2022 Farewells: on the screen

Sidney Poitier in THE HEAT OF THE NIGHT

Sidney Poitier was an actor whose great intelligence, charisma and intensity, which combined into a righteous power. He was the first black A-list movie star and a man who changed things forever by insisting on playing empowered, non-degraded roles. Revisit the moment in In the Heat of the Night when his detective informs Carroll O’Connor’s redneck lawman, “They call me Mister Tibbs“. He wasn’t just an iconic actor, either – he was a also an accomplished director and a bona fide civil rights leader.

William Hurt in BODY HEAT.

Actor William Hurt, broke through unforgettably in his first feature film Altered States, which began a stunning run in the 1980s, of which my favorites were Body Heat, The Big Chill and Broadcast News. Hurt’s characters were frequently cerebral, contained and deliberate. His Ned Racine in Body Heat was always thinking, too, just not thinking as quickly or diabolically as Kathleen Turner’s femme fatale Matty Walker. Even after his A-list days had passed, Hurt was uniformly excellent supporting others in films like History of Violence and Into the Wild.

Jean-Louis Trintignant in AMOUR.

Actor Jean-Louis Trintignant starred in some of the most prestigious European movies of the past six decades: Roger Vadim’s …And Man Created Woman with Brigitte Bardot (1956), Claude Leloach’s A Man and a Woman (1966), Claude Chabrol’s Les Biches (1968), Costa-Gravras’ Z (1969), Éric Rohmer’s My Night at Maud’s, Bernardo Bertolucci’s The Conformist (1970), Krzysztof Kieslowski’s Red (1994) and Michael Haneke’s Amour (2012). He even made a Sergio Corbucci spaghetti western The Great Silence in 1968. Trintignant was 91.

Angela Lansbury and Laurence Harvey in THE MANCHURIAN CANDIDATE

Angela Lansbury’s first screen role was as the saucy, self-interested maid in Gaslight, which kicked off a notable Hollywood career.  Her best movie performance was as the evil mother in The Manchurian Candidate, molding her own son into a robotic assassin.  Her memorable work in cinema was outstripped by her careers on Broadway (multiple Tonys for Mame, Sweeney Todd, etc.) and TV (264 episodes and several TV movies of Murder, She Wrote).

James Caan in THE GODFATHER

Actor James Caan is mostly remembered for his vivid portrayal of a guy with too much testosterone – Sonny Corleone in The Godfather (Bada bing!). Caan had been working since age 21 in TV series, with a John Wayne movie thrown in, when he appeared in the TV movie Brian’s Song – a highly popular weeper. He also appeared, with Robert Duvall, in Francis Ford Coppola’s The Rain People. Most underappreciated performance? Probably Rollerball.

Louise Fletcher in ONE FLEW OVER THE CUCKOO’S NEST.

Actress Louise Fletcher was unforgettable in her Oscar-winning performance as Nurse Rached in One Flew Over the Cuckoo’s Nest.  With her cold, assured eyes embodying impervious authority, she could maintain a soft voice and still deflate the charisma of Jack Nicholson’s McMurphy.  Nurse Rached has been voted the second best female villain in all cinema (after The Wicked Witch in The Wizard of Oz).

Ray Liotta in GOODFELLAS.

Actor Ray Liotta became a star with his leading role in 1990’s iconic Goodfelllas and was still at the absolute top of his game this past year in The Many Saints of Newark and No Sudden Move.

Bo Hopkins in AMERICAN GRAFFITI.

Actor Bo Hopkins left us with some absolutely indelible performances in his heyday, a decade starting in the late 1960s. No one has ever been better at portraying a smirking, dimwitted redneck. I liked him best as the ill-fated young robber in The Wild Bunch, the greaser hard guy in American Graffiti and Burt Reynold’s moonshining partner in White Lightning. In this period, he appeared in Cat Ballou, The Getaway, Monte Walsh and Midnight Express.

