Zach – Page 3 – Reel Nerds Podcast

YEAR OF THE MONEY- The Top 10 Films of 2015

THE BOX OFFICE… IT CALLS TO YOU… JUST LET IT IN

Picture if you will the year 1939. It has been reported by many historians throughout the film industry’s existence as the most successful year in the picture business. It was the year of STAGECOACH, NINOTCHKA, MR. SMITH GOES TO WASHINGTON, and of course GONE WITH THE WIND.

Rather than look at the quality, the key in the success in 1939 is measured in dollars. It was , on the whole, Hollywoods most profitable year. If one is to stretch their line of thinking in terms of inflation and look at the numbers, it would be hard until this year to truly find a successor.

This is all a glorified way of pointing out the billions that Hollywood has made in the year 2015 from not one but many films that crossed the billion dollar mark. Whether it was the fast zooming “vroom, vroom” led by Vin Diesel, the combined efforts of 4 super heroes, or the roar of a dinosaur in Starlords face; one cannot deny the impact films have had in our lives this year. And in the end, it culminated in the still progressing momentum of the return to a galaxy far far away.

Everything in filmmaking is cyclical. It was only a matter of time before we circled back to 1939

If nothing else, 2015 may be remembered as the year where James Cameron was dethroned at the box office. It may also be the year that box offices stopped printing thick paper tickets and instead reduce these memory vouchers to a receipt with your popcorn. Hopefully though, it will be remembered for being a diversified valley, where not all the shining stars were polished, but emerge gloriously out of the dusty wild wild west that is “Theater/VOD release” in such a way that puts that term to credibility where it belongs.

Or more importantly: maybe it is the year that we fell in love with going to the movies again.

With that, I give you my meager perspective on the films that stood out in my mind…. these are just 10 of the many films that were released in the new 1939.

Runners Up (11-20):

Straight Outta Compton
The Danish Girl
Road Hard
Spotlight
The Green Inferno
Spectre
Inside Out
Ex Machina
Steve Jobs
and Black Mass

and now, the “illustrious 10”

10. BRIDGE OF SPIES

What does one get when you cross Spielberg with a script re-written by Joel and Ethan Coen? They are treated to a fond throwback both visually and tonally to pre-Bond espionage that exceeds its mandate as a simple historical piece. The plot ignites a game of international chess where a slow but exciting match takes place on its board. Tom Hanks reminds us what he can do best, and it is wonderful to see him speaking Joel and Ethan’s words again (you can easily tell where those moments lie) and Mark Rylance gives a supremely understated performance that just delights. Furthermore, it is the first Spielberg film in a long while to feel fresh and daring in its visual acumen.

9. TRUMBO

Bryan Cranston gives a true tour de force as Blacklisted writer Dalton Trumbo (who gave us the films THE BRAVE ONE, ROMAN HOLIDAY, and SPARTACUS) in this Jay Roach helmed film. This film accomplishes the notion of reaching the quality of a film like ED WOOD with its underdog triumphant arc without losing what makes it so much as a spiritual sequel to THE FRONT. More importantly, it shows the way Jay Roach has matured as a director. In a scene with the eternally amazing Michael Stuhlbarg, he shows how hard it is to walk along the edge of a knife with the noblest intent that demands to be seen.

8. THE WALK

Hooray, Robert Zemekis is back! Yessir, while FLIGHT found me none too keen, THE WALK reminded me why Zemekis is a wonderful cinematic voice to listen to. Joseph Gordon Levitt charmingly portrays (and delightfully narrates as) Phillip Petit, the man who walked a tightrope across the World Trade Center. While ostensibly a dramatized version of the documentary MAN ON WIRE, THE WALK is a delightful and uplifting film that both raises your spirits and will reduce you to tears. For what is at the heart of this story is thankfully used sparingly until the exact moment it is required, not too mention the visual splendor in the final act that 3D or no 3D will have your heart skipping a beat and breath swept away.

7. GOING CLEAR

Alex Gibney’s haunting look at Scientology is played out like the most suspenseful of thrillers. It manages to keep you gripping the edge of your seat. Much cannot be said as you must see it to believe it, and anything I say further would be to un fairly write a plot synopsis for something that demands an audience.

6. MR. HOLMES

Sentimentality!!!!! This film has a personal resonance with me; but even if it did not, it is a version of Sherlock Holmes that deserves great praise. Following Ian McKellan as the aging Sherlock Holmes, director Bill Condon proves once again that he is adept at following the horrors and advancement of old age while also bringing about its beauty and redemption. And for the Holmes historian in all us, he has splendidly recalled Holmes pop cultural influence in a spectacular scene where the master detective sees himself portrayed in a movie by an actor. It is a moment that I loved, and it is a moment my late grandfather Peter Ottaviano would have absolutely loved. This pick is for him.

