertrand Tavernier about the film as it’s an audio track recorded in 2006 against images and production stills of the film where Tavernier would discuss where Michael Powell and Emeric Pressburger were at the time when production for the film was made as well as discussion on its cast, crew, and many aspects of the film that would make it famous.

The audio commentary track by Michael Powell and filmmaker Martin Scorsese recorded in 1988 has the two, via separate commentaries, talk about the film and many of its attributes. With Powell reflecting on the production and the fact that the film was shot largely on location at Pinewood Studios in London. Scorsese is more technical in his commentary while talking about the many times he saw it including a screening in 1983 which he states that the film should be seen in the theaters. The two also talk about moments in the film as well as the performances where Powell also talks about some of the casting decisions in the film as well as his fondness for some of the actors in the film as the commentary is just delightful to listen to.

The 17-and-a-half minute featurette entitled The Audacious Adventurer is a 2005 video interview with filmmaker Bertrand Tavernier about the film and its co-director Michael Powell. Tavernier talks about a lot about his friendship with Powell as well as conversations he had with him the past along with the events that led to the film. Tavernier talks about how Powell got the book during a time of war as he was later reminded by Pressburger about the book at a time when British audiences were tired of seeing war movies as the film marked a change of pace for the two. Tavernier also talked about the casting as Powell, who was in a relationship with Deborah Kerr, wasn’t sure if she was right for Sister Clodagh thinking she was too young but Kerr later convinced him to cast her as it’s a fun piece to watch.

The 25-minute documentary Profile of “Black Narcissus” made in 2000 is about the Archers production team as well as its cast in Kathleen Byron and cinematographer Jack Cardiff. Narrated by Jack Bond, the documentary discusses much of the film’s production as well as many elements in the film that some believe remains innovative in film. Film critic Ian Christie talks about the film’s historical impact as well as the mixed reception it did receive initially despite being a hit with audiences. Some of it due to the very subtle erotic elements in the film as it was considered very shocking while Byron talks about her performance, her relationship with Powell, and Deborah Kerr as they all knew they were doing something special.

The 26-minute Painting with Light by Craig McCall is a documentary piece made in 2000 about cinematographer Jack Cardiff as some of the portions of the film would later be included into the 2010 documentary Cameraman: The Life and Work of Jack Cardiff. The piece mostly focuses on Cardiff’s work on the film as it includes interviews with Kathleen Byron, Martin Scorsese, Thelma Schoonmaker, and film critic Ian Christie. Featuring a recreation of the set of the film where Byron is interviewed, the film discusses many of the aspects of Technicolor and what Cardiff did as well as into some of the technical details. Even as Cardiff draws inspiration from paintings and other works of art to give him visual ideas as he also talks about other small tidbits on what he contributed to the film as it’s must-see for anyone who love the art of photography. The DVD/Blu-Ray also features the film’s theatrical trailer as it sort of spoils some of the aspects of the film.

The DVD/Blu-Ray set also includes an essay by film critic/essayist Kent Jones entitled Empire of the Senses. Jones discusses many of the film’s theme including the theme of trying to change things to fit a certain way but deal with forces that couldn’t be changed. Jones also reveals that book’s author Rumer Godden didn’t like the film, despite her involvement in the production, while some critics, at the time, felt the film was style over substance. Jones also talks about the performances as well as reveal what got cut for its initial release as it relates to some of the flashback scenes of Sister Clodagh before she became a nun. It’s a fascinating essay about one of the finest films in British cinema.

***End of DVD Tidbits***

Black Narcissus is a hypnotic yet superlative film from Michael Powell and Emeric Pressburger that features an outstanding cast led by Deborah Kerr. The film is among one of the hallmarks of the celebrated films Powell-Pressburger created in their revered career which includes The Red Shoes. This is a film that is filled with amazing imagery and a captivating score from Brian Easdale as it is truly imaginative in its look along with a dark yet seductive tone. In the end, Black Narcissus is a true one-of-a-kind film from the great duo of Michael Powell and Emeric Pressburger.

Powell-Pressburger Films: The Spy in Black - (The Lion Has Wings) - Contraband - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I’m Going - A Matter of Life and Death - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2011

All or Nothing

Written and directed by Mike Leigh, All or Nothing tells the story of three families living in working-class London as they each deal with the changes in their lives. Along the way, they all intersect to discuss their own lives and the messiness that is around them. Starring Timothy Spall, Lesley Manville, James Corden, Alison Garland, Ruth Sheen, Sally Hawkins, and Daniel Mays. All or Nothing is a good although extremely dreary film from Mike Leigh.

Phil Basset (Timothy Spall) is a miserable cab driver who works on long hours day and night as a cab driver for a company run by Neville (Gary McDonald). His friend Ron (Paul Jesson) also works in the same company but always manages to get into some accident that leaves him ailing for money. Phil and Ron’s family life are messy as they each deal with their own world. Phil’s wife Penny (Lesley Manville) works as a supermarket cashier with friend/neighbor Maureen (Ruth Sheen) whose daughter Donna (Helen Coker) is in an abusive relationship with her boyfriend Jason (Daniel Mays). Penny’s daughter Rachel (Alison Garland) works at nursing home while her younger brother Rory (James Corden) is an angry, obese teenager who refuses to do anything.