L.Q. Jones in HANG ‘EM HIGH

Actor L.Q. Jones, born with the already Texas-colorful name of Justus E. McQueen, took the name of his first movie character (in Battle Cry) and rode it through 165 roles, bringing something interesting and different in every one. His NYT obit quoted him as liking to play “a heavy that is not crazy or deranged — although we play those, of course — but rather someone who is a heavy because he enjoys being a heavy.” Jones worked in some excellent war movies (Men in War, Torpedo Run, The Naked and the Dead, Hell Is for Heroes) and revisionist westerns (The Wild Bunch, The Ballad of Cable Hogue, Pat Garrett and Billy the Kid, Hang ‘Em High). He was also a delightful raconteur, which you can enjoy by searching for “LQ Jones” on YouTube.

Clu Gulager in THE LAST PICTURE SHOW

Prolific actor Clu Gulager has died at 93. The last of Gulager’s 165 IMDb credits came just three years ago in Once Upon a Time…In Hollywood. Best known for 105 episodes as the sheriff on The Virginian, Gulager made his living by guest appearances in a zillion TV shows from Wagon Train and Have Gun, Will Travel through Ironside, Cannon, CHiPs and Falcon Crest. One of his three characters on The Name of the Game was named Rex Dakota. I have just learned that he starred in 72 episodes of a 1960-62 TV Western that, amazingly, I do not remember – The Tall Man, with Barry Sullivan as Pat Garrett and Gulager as Billy the Kid. He also peppered his career with cult movies like The Return of the Living Dead and I’m Gonna Get You Sucka. Gulager teamed with Lee Marvin in Don Siegel’s classic neo-noir The Killers. At 87, he sparkled as a loquacious taxi passenger in Tangerine.

Gulager’s best-ever screen performance was in The Last Picture Show as an oil rig foreman who is the illicit squeeze of his boss’ wife (Ellen Burstyn). This guy is trapped in a job he will never improve upon and in an affair he will never control; Gulager perfectly conveys his bitter dissatisfaction. The Director’s Cut also adds some sizzle to his pool hall sex scene with Jacy (Cybill Shepherd).

Henry Silva

Actor Henry Silva is recognizable from his 140 screen credits (and, outside of the Oceans 11 movies, those roles may have all been villains). He leveraged his acting talent and unusual facial features to project menace as few actors have done, most memorably in the original The Manchurian Candidate.

Actor Roger E. Mosley is best known for his 158 episodes as the helicopter pilot on Magnum, P.I. and over 50 guest appearances in tv series. As the title character in Leadbelly and many TV shows, he paved the way for more positive and empathetic depictions of African-American characters. He also worked in one of best-ever TV movies, The Jericho Mile, in one of the best sports movies, Semi-Tough, and as Sonny Liston (with Muhammad Ali himself) in The Greatest.  

Although her body of work was overshadowed by her off-screen personal life, actor Anne Heche was superb in Wag the Dog. That was one of a remarkable string of Big Movies in 1997 and 1998: Donnie Brasco, Volcano, I Know What You Did Last Summer, Six Days Seven Nights, Return to Paradise and Brian De Palma’s Psycho.

Did Meat Loaf star in The Rocky Horror Picture Show?
Photo caption: Meat Loaf, with Nell Campbell in THE ROCKY HORROR PICTURE SHOW

Meat Loaf unforgettably burst into cinema in the 1975 cult favorite The Rocky Horror Picture Show. Often credited as Meat Loaf Aday, he also acted in a series of character roles, most notably in Fight Club.

Actor Tony Sirico, best known for his Paulie “Walnuts” Gualtieri in The Sopranos, overcame a youth that landed him in Sing Sing to play a slew of movie and TV gangsters (and appear in four Woody Allen films, too.)

Musician Ronnie Hawkins is best known as the irrepressible, earthy rockabilly mentor of The Band. In the movies, he was unforgettable in The Band’s concert film The Last Waltz; (who is THAT guy on stage with Dylan, Clapton, Neil Young and Van Morrison?) He also had an acting role in Heaven’s Gate.

Movies to See Right Now

Photo Caption: Frankie Corio and Paul Mescal in AFTERSUN. Courtesy of A24.

This week on The Movie Gourmet – new reviews of The Eternal Daughter, Kimi and Stars at Noon. Five current movies are on my Best Movies of 2022: Aftersun, The Fabelmans, Decision to Leave, The Eternal Daughter and Armageddon Time. Coming up during the Holidays: my farewells to filmmakers on the screen and behind the camera and my year-end list of the Best Movies of 2022.