5. MAD MAX: FURY ROAD

REEL NERDS host Brad Haag said it best, “It’s two wonderful hours of metal blowing up.” Yes, and to elaborate, Mad Max’s practical effects are superb. It recalls not just the exploitation era of which it was born, it also tells a solid story of good vs evil set against the strangest of backdrops. Like a grand epic, it is both intimate and yet so very large. In short: WHAT A LOVELY MOVIE, WHAT A LOVELY LOVELY MOVIE!!!!

4. STAR WARS: THE FORCE AWAKENS

Call me sheeple, but I loved THE FORCE AWAKENS in a big bad way. 5 viewings in and I still cannot get enough. JJ Abrams managed to create not only a loving homage in arc structure to A NEW HOPE, he also managed to establish a bright new bunch of characters for me and fellow nerds to fawn over for years to come. He also grabs the finest Harrison Ford performance in recent memory, so much so that I want an Oscar on the man’s shelf immediately for two of the coolest scenes of 2015.

3. THE BIG SHORT

Adam McKay has been fooling us all for years, and THE BIG SHORT is his masterful way of revealing his artistry. His biting and visually spectacular look at the men who benefited from the economic fall out of 2008 is a frustrating yet absolutely dazzling painting of societies distractions and the consequences of not peeking behind the curtain. The style of this film is reminiscent of a jarring reality that both frightens and entertains at the same time. Like the upcoming two films in the list, it demands a Criterion treatment down the line, if not immediate admittance into the National Film Registry.

2. THE STANFORD PRISON EXPERIMENT.

If you want a gut punch to your morality, STANFORD PRISON EXPERIMENT is the film for you. It is honestly one of the most challenging films of the year, recounting, in a hauntingly accurate way, the events surrounding a University experiment that turned into a psychological nightmare. It features a breakthrough performance by Michael Angarano as one of the “cops” in the experiment, and Billy Crudup shows his best hand as the professor at the helm of the experiment. By the end of the film, you will walk out not only haunted by Angaranos last lines, but by the questions it raises. This film is a must see in the way of Zodiac or There Will Blood. Bleak, but beautiful.

1. THE HATEFUL EIGHT

Tarantino is truly too good and too talented for us mere mortals. In his film he masterfully blends social commentary, 50’s style presentation, 70’s style grit, and supreme acting on a grand scale to create the best Western in recent memory. Following the exploits of 8 strangers through a clever Agatha Cristie style mystery, Tarantino reminds us why these 8 (plus an amazing surprise guest) are some of the greatest actors the world will ever know. And visually, this is the most mature work he has concocted in is career, utilizing the 70mm format as if he had been working with it for years. The film is a claustrophobic affair that demands your full attention in the most delightful of ways, with only a breath for an intermission that reminds us what an event going to the movies used to be. If you cannot see it in the intended roadshow format, you will be sorely missing out on the best experience of 2015 cinema.

And now we come to 2016: Dawn of Batfleck!

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (Part 7)

EPISODE 7: GOODBY HARRY, IM CRYING OVER YOU

Hey, remember when I said this would be coming next week. Well it’s technically “a next week” according to the calender.

Now then… onto Clint.

Our hero had just been through the most iconic point in his career playing the San Francisco detective with no penchant or time for bullshit. It was a grand characterization and one that goes down as one of the most notable in film history.

Yet, after a film that shall later be discussed, Clint’s fortitude took him down the road of seeing consequences to actions. Whether that be bad father trying to do good or cowboy gone reformed, he started from 1992 onward to bring characters that show us the consequences of our fantasies.

In 2008, Clint released the culmination of that theme within his acting legacy. He released GRAN TORINO, and with that, said goodbye to the Callahan archetype in stunning fashion.

Let’s get this out of the way first:

GRAN TORINO

3.5 OUTTA 4 GROWLS AND SWELLS

GRAN TORINO tells the story of the racially insensitive and consistently grumpy Walt Kowalski, a Korean War veteran who deals with growing old amidst the death of his wife. His children are self obsessed, his local priest keeps insisting he go to confession, and his neighbors are Hmong which sends Walt up a wall culturally. After he scares off a local Hmong gang with the now infamous phrase, “Get off my lawn” as he raises a rifle to their faces, he begrudgingly begins to immerse himself in the Hmong culture and take on Tao as his ward. While teaching Tao how to become a man and less of a “sissy”, he realizes that him and his family will not have peace while the Hmong gang still terrorizes their family.

