Love and scandal are the best sweeteners of tea. —Henry Fielding

20 May 2018

Saraband for Dead Lovers

This movie is so much better than I thought it would be, and Flora Robson is pretty extraordinary; she gives a brave, fierce performance that elevates the film far above the usual period fare that the studios were cranking out in the late 1940s.

Basil Dearden's filmmaking is also super interesting, which is surprising because the film itself is the kind of sudsy big-budget period romance to which we have all become accustomed in the post-war period. But Saraband for Dead Lovers has lots to recommend it. The editing is intriguing, the tale is told with startling economy, and the politics – a set of moves in Hanover that landed the German George I on the English throne – are not without interest.

As usual with the stuff I'm watching lately, Saraband for Dead Lovers is very hard to get ahold of. If you want to watch it you will have to find yourself a (legally questionable) DVD of it.

18 May 2018

Ådalen 31 (1969)

Ådalen 31 is good. It's no Raven's End, but it's good. I think that Widerberg isn't as clear about the connections he's making in Ådalen 31 as he is in that previous film. And Ådalen 31 doesn't have the same focus on a central character, and so it is hard to connect to this movie in the same way.

What is clear to me, however, is that Widerberg was a major 1960s voice in Sweden, and it is nuts that these films are so hard to get in the United States. Also, as I watch more and more films from this period, it becomes clear that the topic of unionization – and labor more generally – was the conversation in global cinema in the 1960s. This is true for big films like I Compagni but even seemingly somewhat smaller films like La Venganza or the movies of Bo Widerberg or Vasilis Georgiadis.

16 May 2018

Like, Simon

Love, Simon was sort of basic. It has a hip soundtrack, but it settles for most of the usual tropes and it is never really interesting as a film.

Worse yet, it doesn't really have any intriguing characters. Everyone here is attractive and charming, but other recent high school movies like The Edge of Seventeen, Closet Monster, and even Handsome Devil have much more interesting characterization than Love, Simon does. These guys are all just so bland.

To be fair, this film does have a couple really great scenes. There is one where Simon comes out to his friend in a car – this is a really moving sequence. And, of course, the scenes with Jennifer Garner and Josh Duhamel are all great. Especially their two (solo) post-coming out scenes with Simon. In another very good scene, Simon yells at the young man who has outed him, telling him that when to come out should have been his choice (this is something out gay people seem to forget about people who are not out – I find myself really tired of gay folks telling famous gay actors and musicians that they need to come out).

Still, I wish this film had been more of a film.
And I wish it had been gayer.
And I wish there had been more Joey Pollari.

14 May 2018

When Tomorrow Comes

When Tomorrow Comes is a charming melodrama. It would be remade by Douglas Sirk, eventually. This is a lovely little romantic–tragic follow-up to Love Story starring that earlier movie's leads, Irene Dunne and Charles Boyer. Also, I think I had forgotten just how much I love those two performers. They're wonderful together onscreen. I just love them. When Tomorrow Comes is, surprisingly, hard to find (no DVD release or normal streaming possibilities). It does not deserve this fate. It's no Love Story, of course, but it's quite good, and it has a pretty terrific hurricane sequence.

13 May 2018

Mad about Music

I hated this movie, and I loathed the central character, who spends the entirety of the film lying. But then I hate most Deanna Durbin movies. Honestly, I am not sure why I subjected myself to this. Mad about Music would be a total and complete loss if it were not for Herbert Marshall, who is completely charming in this from start to finish.

12 May 2018

The Red Lanterns (1963)

The Red Lanterns (Τα Κόκκινα Φανάρια), Vasilis Georgiadis's 1963 film is my kind of melodrama. In many ways this is even more of a successful film than Georgiadis's later, more political melodrama, Blood on the Land (Το Χώμα Βάφτηκε Κόκκινο), from 1965. 

The Red Lanterns is the literal title in Greek, but it refers to the red-light district, and the film surely should have been renamed for its U.S. release in 1965. Georgiadis's film is a portrait of one brothel in this red-light district, and we follow four or five different women who work for the same brothel. The stories are beautiful in their way, and, of course melodramatic. I really loved this movie.