CURRENT MOVIES

WATCH AT HOME

Daniel Kaluuya in NOPE. Courtesy of Universal Pictures.

During the Holidays, I suspend my usual The most eclectic watch-at-home recommendations you’ll find ANYWHERE so I can highlight the very best movies from earlier in 2022. These are on my list of Best Movies of 2022, and they shouldn’t be overlooked. Now you can watch them all at home.

  • Nope: an exceptionally intelligent popcorn movie. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Montana Story: a family secret simmers, then explodes. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Compartment No. 6: a surprising journey to connection. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Poser: personal plagiarism. Amazon, AppleTV, Vudu, YouTube, redbox.
  • The Tale of King Crab: storytelling at its best. Amazon, AppleTV, Vudu, YouTube, redbox.
  • 12 Months: an authentic relationship evolves. Amazon.

THE ETERNAL DAUGHTER: consumed by mom

Photo caption: Tilda Swinton in THE ETERNAL DAUGHTER. Courtesy of A24.

The Eternal Daughter begins with the filmmaker Julie (Tilda Swinton) bringing her elderly mother (also Tilsa Swinton) for a getaway at an Welsh country hotel. It’s an enormous, sinister-looking edifice, a Victorian building of Gothic design. When the building creaks and goes bump in the night, mysterious figures appear at windows and there’s knocking from supposedly unoccupied rooms, The Eternal Daughter has all of the trappings of a haunted house movie.

Mom and daughter appear to be the only visitors, although hotel staff insists otherwise. They are at the mercy of the hotel’s receptionist/manager/server (Carly-Sophia Davies), who, to a hilarious extent, could not be any more disinterested in her guests’ happiness ,comfort or approval.

Julie’s experience at the hotel is one of persistent dissatisfaction. She wants to work, but the only WiFi signal is three floors above their room, and she has sporadic cell phone service only in one special spot outside. Her requests to get the room they actually reserved and the expected amenities are stonewalled by the receptionist.

Her hot button, however, is that she doesn’t feel that she is bringing her mother any happiness. It turns out that this trip is a birthday treat for her mother, who had stayed in this house as a child during WW II. The mother is serene and uncomplaining, except to object to Julie “fussing” over her. Julie has microplanned every detail, down to lighting the candle on the mom’s birthday cake, but Julie doesn’t think she is doing anything right.

What’s going on in this slow burn? It turns out that writer-director Joanna Hogg isn’t taking us to a haunted house or to a comedy of manners in a bad hotel. This is a psychological drama. Julie is haunted, alright, but it’s by her relationship with her mother, which she’s having a very hard time figuring out.

Joanna Hogg is a veteran director who got the chance to become an auteur at age 59, beginning in 2019 with The Souvenir and The Souvenir Part II in 2021.The Eternal Daughter is the third of these highly personal, apparently autographical films, with the Julie character as Hogg’s alter ego. In those films, Julie was played by Honor Swinton Byrne (Tilda Swinton’s real life daughter) and Swinton played Julie’s mom.

All three films are personal, as in specific and decidedly NOT universal. Although I am generally not a fan of naval-gazing, Hogg’s genius as a filmmaker is such that The Eternal Daughter and its siblings, slow burns all, are mesmerizing.

KIMI: an adequate REAR WINDOWS ends as a thrilling WAIT UNTIL DARK

Photo caption: Zoe Kravitz in KIMI. Courtesy of HBO.

Steven Soderbergh is very good at making tight little thrillers, and there’s nothing wrong with that. In his Kimi, Angela (Zoe Kravitz) is a Seattle techie living and working in her loft apartment during the COVID lockdown, where she and the loft apartment dwellers across the street watch each other being locked down. But she’s not really trapped in her apartment by public health protocols, which have eased – she’s agoraphobic.

Angela works for a big, sinister tech firm that harvesting way too much private information from each of us and that is the basis for the paranoid facet of this paranoid thriller. She believes that she has heard a violent crime, as in an audio version of Rear Window. Now she knows too much, and she’s in danger.