Now if you have not seen the film, please stop right here, because we are going to get into spoilers………

Ok, good.

Gran Torino as a film is almost perfect in its arcs and structure. The acting in the film is limited only by the noble attempts at it’s primarily newcomer cast. It’s amazing qualities lie in it’s ability to get you to grow with the character of Walt, regardless of how insensitive and cruel he can be.

It should be noted on that front, that it is a terrible idea to ever do a “Quote – A – Long ” screening of this film ever… EVER!

Walt’s journey cannot be helped if it is compared to Clint’s persona over the years. It is , in many ways, his tour de force as an actor. More importantly, it puts to bed Harry Callahan.

In the first Dirty Harry, we meet Harry as a man who is an equal opportunity “hater”. In respect to readers and to my own code I dare not mention the names he uses to express his hate, but Callahan uses very colorful language. Of course, Callahan really, above all else, hates everyone… EVERYONE.

Cut to Walt Kowalski. Walt directs his hate with an unhinged version of Callahan. He expresses contempt for anyone who does not leave him be. While his language is more crass and out right, the parallel’s are their to be seen.

What is striking in the attitude department is the way he messes with peoples heads in a Callahan type fashion. He will use his fingers in the shape of a gun before pulling out a real piece of work from the armory. His ability to be overconfident is without a doubt a nod to Callahan.

In a way though, it’s not how similar he is to Callahan, but how different he is. Th final scene shows Walt in front of the Hmong gangs house. They have their guns raised, having seen what Walt can brandish when he is throughly pissed off. As Walt swaggers in his confidence, he accepts his fate in such a way that is unlike Callahan and yet what Callahan would probably do to get the job done. He reaches for his lighter across his chest and the gang open fires. Witnesses see the shooting and it is revealed that Walt had no gun on his person. Killed in the line of fire to protect the innocent, with a neat charismatic magic trick.

It is a beautiful, almost touching homage a goodbye to his most noted archetype. The grizzled man with the Growls and the “Swells” at his breath could finally be put to rest only in this fashion.

———

On the next installment, we will discuss Clints journey into the tender side. Get your Kleenex ready.

GOODBYE NIGHTMARES: AN ODE TO WES CRAVEN

The Horror Maven

Earlier this year I sifted through the NIGHTMARE ON ELM STREET films and as anyone would expect, 1,3, and New Nightmare were among those that got the very positive notice.
This is because they were graced, whether in the fullest extent or even the first draft (Dream Warriors) by one man: Wes Craven.
Cravens name was among those that was mythologized by the time i first saw A NIGHTMARE ON ELM STREET at the age of 12. The film scared me to the point of little to no sleep for 3 days. It’s probably because Craven knew how to tap into the human anxiety through the common thread of a natural state and natural human occurrence, but I also like to think it’s because he was intelligent enough to blend dark humor into the process without letting it get carried away. If i ever learned about dark irony within script writing, it was through Wes first and no one else.

A scene I point to is Freddy taunting Tina by showing her that he can slice his fingers off. Its a cruel and sick joke but it is funny without relieving the tension, thus showcasing his power with horror material.

The film THE LAST HOUSE ON THE LEFT showcases that demeanor as well, as does NEW NIGHTMARE and SCREAM, and to me reasons why he is considered one of the most regarded horror directors in history.

Today we lost an absolute genius in that world. His second to last film was MY SOUL TO TAKE. Even in that film which did not get much regard, I found myself enthralled by his touch and sensibility because you could tell he was there (its not that bad, id check it out if your curious).

He will be missed, his influence is one I shall always hold dear and will embrace to the day I too go to the beyond.

With that, I’d like to share my 5 favorite Wes Craven films with you:

5. THE LAST HOUSE ON THE LEFT (1972)

Essentially and admittedly a remake of Ingmar Bergman’s THE VIRGIN SPRINGS, LAST HOUSE is a complex narrative that digs deep into the post modern affairs of revenge and more to the point how agressive society has become. The scenes in the woods are brutal even by today’s standards, even more so than the remake attempted (which is also a fairly good film itself). The only thing that dates it primarily is the comic relief, but if you can move past or better yet embrace THAT madness, the film will prove a thought provoking ride.

4. CHILLER (1985)

Starring Paul Sorvino, it is not a very well known Craven affair, but the story of a man who loses his soul as the screenplays karmic trade-off for his being revived ten years after death is a strange and fascinating study. One of those few TV films I have pawed over again and again mainly because of Sorvino’s interesting performance, but Cravens influence is easily seen and its a fun watch that’s can be easily found in the 99 cent bin much to my chagrin .

