Coming up on TV: An Anti-war Masterpiece

James Coburn and James Garner in THE AMERICANIZATION OF EMILY

Turner Classic Movies is broadcasting the 1964 The Americanization of Emily on November 11.    Set in England just before the D-Day invasion, The Americanization of Emily is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing English women for the brass.  Julie Andrews plays an English driver who has lost her husband and other male family members in the War.  She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.

Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy.   Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it.  Fellow officer James Coburn must guarantee Garner’s martyrdom.

It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network.

Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe.

Reportedly, both Andrews and Garner have tagged this as their favorite film.

One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.

Coming up on TV: Brute Force

On November 2, Turner Classic Movies will be airing Brute Force (1947).  This Jules Dassin noir is by far the best of the Hollywood prison dramas of the 30s and 40s.  A convict (Burt Lancaster) is taunted by a sadistic guard (Hume Cronyn) and plans an escape. It’s a pretty violent film for the 1940s, and was inspired by the 1946 Battle of Alcatraz in which three cons and two guards were killed.  Charles Bickford, Whit Bissell and Sam Levene are excellent as fellow cons.

It’s on my list of 10 Best Prison Movies.

a 79-year-old scary treat for Halloween weekend

Director Tod Browning and his cast of FREAKS

Bad things happen at the circus.  And bad things happen in Freaks.  This is one of the most unsettling horror films, because it was filmed in 1932 with real circus freaks.  If you have teenagers jaded by today’s empty horror flicks, this will knock them for a loop.  Only 64 minutes. Available on DVD and often televised around Halloween.

Dirty Girl: actors good, story not in teen road trip movie

Dirty Girl, which arrived with some measure of indie buzz, is a pleasing trifle, nothing more.   Two teenagers, whose parents don’t get them,  run away on a transformative road trip. One is played by Juno Temple, whose smart, quirky sexiness pretty much took over this year’s Kaboom.  The overweight gay kid is played by Jeremy Dozier.  Both are good, Temple is special and Dozier might be.  I’m looking forward to seeing them in better movies.

Against type, Milla Jovovich plays a trailer trash single mom.  Dwight Yoakam plays yet another dirtbag, this one without a lot of depth.

But it’s Mary Steenburgen who really reminds us how good she is.  Steenburgen plays what is written as a fairly cardboard role – the bullied wife, the prude wearing high-necked blouses, the devoted but helpless mom.  But Steenburgen brings so much texture and intensity to the performance and creates a character that transcends the one on the page.

Pearl Jam Twenty: a good first 43 minutes…

Just watched Pearl Jam Twenty on the PBS series American Masters.  It’s Cameron Crowe’s (Almost Famous) documentary on the formation and rise of the band Pearl Jam.  My initial test for any rock band documentary is whether it’s better than an episode of VH1’s Behind the Music.

The first 43 minutes of Pearl Jam Twenty is pretty good.  There’s the drug overdose death of the lead singer in Pearl Jam’s predecessor band (usually the fatal rock OD is AFTER the rise to stardom). There’s a wonderful video of an early performance where new lead singer Eddie Vedder unleashes the rage in his voice when angered by an overaggressive bouncer during a performance at a small club.  Finally, playing before a festival crowd of 60,000 for the first time, Vedder ends a song, gazes across the masses and inhales, literally breathing in the sweet smell of success.

But then the documentary tails off, and there’s not much in the last hour except for Vedder’s ad lib at an awards show cracking up Neil Young, Willie Nelson, Jimmy Page and Robert Plant backstage.  If you’re a big Pearl Jam fan, then the last hour is probably worthwhile.

Blackthorn: Butch Cassidy rides again…through Bolivia

What if Butch Cassidy had survived that 1908 shootout with the Bolivian army?  That’s the premise of this stylized Western starring Sam Shepherd as Butch.

I love Westerns, and I found this one to be satisfying but not exceptional.  It’s a beautifully shot film with sound acting.  Unfortunately, once we get past the inspired premise, the screenplay is pretty routine.

Sam Shepherd’s presence and features make him well suited to play an icon, whether Chuck Yeager (The Right Stuff) or Butch Cassidy.  Eduardo Noriega (so good as the drug smuggler in Transsiberian) reeks unreliability as the one person who has what Butch needs.  Stephen Rea (The Crying Game) has a gift for hangdog performances, and he gives another good one as the Wiley Coyote of Pinkerton agents.

This is the directorial debut of noted screenwriter Mateo Gil (Open Your Eyes/Vanilla Sky, The Sea Inside).  Gil has the directorial touch – he makes full use of the dramatic Bolivian landscape and engaging Bolivian cast.