Kimi is an okay paranoid thriller until the finale, when it turns into a superb action movie. It turns out that the tiny, sniveling Angela has some commando resourcefulness in her. The final set piece is like Wait Until Dark on steroids – very tight, very imaginative and very entertaining.

Kimi is streaming on HBO MAX.

STARS AT NOON: needs less sweat and more sizzle

Photo caption: Margaret Qualley in STARS AT NOON. Courtesy of A24.

In the atmospheric neo-noir Stars at Noon, it’s the early 1980s in Nicaragua, and wannabe journalist Trish (Margaret Qualley) is learning that one can not always live by ones wits. She’s hoodwinked a magazine into paying her way to write a travel puff piece, while always intending to write a political expose; that article has annoyed the government to the point of revoking her press pass and confiscating her passport. Now she’s broke, unable to pay her way out of the city’s cheapest motel and into the airport, cadging meals from hotel buffets and obsessing on how to procure some shampoo for her increasingly sweaty scalp.

What she has going for her is command of the Spanish language and having learned her way around the country, geographically and culturally. She’s mastered the alphabet soup of Central American intelligence and security entities, each nastier and more ruthlessly repressive than the last. Trish is also highly manipulative and eager to sleep with any man who might help her in any way.

She picks up the handsome Brit Daniel (Joe Alwyn) at his upscale hotel, intending to get a roll in the hay, 50 dollars US and some stolen hotel shampoo out of the encounter. When Trish finds a hidden gun in his stuff, she (and the audience) think he must be dangerous, like a hit man or an intelligence operative. When she finds that he’s also in over his head, she and he have fallen in love with each other.

He’s not dangerous to others – he’s dangerous to be with. She was in desperate circumstance, but now the two of them are desperate for their lives. It’s too late – their fates are now entangled. And they’re going to have to make a mad dash for the border.

Stars at Noon won the Grand Prixe, essentially second place at Cannes, and this must have been because of the jury’s reverence for Claire Denis, the iconic French director, and a glass ceiling-busting female filmmaker at that. As one would expect from a Denis film, Star at Noon is competently crafted, but it’s just way too long at two hours and twenty minutes. Although Qualley and Alwyn spend a lot of that time unclothed and grinding away, I didn’t find their chemistry to smoke. Stars at Noon is too needlessly languorous and not sizzling enough to be a really good movie.

Qualley pulls her dress over her head within minutes of meeting any man; if the director weren’t female, Stars at Noon would face criticism for male gaze exploitation.

Denis also has oddly chosen a sound track that could have lifted from Showtime soft porn.

Qualley with her fidgety energy and her hyper-direct gaze, is perfectly cast as Trish. I first saw Qualley when she jumped off the screen as a Manson Girl in Once Upon a Time..In Hollywood and then in Fosse/Verdon. She has the charisma to carry a movie much better than Stars at Noon.

Joe Alwyn is dreamy enough to make it credible that Trish would fall hard for Daniel.

Photo caption: Margaret Qualley and Benny Safdie in STARS AT NOON. Courtesy of A24.

I can’t say enough about Benny Safdie’s performance as a character credited as CIA Man. His affability makes him all the more sinister. The CIA Man knows that he holds all the cards, and there’s no need to seem like a brute, even if he is going to compel Trish into an egregious and traumatizing act. It’s all business, thank you very much.

I usually think of Benny and his brother Josh as indie directors (Uncut Gems), but Benny has been acting and he has real chops. In Licorice Pizza, he nailed the role of the closeted, charismatic do-gooder politician,

John C. Reilly shows up briefly, wearing a wild 1980s-perm-gone-wrong as the editor that Trish has burned her very last bridge with, and his cameo is hilarious.

I watched Stars at Noon on Amazon, one of the many streaming platforms which offer it.

Movies to See Right Now

Photo Caption: Paul Mescal and Frankie Corio in AFTERSUN. Courtesy of A24.

This week on The Movie Gourmet – new reviews of Aftersun and The Fabelmans. I’ll be adding both Aftersun and The Fabelmans to my evolving Best Movies of 2022, along with Decision to Leave, Armageddon Time and The Eternal Daughter (which I’ll write about next week).

I also wrote about Mr. Soft Touch: noir Santa, which plays on TCM tomorrow night.