3. A NIGHTMARE ON ELM STREET (1984)

Enough has been said of this films legacy in the previous statement. Suffice it to say, the film is a masterpiece and only one of his many. Watch it and get ready for Freddy.

2. SCREAM (1996)

The more mainstream construct of the New Nightmare that brought horror back from the plunges of obscurity. Williamson’s script is perfection and Cravens mastery in the genre elevates it to the heights that no other horror director probably could have thanks to that mutal affection he and Williamson clearly had for the dark , dark humor. The climax is both unsettling and hilarious at the same time. Its a wonder to still behold.

1. NEW NIGHTMARE (1994)

Possibly the most personal film of Cravens outside of Serpent and the Rainbow (I have my theories), this stunning and Oscar worthy achievement tackles the subject of the monsters we create and how far we must go to defeat them wrapped into the most clever and blunt commentary on horror ever made by one of it’s initial perpetrators . It is a master stroke and one that should be watched on a double bill with the first Elm Street movie.

RIP Wes Craven and here’s hoping the afterlife loves you the way the living did.

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (Part 6)

Dirty Harry

EPISODE 6: YOU FEELING FORTUNATE? WELL ARE YA SONNY?!?!

Welcome back to Clint-ville eager readers.

The long awaited return to Eastwoods filmography is finally here.

When we last left our hero, he had been on 21 adventres doing a multitude of things ranging from the serious to the seriously ridiculous. But you know, I do feel that the man should be given props for even the films already covered that weren’t so great. He explored his options in great stride throughout his career, and will continue to as his next film will tackle Captain Sully and the Hudson Landing. He’s earned the right, because let’s face it, he could have been shoehorned in the films we are about to explore today. Clint has two major identities: Silent Cowboy and Grizzled Cop on the edge.

The latter has populated his career thusly, but it really took off with a script by Harry Julian Fink and R.M Fink that almost went to Paul Newman. A script that ABC television did not want to touch so it was sold to Warner Brothers and rewritten by the legendary John Millius. A story that capitalized on the terror of the San Francisco area’s most notorious serial killer blended with the anxieties of crime ridden streets in America moving into the 1970’s.

It was the story of Inspector Harry Callahan from homicide. They called him DIRTY HARRY.

DIRTY HARRY challenged the action film convention by moving the Western mythos to the Bay Area, upset many different groups, and solidified Clint Eastwood as the go to action star for a generation.
4 more adventures followed Harry Callahan through his career consistencies of being kicked out of homicide for 5 minutes only to be brought back because shit gets VERY FUCKING REAL. He would dive daringly into third act climaxes where the solutions got crazy and sometimes sincere. And each and every last frame showed Harry walking away from it all for good… or at least until Warner Brothers green lit the next one.

So lets head to San Francisco where we will see Harry Callahan face off against Crazy Men with a penchant for the song ‘Row Row Row Your Boat’, a group of motorcycle cops with a grudge on crime, a hippie communes quest for city wide control, a woman on the road to revenge, and a man obsessed with knocking off celebrities like Jim Carrey.

Callahan: Go ahead… rate my day.

DIRTY HARRY

4 outta 4 .44 Magnums.

If we are going to talk about the impact of the film we are destined to be here all day. Let’s just focus on the film.

DIRTY HARRY is a film that wraps itself around a very central focus that , while not exactly as mirrored as our society today, does work on many levels. Callahan is a force of nature dealing with another force of nature with a very distinct western vibe. The story itself revolves around the true to life inspiration of the Zodiac murders in the form of Scorpio (Andy Robinson , who brings a perfect diabolical and natsy tone to the character) and the manhunt for him by Dirty Harry. Whats interesting to note is that this is a thriller more than anything, the action spread out in a graceful fashion that shows elegance amidst the raw reality.

Don Siegel directs a glorious symphony of the story of good vs. evil that the lines that blur provide apt thought and inspire conversation. Its the hallmark of any good film. And yes, Clint is superb in the film, as if it needed to be said. He brings a relatable quality to a grizzled angry man who rarely shows his heart. When he does, it is still safley guarded by 10 attack dogs and 3 land mines. Its a wonderful character.

MAGNUM FORCE

3.5 outta 4 Hal Holbrooks

John Millius’ script finds Callahan at the center of a police conspiracy for the second in the Dirty Harry franchise, and for the most part it proves just as perfect a situation as the first Dirty Harry film. Clint shines again in the famous tole with all the cynicism and attitude one expect from Inspector Callahan. Hal Holbrook also proves a formidable antithesis to Harrys way of doing things, but by the time his true nature is revealed, it feels like they wanted it rather than needed it. The twist at the end works, its just that you can tell that its a bit of a stretch when compared to more refined third act twists.