Isle of Dogs

This is cute and very funny. I was also really invested in its plot. Isle of Dogs totally works, too, but... I think I am more and more impatient with Wes Anderson and his brand. I really liked the last one, The Grand Budapest Hotel, but I haven't really loved a Wes Anderson film since that one where Gwyneth Paltrow attempted suicide and wore dark eyeliner. I think I just want things to be a little more serious.

07 May 2018

Princess Cyd

Love love love love.  Princess Cyd is filled with light and wisdom, and it's very moving and gentle. It's a gorgeous, generous film with a central performance from Chicago actor Rebecca Spence that is breathtaking. This is such good stuff.

06 May 2018

I Even Met Happy Gypsies

I wish I had more to say about Aleksandar Petrović's I Even Met Happy Gypsies. The filmmaking is cool, but the story is just not that interesting.

Two for the Road (1967)

Two for the Road is a very cleverly told tale about a relationship and three (or four?) different trips through the south of France taken by a couple at different times. The editing is smart, and the script keeps all of these balls in the air in smart ways.

The central question of the film, however, is this romantic relationship: will they divorce? Will they stay together? Will they murder each other? To be honest, by the film's second act, I had already started, rather, to dislike the two of them, and didn't care if they stayed together or not.

05 May 2018

La Vie devant Soi

La Vie devant Soi might be my favorite movie of 1978. That's kind of a difficult claim to make 40 years later, so I'm having trouble committing, but this film is gorgeous. I absolutely loved it. The movie stars (the incomparable) Simone Signoret as Madame Rosa, an aged prostitute and survivor of the Shoah who now takes care of prostitutes' children during the week so that they can work.

The movie, like all Moshé Mizrahi movies, is actually, however, about a young boy coming of age. One of the kids that Madame Rosa has taken in is a boy whose parents were Muslim, and his parents never come back for him, so he and Madame Rosa stick it out together as she grows old and infirm and he becomes a young teenager.

This is easily Mizrahi's best film, and this one manages to cover so many intriguing topics and describe so many fascinating characters. I found it beautiful and very moving even if I have become impatient with Mizrahi's greater interest in young men coming of age than the women in those boys' lives. (The women in his films always seem more interesting to me, but Mizrahi's movies are less interested in them.)

As for Simone Signoret (1921-1985), La Vie devant Soi is a crowning achievement in a long and superb career.

03 May 2018

Logan Lucky

Logan Lucky was really funny, and for the record I thought it was much funnier and not nearly as classist as I, Tonya. I love that Channing Tatum. He's just so great.

24 April 2018

The Death of Louis XIV

It is unquestionably inspired to have cast Jean-Pierre Léaud as Louis XIV for this movie, but the film itself is claustrophobic and even tedious. I know Serra is supposed to be a daring, challenging filmmaker, but La Mort de Louis XIV was definitely not for me.

23 April 2018

Mi Querida Señorita

Mi Querida Señorita is a really strange romantic comedy in which a 43-year-old señora finds out that she is actually a man. It's honestly and surprisingly really funny and charming. Its trans politics are (obviously) 45 years old, but I quite enjoyed this.

As far as I can tell, Mi Querida Señorita was never released in the U.S. It was released in Spain in 1972.

20 April 2018

The Nest

El Nido is a strange film. It moves along at an odd speed, occasionally fast-paced, and occasionally slow. This is typical for the films of Jaime de Armiñán; they can often jump many months without warning. Also typical is the slightly mocking gaze that the film always has turned to its characters. These are characters who are quirky and behave foolishly.

The film asks us also to be sentimental about their behaviors, to care for the characters. Armiñán places them in absurd circumstances, but these circumstances seem to be serving the filmmaker's mockery more than his affection. He certainly is affectionate toward his characters, it's just that the mockery so often seems to outweigh that affection.  

El Nido wasn't really for me. I wanted to identify with the main character, but it just didn't happen. Worse yet, I didn't laugh very much either.