CURRENT MOVIES

WATCH AT HOME

TALE OF KING CRAB. Courtesy of Oscilloscope Films.

During the Holidays, I suspend my usual The most eclectic watch-at-home recommendations you’ll find ANYWHERE so I can highlight the very best movies from earlier in 2022. These are on my list of Best Movies of 2022, and they shouldn’t be overlooked. Now you can watch them all at home.

  • Nope: an exceptionally intelligent popcorn movie. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Montana Story: a family secret simmers, then explodes. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Compartment No. 6: a surprising journey to connection. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Poser: personal plagiarism. Amazon, AppleTV, Vudu, YouTube, redbox.
  • The Tale of King Crab: storytelling at its best. Amazon, AppleTV, Vudu, YouTube, redbox.
  • 12 Months: an authentic relationship evolves. Amazon.

THE FABELMANS: a mom, a dad and their genius

Photo caption: Paul Dano and Michelle Williams in THE FABELMANS. Courtesy of Universal Pictures.

In his cinematic memoir The Fabelmans, that great storyteller Steven Spielberg relates two braided narratives – one about the origins of his own dedication to filmmaking and a second about his parents, two people who loved each other but could not be happily married. Both parents were creatives in their way. His dad (Paul Dano) was an electronic engineer in the transistor age who could imagine modern computing. His mom (Michelle Williams) was an aesthete, a pianist-turned-house mom whose exuberance often manifested in song, dance and visual arts. And, importantly, both parents were dreamers who would come to understand their son’s passion.

The story’s stand-in for Spielberg is Sammy Fabelman (Gabriel LaBelle). We watch as his parents drag him to his first movie. That first film, incidentally, was The Greatest Show on Earth, always in the conversation as the worst movie ever to win the Best Picture Oscar. Nevertheless, it contains a thrilling rain wreck sequence, which definitely left its mark on the young Spielberg. You can draw a line from the train wreck scene in The Greatest Show on Earth and the very young Sammy’s home movie version with a Lionel model train to the final scene in Spielberg’s first real-life feature, the TV movie Duel.

Young Sammy starts making his own home movies, and after the family moves to Arizona, starts enlisting his sisters and his friends in increasingly sophisticated amateur film productions, including a WWII movie with an robust combat finale.

Gabriel LaBelle in THE FABELMANS. Courtesy of Universal Pictures.

When the dad gets a job at IBM in San Jose, it’s one too many moves for mom. She misses a friendship that made her husband’s absences bearable, she decompensates and the differences between the two simmer and finally boil over.

The kids aren’t happy in what will become Silicon Valley either. Sammy and his sisters attend Saratoga High, which is thinly disguised as “Grand View High”, and Sammy suffers antisemitic bullying (and I have read about Spielberg’s bitterness at his experience there). Indeed, Saratoga High in The Fabelmans looks like a camp for Hitler Youth.

Although high school is hellacious and his parents split, Sammy survives to try to break into the film industry. Each parent is able to provide support in his or her own way, and Sammy gets some valuable advice from other adults along the way, including one very famous one.

Gabriel LaBelle, who looks like the teenage Spielberg and who is much shorter than the Aryans at Saratoga High, is completely believable as Sammy. While his performance as this specific character is more than adequate, I’m really not hoping to see him as Mercutio or Holden Caulfield or Billy the Kid. And, as befits the title, The Fabelmans is at least as much about the parents’ impact on Sammy as it is about his own actions and inner life.

How many times can you call an actor’s performance a “revelation”? That’s the challenge in describing what will be another Oscar-nominated turn by Michele Williams. The Fabelman family really revolves around the mom – for better when she is the glue that holds the family together through its moves across the US. And for worse, when she experiences moments of instability and then breaks down completely. Williams’ performance (as always) brings texture and subtlety, along with the strong emotions of joy and despair. There’s a moment when the dad, experiencing unrestrained joy, carries her over the threshold of a new house, one that she has been yearning for; she smiles appropriately for the moment, and then the expression in her eyes slightly changes to hint that things cannot be made right, after all. It’s a singular Michelle Williams moment.