The real weakness in this film is honestly the fact that its coming right after a very definite and defining moment at the end of the first film, which thematically sums up the thesis of the piece. Bringing Callahan back from this defining moment is not disrespectful, but it would have helped if they went into it a bit more and gave some context. In addition, the ultimate point of the film itself almost spits in the face of the rebellious stance the first film takes. Magnum Force seems to be the start of the “safer” Harry Callahan. Thats not wrong, but it is surprising.

As sequels go, it is a fine example of how to continue a character though, delving more into Harrys personal life and his off time. And as a piece of 70s action it is clearly beautiful action filmmaking with wonderful cinematography and music by series contributor Lalo Schifrin.

THE ENFORCER

2.5 outta 4 New Partners.

THE ENFORCER is a moment where people in the theater are still excited but they walk and go, “well, this has to be the last one.”

It’s a great film on its own, but it does the job of further extrapolating a character that doesnt need any further extrapolation. Clint is back as Harry Callahan, and this time he’s after a revolutionary cult that wants to hold the city hostage on Alcatraz. He is the usual slick cop with grit on his mind and grit in his teeth. This time around, he is partnered up with a feamle partner fresh out of the academy (played by Tyne Daly, who handles herself well amidst Callahan’s misguided notions).

This is where the formula of “Stereotype Harry” becomes full force. It has the dying partner in the first act, the new partner, the catchy one liners that were once cool. Everything here does what THE ROOKIE would eventually do as will The Simpsons with McBain.

Being that it’s an early arrival of this ilk, you have to give it props for not being extremely overwrought with cliche, and the direction by James Fargo is something new and exciting to the franchise with much quicker paced action and faster editing that keeps it on par with what the 80’s will bring 5 years later.

SUDDEN IMPACT

3 outta 4 Days Made

“Go Ahead.. Make My Day.”

Outside of asking a punk if he feels lucky, this is one of the biggest take aways from the Dirty Harry franchise in terms of dialogue. It is a line that entered the culture with such a bang, it’s sometimes hard to remember that outside of MAGNUM FORCE, Sudden Impact is one of the best sequels in the Dirty Harry Franchise.

With that though comes a weird tradeoff…. Callahan has many scenes with a stray dog that show his Buster Keaton like grace down a street.

Outside of the rare moments where the film goes to the dogs (HEY MA, I’M CLEVER!), Clint presents a Callahan that in theory is closer to his roots than the previous outing. Whats intriguing is his inner conflict with the upholding of the law vs victims rights as he hunts down a woman (Sondra Locke) who is killing off people who raped her and her now catatonic sister years back. Callahan knows what the law says, but he also knows what his morals say. And with Clint directing this time around, one deals with Callahan mainly in the shadows deciding the fate of the conflict with deep thought and pause. It is wonderful action/suspense filmmaking.

THE DEAD POOL

2 outta 4 Jim Carrey’s Singing Guns and Roses

Buddy Van Horn, a long time Eastwood compatriot has not been treated kindly on my list as of late. His films barely go beyond 2 stars, and I feel bad because the man was a stunt wizard in his prime. He coordinated Clints stunts throughout the years with careful diligence and style that can only find comparison to the legendary Hal Needham. Van Horn is not the best director outside of action pieces though, and Callahan used to be much MUCH more than action. By the time DEAD POOL comes around, we are just itching for the finale to go home.

Clint delivers, but it is clear he’s done with the character and wants to go home and prep Unforgiven. Even his one liners, while still amazing as anything said by the man, are weak and without any support.

I think the funniest thing we get out of this is Jim Carrey as a strung out rock star lip synching to Guns and Roses, and even that seems below Carrey… and no people, I like Carrey, unlike you Pet Detective hating fools.

One fun note though: the scene with a toy car packed with a bomb is a damn hilarious and inspired action scene that I will gladly remember forever.

What we can take away from Harry Callahan is a part of Clints legacy. It is the part of him that frankly will be the most remembered in his career outside of his western work with Sergio Leone.

Hey, what better way to be remembered than as “The Best Movie Cop Ever.”

Not a bad gig Clint… not bad at all.

26 down 31 to go. The marathon will continue next week with a special report on a 2008 film that serves as the eulogy to Dirty Harry.

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (PART 5)

EPISODE 5: BASED ON A TRUE STORY

It was bound to happen folks. I could not avoid it for long. We found a group of films that DON’T… HAVE… CLINT!

(Cue Dramatic Look Gopher or whatever this generation uses as it’s cue of suspense)

Granted, 2 of the films in Episode Three did not have Clint in them, but now they take up an entire article.