Margin Call: Will the greedy survive?

This is a taut drama about an investment bank facing the financial collapse of 2008.  In his first feature, writer-director J.C. Chandor (whose father worked on Wall Street) successfully creates a pressure cooker of a tale.

The story is compressed into a critical 24 hours in the life of the company.  It is set in darkened offices lit only with computer monitors that are gleaming with menacing graphs and spreadsheets.

Stanley Tucci is compelling as the bean counter who discovers an existential threat.  Kevin Spacey (also always good) is the corporate lifer who must clean up the mess.  Don’t overlook the depth of Paul Bettany’s performance as an amoral and personally empty corporate climber who is in it only for the sport and for the adrenaline, using his bonuses merely to keep score.  Finally, in Margin Call‘s most superb performance, Jeremy Irons oozes menacing confidence and power as the CEO who do anything to save his company.

Unfortunately, Chandor cannot create acting range for Simon Baker and Demi Moore, who are out of their depths among the otherwise fine cast.

[youtube:http://www.youtube.com/watch?v=Y2DqFRsPrns]

50/50: what’s funnier than cancer?

Joseph Gordon-Levitt (who has reliably excellent taste in his choice of movie scripts) stars in this cancer comedy.  Yes, cancer comedy.  Seth Rogen plays his buddy.  And it’s funny.  Pretty damn funny.

Writer Will Reiser takes the story from his own bout with the Big C.   Reiser’s real life friend Seth Rogen helped him through the ordeal.

As usual, Gordon-Levitt is excellent.  And, if you’re out chasing skirts while bald and weak from chemotherapy, who could be a better wing man than Seth Rogen?

Anna Kendrick (so good in Up in the Air) plays the cringingly green psychologist assigned to help the patient face his 50/50 chance of survival.   Bryce Dallas Howard (excellent as the achingly fragile survivor in Hereafter) plays the girlfriend with the best intentions but neither aptitude for care giving or unlimited loyalty.  Angelica Huston plays not just another smothering mom They’re all very good – good enough to play against Gordon-Levitt and Rogen.  So are Philip Baker Hall and Matt Frewer (Max Headroom) as fellow cancer patients.

Take Shelter: digging his fingernails into sanity

Michael Shannon (Shotgun Stories, Agent Van Alden in Boardwalk Empire) is perhaps our best creep actor.   And what’s creepier than watching a solid parent and spouse enduring a full-fledged psychotic breakdown?

Shannon plays the most grounded guy in America until he starts having terrifying dreams and then hallucinations.  One of his parents is mentally ill, and he is determined to resist a breakdown and protect his family.  Unlike in a lesser screenplay, Shannon’s protagonist is very aware that he may be going crazy and is digging his fingernails into sanity.

Shannon gave a breakthrough performance in Shotgun Stories, by writer/director Jeff Nichols.  (In the excellent Shotgun Stories, Nichols created a dysfunctional family with a father so dismissive of his offspring that he non-named them Son, Kid and Boy.)  This time, Nichols has given Shannon the role of a lifetime, for which Shannon should get a dark horse Oscar nomination for Best Actor.

You may have noticed that this is Jessica Chastain’s year (The Debt, The Tree of Life, The Help, Texas Killing Fields), and Chastain should receive an Oscar nod for her supporting performance as Shannon’s wife.  Chastain must react to her husband’s behavior, which starts out quirky, becomes troublesome and spirals down to GET ME OUT OF HERE.

Nichols, Shannon and Chastain have given us one of the Best Movies of 2011 – So Far.

[youtube:http://www.youtube.com/watch?v=I5U4TtYpKIc]

Coming up on TV: M*A*S*H*’s precursor

Turner Classic Movies is broadcasting Battle Circus (1955) on October 7.  It’s not a great movie, but Baby Boomers will recognize many similarities to 1970’s MASH.   Battle Circus stars Humphrey Bogart as a doctor in a US Army mobile hospital unit in the Korean War. As in MASH, there’s plenty of casualty-laden helicopters, smart ass humor, partying and nurse-chasing.

Of course, Battle Circus‘ story came directly out of the then-contemporary Korean War. MASH was adapted from the 1968 novel by Richard Hooker, who had served in such a unit 15 years before.  And, of course, Robert Altman framed MASH so that, although it was set in the Korean War, it was really about the Vietnam War.

(By the way, the novel and the 1970 movie were titled MASH, and the epic TV series was titled M*A*S*H*. )