Paul Dano excels as the Fabelman Dad, who is trying so damn hard within the confines of 1950s gender roles, but is often confounded by his wife and his own children.

The rest of the cast is good, too, including Seth Rogen, unrecognizable but for his voice. Julia Butters (who stole a scene from Leonardo DiCaprio in Once Upon a Time..In Hollywood) and Keely Karsten are really excellent as Sammy’s sisters. Judd Hirsch, who is now 87, has a hilarious cameo as the mom’s long-unseen grand uncle, who parachutes in with what amounts to a bizarre pep talk for Sammy. Another great filmmaker, David Lynch, has a priceless and gut-bustingly funny and dead-on cameo at the end as an even more famous filmmaker; Lynch and Spielberg must have been howling with laughter between takes.

Personal digression: The protagonist’s first movie – and the rest of the film – made me think about whether there was one moment in my life that steered me toward my own day-job career in law and politics – certainly there was a zeitgeist of the times in the 1960s, but I ‘ll have to reflect more to come up with a single catalytic moment. For my love of movies, however, there’s a clear spark – seeing movies like Casablanca, Double Indemnity, All About Eve, Strangers on a Train, The Man Who Shot Liberty Valance, The Rules of the Game and 8 1/2 for my sophomore History of Film class at Stanford, along with The Godfather, Chinatown, Five Easy Pieces, The Last Picture Show, American Grafitti and other, then contemporary, work by the New Directors in the early 1970s; imagine seeing those 12 movies for the first time within a couple years.

I’ll be adding The Fabelmans to my Best Movies of 2022. It’s peeked out in a few theaters, and I expect a much wider theatrical release after Oscar nominations are announced in late January.

AFTERSUN: who’s coming of age here?

Photo Caption: Frankie Corio and Paul Mescal in AFTERSUN. Courtesy of A24.

The authentic, thought-provoking and entirely fresh Aftersun follows a British dad and daughter on their weeklong holiday at a budget seaside resort in Turkey in 1999.

She is 11, and he is 30. Although he’s always been in her life, he’s not the custodial parent, and perhaps never has been. (If you do the math, he was only 19 when he impregnated her mom.) Dad and daughter are playful ,affectionate and entirely comfortable with each other – and they are both eager for her Week With Dad.

The daughter, Sophie (Frankie Coro), is bright, bouncy and engaged with the present. She’s curious about the dad whom she doesn’t live with and about the older teens at the resort.

The dad, Calum (Paul Mescal of Normal People and The Lost Daughter) is charming and decent. He wants Sophie to enjoy a carefree, fun week, and maybe learn a few things about the culture of the country they are visiting.

But when Calum is not engaged with his daughter, he is moody and tired. There are hints of bad choices in his personal history – his very limited financial means, his not remembering the origin of physical injuries, his buying something that he can’t afford, and a probably unintended early parenthood. He’s experiencing melancholy at where he is and is not as he approaches 31. Calum is too young for a mid-life crisis, but there it is.

Sophie and Calum’s holiday week is a pleasant enough slow burn – playing at the pool and the beach, arcade games, umbrella mocktails, an outing to ancient mud baths and low-grade and corny dinner entertainment at the resort. The week starts very playfully and becomes more tense and forced as Calum’s dissatisfaction with himself begins to leak out.

We glimpse the adult Sophie (Celia Rowson-Hall), now her dad’s age back then, reflecting on her dad in strobe-lit dreams and when awakened in the middle of the night by her own kid. Now with adult life experience, she’s trying to figure out her dad.

The young Sophie is ever watchful. She doesn’t miss much, and we observe her observations. She’s getting a rare full dose of Calum, all from her 11-year-old perceptive. As Sherri Linden writes in The Hollywood Reporter: “ Charlotte Wells’ sharp and tender Aftersun is the rare father-and-child drama that leaves you wondering who the dad will grow up to be. ”

[MILD SPOILER: This is not a child in peril movie, When Calum makes choices that will cause more vigilant parents in the audience to gasp, Sophie can still rely on her uncommon good sense and some good luck to stay safe. ]

This is the first feature for writer-director Charlotte Wells, and it’s a remarkable and promising debut. Wells tells an intimate dad-daughter while refusing to deploy any cliches. She elicited superb performances from her cast, one of whom is11-years-old in her very first movie. And credit Well’s originality for the very idea of a coming of age movie for the adult in a child’s life.