As it turns out, these films share a common thread: inspired by true events. When it comes to biopics and true life stories, Clint has managed to show off what he can do without his charisma in front of the camera. In these, as with any of his off screen endeavors, he shows a distinct style thats driven toward what can either be described as ‘new wave noir’ or ‘melodrama throwback in glorious technicolor.’ Regardless of the label, Clints visual style is enticing and at many times downright brilliant in its simplicity and use of shadows. He brings an air of mystery to the proceedings, and in the case of these films manages to provide true suspense out of something where the ending is widely known going in. He paints a rather interesting view of history that has surprising amount of balance if you sit down and watch the film without any prior convictions going in, and if you do have said convictions he still manages to present both sides in a fair light.

So join us as we explore the exploits of an FBI director, a South African President, an oppressed mother who’s child is missing, an affluent and shady antiques dealer, and an American hero…. These are, as Joe Friday would say, “Just the facts ma’am.”

(Cue Dragnet theme)

________________

INVICTUS

3 outta 4 Rugby balls

A film about Nelson Mandela seems like a better fit in the form of what eventually was made into the superb 2013 film LONG WALK TO FREEDOM.
Still, INVICTUS provides a different and in many ways more intriguing look at Mandela from a character stand point. How does this man whos journey landed him in prison then brought him to the presidency of South Africa affect him in the retrospect. What has Mandela lost in the long struggle for equality? What convinces him that a rugby match is the important lynchpin in uniting the country? What drives him to the decisions he makes?. You could answer all these rather simply, but the way Morgan Freeman plays Mandela one is more content and thrilled to watch him act it out then be handed a some bullet points on a napkin.

The films carries around an extreme amount of uplifting music laden across the Rugby matches and while not a big problem, probably would have been better in scarce use. It suffers the same problem that any true story faces: we know it turns out all right. So its really about building the tension rather than relying on too many uplifting moments. The strongest points in the film are when everything seems its darkest and we see Freeman and Damon really dig into the heart of the matter, which seems to be only shown in quick montage rather than more elaborated moments of reflection. You do really want to understand the tension in South Africa in addition to the inspiring Rugby game.

But, beggars cant be choosers, and INVICTUS is still a worthy watch with great performances and a wonderful heart that Clint beautifully brings to life on the screen.

J.EDGAR

3 outta 4 G-Men Badges in every box of Post Toasties

Leonardo DiCaprio has made a solid career of portraying real life figures after breaking free of the constraints of heartthrob of the moment. In an eloquent and stunning stretch he has played Frank Abignale Jr., Howard Hughes, and Jordan Belfort, and soon he will play fur trapper Hugh Glass.

Then theres the one people like to forget about… The one with the “interesting make up”.

J. EDGAR stands on a strong biopic premise that aptly covers the life and significant events of the controversial FBI Director who essentially brought criminal investigation into the realms of science and technology to aid in the catching of criminals while also running around believing that Bolshevik Communists would tear our country apart.

The film has two hiccups: the smaller one you dont notice off hand is the difficulty at times to find out if it wants to demonize Edgar or find sympathy and heroism in his story. Its a very difficult balancing act that divides generations, which while bold also nearly looses it’s footing. The second hiccup that everyone hears and says “Hey pal, want me to scare you so they’ll go away” is the old age make up on Leo and Armie Hammer. No matter how realistic it looks, it detracts from getting a good facial response from the actors delivering very powerful material dealing with Edgar and Tolson.

Still, the performances sell the film, and in a testament to Clints directorial approach, he lets the actors go into a very intriguing grey area where the audience has to decide where their sympathy is going to lie emotionally rather than politically. Leos performance is good and further shows that he deserves his mantle in the top tier of dramatic actors.

Props also go to the script by Dustin Lance Black, who’s clever writing addresses the subject with elegance and poise rather than typical “corrupt guy” movie.

CHANGELING

4 outta 4 Counts of Fuck Da Police

Gone is purely great ‘weepy’ in the US, so much so that when it succeeds, it gets relegated to the league of its inferior brothers and sisters. Some recent attempts fail to capture pure honesty and frustration out of its audience because they fall back on safe choices.

If there is one fault in Changeling, Im not seeing it. From the opening archived Universal logo and the dissolve from black and white to color, Clint Eastwood is aptly pointing us to a salute to the heartbreaking and frustrating dramas of the 40s, and for all but a few shots he succeeds in creating the closest modern day equivalent to those “Weepies” of the 30s and 40s. The cinematography, set well against the very dark and disturbing plot, never captures terrible acts. Rather it relies on a sort of Hays code restriction that forces us to merely imagine the worst rather than see it (save for flashes of violence that barely go beyond a quick cut of a bloody axe being lifted upward). Clints choices in the film are absolutely astounding.