Ron’s wife Carol (Marion Bailey) is an alcoholic always intoxicated while their daughter Samantha (Sally Hawkins) is a slacker trying to find work while dealing with a creepy stalker (Ben Crompton) near her apartment. Everyone works as they all try to deal with their day-to-day lives as Donna learns she’s pregnant making Jason very upset. When Maureen learns what happens, she tries to sort things out while Rachel is being flirted by an old man (Sam Kelly). On another typical day when Phil is working as he has a French woman (Kathryn Hunter) as a passenger. Phil has a realization about his life leaving him to shut off his phone and just drive somewhere. Yet, the timing turns out to be bad when a family emergency brings everyone together.

The film is about a trio of dysfunctional families living their lives in London as they all live in the same apartment building interacting with one another and go on with their lives. They all try to help each other while some are going through the motions of working and doing things when they work with the exception a few people who don’t really do anything. Yet, they’re all pretty miserable as the main focus is on the Basset family where there’s a couple whose marriage is pretty much on the outs which affects the family. The other two stories about a mother and her pregnant daughter and the other family who are an absolute mess help balance out the rest of the film.

Leigh’s story has the same kind of improvisational yet free-flowing feel that is common with all of his films since he doesn’t really use a script to tell the story. The problem with this film is that there’s not much to tell as the first act starts off very slow and almost becomes a bit repetitive though it seems like that is what Leigh is aiming for. At the same time, because everyone looks like a mess with the exception of a couple of scenes where one of them has Maureen and Penny go out to a club looking pretty clean and normal though Carol remains a mess. Throughout the story, there’s a lot of scenes where Phil drives his cab and deals with an array of passengers and comes home where Penny doesn’t seem to enjoy him around. For Phil, feeling unloved and unhappy would cause him to drift from everything but at the wrong time in the film’s climatic moment.

Leigh’s direction is pretty good as he keeps things straight in his direction. Yet, there’s a lack of style that happens throughout with the exception of a few scenes. Leigh is always creating something that is engaging about the way a family has dinner together or having a moment together. There is something that is compelling in what he tries to create though it starts off very slow where nothing is happening and it ends up becoming very depressing. Things do pick up in the film’s climatic moment that includes a very emotional scene in the realization about a family’s life. While the ending is a bit cheerful, it does feel a bit unresolved as far as the two other families are concerned though it’s open for interpretation about what could happen. Overall, Leigh creates something that is intriguing but lacks a lot of weight to keep things going.

Cinematographer Dick Pope does an excellent job with the photography in capturing the nighttime setting of London with a very gorgeous look while most of the film, with the exception of a scene at the beach, is very straightforward. Editor Lesley Walker does a good job with the editing as she maintains a mostly straight approach to the cutting while using fade-outs for the transitions to keep things movie.

Production designer Eve Stewart and art director Tom Read do fine work with the look of the film from the dreary apartments everyone lives in to the old folks home that Rachel works at. Costume designer Jacqueline Durran does nice work with the costumes by maintaining a mostly casual look that is very grimy while the clothes that Maureen wear the karaoke scene is pretty stylish. Sound editor Peter Joly doe some stellar work in capturing the sound for the various locations throughout the film including the chaos of the London streets. The film’s score by Andrew Dickson is pretty good for a lot of the smooth, orchestral pieces played in the film that adds a sense of melancholia throughout. Yet, it also becomes a bit aggravating as it’s always played in between many of the film’s transitions.

The casting by Nina Gold is really the highlight of the film as it includes some standout small performances from Diveen Henry as Neville’s sister, Gary McDonald as the cab service boss Neville, Kathryn Hunter as a French passenger, Sam Kelly as the old man that flirts with Rachel, Robert Wilfort as a doctor, and Ben Crompton as the creepy Craig. Other notable performances include Daniel Mays as the very abusive Jason, Marion Bailey as the often-intoxicated Maureen, and Paul Jesson as the frustrated Ron. Helen Coker is very good as the troubled yet abused Donna while Sally Hawkins is extraordinary as the sexy though lonely Samantha. Ruth Sheen is superb as Maureen, Donna’s mother who tries to help her daughter out while proving to be a tough, no-holds-barred woman who can get things in control and deal with Jason.

James Corden is excellent as Rory, an obese teenager who often spouts insults at his mother as he lazes around in the couch and smoke cigarettes only to finally get into some trouble. Alison Garland is brilliant as Rachel, a quiet young woman who works at a nursing home as she tries to keep things organized while being the one who watches her parents’ marriage break apart. Timothy Spall is great as Phil, a depressed cab driver who tries to cope with everything around him as Spall has a very dirty look where he is unshaven and hasn’t washed his hair. Finally, there’s Lesley Manville in a radiant role as Penny. A woman who tries to help out though she is unaware that she seems to be not really helping as she gives what is truly a heartbreaking performance.

All or Nothing is a decent though grim film from Mike Leigh despite an intriguing premise and a superb cast. While it’s a film that has a lot of Leigh’s unconventional storytelling ideas and intriguing study of characters and situations. It’s a film that doesn’t have much weight as it starts off very slow and tedious for about the first half only to pick up in the second half. It’s a film that isn’t among his greats like Naked, Secrets & Lies, and the films he made after this. Yet, it is still a compelling piece as All or Nothing is a film with some good moments that could only come from someone as revered as Mike Leigh.

Mike Leigh Films: (Bleak Moments) - (The Permissive Society) - (Knock for Knock) - (Hard Labour) - (Nuts in May) - (Abigail’s Party) - (Kiss of Death) - (Who’s Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

© thevoid99 2011