Aftersun is also the acting debut for Frankie Corio, a major discovery. She’s so charismatic that we can’t keep from watching her, and she has an uncommon gift of letting us in on her thoughtfulness.

Paul Mescal is also excellent as Calum. I always respect performances when the role is mostly passive, and the actor has to portray an individual’s inner life without getting to do anything flamboyant.

I’ll be adding Aftersun to my Best Movies of 2022. It’s currently rolling out in a few theaters.

MR. SOFT TOUCH: noir for Santa

Glenn Ford and Evelyn Keyes in MR. SOFT TOUCH

On December 17, Turner Classic Movies is airing the little-seen Mr. Soft Touch from 1949, which is undeniably Christmas film noir. The Holiday season is integral to the plot, which revolves around a Christmas tree, a Christmas party, Christmas decorations and a horde of ne’er-do-wells in Santa suits.

Nightclub owner Joe Miracle (Glenn Ford) returns from WWII to find that the mob has looted his nest egg. He’s able to rob it back, but now he’s got to hide out from the gangsters until his ship literally sails. As circumstances develop, he pretends to be a down-and-outer so he can stay in in the settlement house (isn’t that quaint?) run by social worker Jenny Jones (Evelyn Keyes).

MR. SOFT TOUCH. Photo Credit: Underwood and Underwood Corbis.

Mr. Soft Touch has many of the elements of classic film noir:

  • a cynical underworld where shady characters are robbed by even shadier types.
  • the WWII vet who has gotten screwed, and his only option to make himself whole is illegal.
  • a protagonist whose actions are driven to please a beautiful woman.
  • a hero who takes a bullet in the street.
  • a cast packed by recognizable characters of the period: John Ireland, Beulah Bondi, Percy Kilbride and Ted de Corsia.
  • gritty 1949 San Francisco locations.

That being said, Mr. Soft Touch is light comic noir and often silly. We accept the plot contrivances because the film doesn’t take itself too seriously.

Here, Evelyn Keyes isn’t a femme fatale for once; she’s a naïve do-gooder, but she’s sexy all the same, and sparks fly between Ford and Keyes as she inches him toward altruism and redemption.

I watched on Mr. Soft Touch last year on TCM because it is not available to stream. Set your DVD for a rarity.

Mr. Soft Touch (1949)
Glenn Ford and Evelyn Keyes in MR. SOFT TOUCH

Movies to See Right Now

Photo caption: Jennifer Lawrence and Brian Tyree Henry in CAUSEWAY. Courtesy of AppleTV.

This week on The Movie Gourmet – new reviews of Causeway, The Wonder and The People We Hate at the Wedding, and many more current movies.

CURRENT MOVIES

WATCH AT HOME

Photo caption: Seidi Haarla and Yuri Borisov in COMPARTMENT No. 6. Courtesy of Sony Pictures Classics.

During the Holidays, I suspend my usual The most eclectic watch-at-home recommendations you’ll find ANYWHERE so I can highlight the very best movies from earlier in 2022. These are on my list of Best Movies of 2022 – So Far, and they shouldn’t be overlooked. Now you can watch them all at home.

  • Nope: an exceptionally intelligent popcorn movie. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Montana Story: a family secret simmers, then explodes. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Compartment No. 6: a surprising journey to connection. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Poser: personal plagiarism. Amazon, AppleTV, Vudu, YouTube, redbox.
  • The Tale of King Crab: storytelling at its best. Amazon, AppleTV, Vudu, YouTube, redbox.
  • 12 Months: an authentic relationship evolves. Amazon.

ON TV

George Kennedy and Paul Newman in COOL HAND LUKE.

On December 12, Turner Classic Movies brings us Paul Newman as an iconic 1960s anti-hero in Cool Hand Luke. Along with Newman being pretty doggone cool, there’s a charismatic supporting performance by George Kennedy, the unforgettable boiled egg-eating contest and the great movie line “What we have here is a failure to communicate”.

How to Run a Chain Gang and Influence People in COOL HAND LUKE