The story follows Christine Collins (Angelina Jolie) searching for her son. When the LAPD returns mother to son there is a problem: they did not bring back the right child. This sets a story into motion that deals with police corruption, female disempowerment, male chauvinism, and ultimately terrible reality. The writer is J. Michael Stracyzinski. He has a background of film and comic book writing. There are elements of both through key monologues and characterizations where the line is clearly drawn between the persecuted and the corrupt. Its a move that never fumbles through even the very scarce over the top moments .

As for Jolie? I can not understate how powerful she is, bringing all the pure and utter horror and tragedy of a parent with a missing child without over doing it is a tough job that she handles with ease.

It’s a film that received mediocre acclaim upon release, but not even 7 years of time to ponder has seem to have convinced any one in this country of the films brilliance. Europe seems to get it though, as they usually do.

MIDNIGHT IN THE GARDEN OF GOOD AND EVIL

4 outta 4 Mint Juleps

Imagine a world where this film got a lot more credit than it initially received…. Im serious, do it, because that is the type of world I’d like to live in.

MIDNIGHT tells the true life story of the trials of Jim Williams, who was eventually acquitted of murder.

Its premise is simple but it’s setting, characters, and execution are not. Clint paints a portrait of the south that seems like the oddest of wonderlands filled with absolute focus on how the town functions and deals with mundane local gossip and questions of morality. Amidst this, he piles on a nice layer of spiritual nature that puts everyone on screen in a realm far beyond the constraints of a typical courtroom drama.

Adapting the books sense of humor amidst a dark situation is a huge gamble, a gamble that films FEAR AND LOATHING IN LAS VEGAS took when lifting liberally from the source material. The gamble pays off in strides in one goes in with an open mind.

It is a film that really asks you, the viewer, to step beyond its simple crime and explore the environment; described thusly by John Cusack as, “Gone With The Wind on mescaline.”

With any adaptation as prolific as this, there is room for dismissal. However MIDNIGHT (now approaching its 20th anniversary) must be left to the judgement of todays audience, which in the wake of the post-theatrical love of FEAR AND LOATHING IN LAS VEGAS might find charm and spellbound notions in this fascinating motion picture.

AMERICAN SNIPER

3.5 outta 4 Plastic Babies

The amount of controversy surrounding the most current Clint Eastwood directorial effort seems steeped in a national desire to pick a fight for the sake of picking a fight to garner political points on either side. Clints films will do that sometimes. The same attitude faced MILLION DOLLAR BABY back in 2004.

Regardless of any opinion within the realms of politics or patriotism, AMERICAN SNIPER is a damn powerful film that’s heart doesnt lie in what the rhetoric pundits dish out on. The film is about PTSD in the long run, and it does an amazing job of showing the small details that soldiers face with this affliction. In an incredible scene, Chris Kyle (Bradley Cooper) pounds hard on the glass of the room full of new arrivals, attempting to get the nurses to attend to his newborn daughter. It is a tense moment that says more than any monologue can on the subject of PTSD.

As for the war element… Well we are thrown into Kyles perspective, which indicates that we do need to step into shoes that feel uncomfortable, but you also see him through a transformation that is enticing to watch Bradley Cooper pull off with grace and grit.

There are really only two flaws with the films over all execution: a) it may have been best to show just a little more of the civilian life, even if that meant a 3 hour film (id easily sit down for it).
and b)….. That plastic baby…. I… If you…. And other thing…… ITS A PLASTIC BABY!!!!!

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Man, you’d think this would all be getting old after 21 films. But we still got 36 more films to go. The only thing that will be getting old will be Clint himself, as next article we will tackle his recent status as resident grumpy old man.

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (PART 4)

EPISODE 4: HARDY HAR-HAR

Of the films in Clint Eastwoods career we have seen him test his boundaries so often, one tends to never act surprised if he steps outside of the role of tough guy and into something such as grizzled boxing trainer, recovering alcoholic journalist, washed up carney, and tender yet ultimately disappointing lover.

But there’s one place Clint can’t go without ridicule and people laughing: Comedy.

(Interesting note: comedy can thrive off of the ideals of ridicule and … huh, laughter)

Sadly, Clints comedic side never quite caught on the same way some tough guys have been able to (i.e. Mel Gibson, Channing Tatum, Arnold Schwarzenegger), yet 2 of the 4 times he went into this realm proved to be the biggest box office intakes his films ever received with him starring. And those were the two films people still cannot believe adorn his filmography, mainly because Clint is not so much the attraction in those films as his primate co star was.

Yet still, like any talented man, you have to give it up to him for being able to give it the old college try and delightfully showing a side seldom seen: Fun Clint.

So join me will you, as we explore the exploits of a skip tracer in hot pursuit of a Broadway darling, a tough talking gangster with a memorable mustachioed compadre, and a bare-knuckle boxer named Philo Bidoe and his best friend Clyde.

EVERY WHICH WAY BUT LOOSE

3.5 outta 4 Clydes

The mark of Clint Eastwoods acting career can be laid on: gritty cop, silent cowboy, grizzled old man, and ‘that movie he did with the monkey.’ First off, as filmmaking friend Scott Schulte will kindly remind me often, Clyde is an orangutan, a member of the ape family. Secondly, to reduce EVERY WHICH WAY BUT LOOSE to merely a film where Clint goes bananas with an ape is somewhat a disservice to what does work about the film: A blunt film about utter losers.

Clint plays Philo Bidoe, a rough and tumbling bare-knuckle boxer who lives a low but satisfying existence with his friend and manager Orville (played by the late great Geoffrey Lewis), his tough as nails mother (Ruth Gordon), and his ape buddy Clyde. When he thinks the country singer he has fallen for (Sondra Locke) has been spirited away by her boyfriend, he travels to Colorado in search of her. Along the way they meet a cute farmers market girl who falls for Orville named Echo (Beverly D’Angelo), piss off some cops, and cross paths with a dangerous motor cycle gang that dresses like they came straight from a weird psyeudo Nazi Rally before returning to their meth lab ( and this was before Sons of Anarchy people).

Everything in this film SOMEHOW works. It lies in a strange place of intrigue that plays to our inner desire to watch the most random events unfold (how many people saw a Hangover movie) and our desire to watch losers make it out somehow better than they once were, even if the story lands on a back to one. Yes, we are dealing with something primordial, but when you see Clint and Clyde in a montage of going from strip clubs to adult book stores, one cannot help but laugh. There is even something to be said on Sondra Lockes character, who epitomizes more reality and darkness in her performance than most generic romatic comedies can ever seem to pull off, and this happens during a film where a primary goal is getting an ape laid in one memorable scene at the zoo.

The lesson here: never underestimate.

ANY WHICH WAY YOU CAN

2 outta 4 Clydes

The continuing adventures of Philo Bidoe seems like it makes a mockery out of everything the first film stood for… Yes folks the preceding statement was written, and with thought too.

Picking up where the first film left off, Philo is about to quit the bare knuckle fighting game when he is offered a handsome sum to fight a mob backed fighter. Hilarious hijinks ensue as a result, bringing back nearly everyone from EVERY WHICH WAY BUT LOOSE into play for a wild romp of almost absolute non-sense and mayhem.

The inherent problem is that the film negates everything from the first by bringing back Sondra Locke through tedious lazy writing to make her a likable love interest to care about. It’s a cheap trick, cheaper even than the clever twist near the end when the motorcycle gang suddenly becomes allies with it’s prey from the first film. Everything is turned upside down for the sake of… of…. well thats just it, I’m just not sure how to finish that sentence.

Regardless of all that, the film contains fun moments, an epic bare knuckle brawl at the end, and Clyde tearing up automobiles with his bare ape hands. All set to the tunes of Glen Campbell. It’s a rather interesting mess.

CITY HEAT:

2.5 outta 4 Dapper Hats.

CITY HEAT follows a rough tough detective (Clint Eastwood) teams up with a wise cracking private investigator (Burt Reynolds) to take down no good gangsters in Kansas City in the 1930’s.

Everything about that blurb should make me and any fun loving individual run immediately to the theater to demand they revive it. But hold your horses, it’s not quite the gold we seek eager prospectors.

The dead weight sadly lies with Clint in this picture that might otherwise work as a separate venture with Reynolds and maybe Dom Deluise. It’s not that Clint isn’t funny per say (his tough guy and shoot em up bravado gets funny lampoons in the picture), it’s just that he’s not able to keep up to believably team up with a smooth talker like Reynolds plays in the film.

Still, Clint does entertain in spite of the handicap, and Reynolds once again proves his god given talent of producing chuckles. The film also features fun visual aesthetic that fondly remembers it’s era thanks to the serviceable talents of director Richard Benjamin.

PINK CADILLAC

1 OUTTA 4 …. Ummm Pink Cadillac’s?

A skip tracer tracks down a bounty who’s baby has been kidnapped by her meth addled husband and his white supremacist buddies.

That’s Pink Cadillac, the film with a terrible reputation that sadly deserves it.

Clint, oddly enough, is the only one in this film that is delivering something interesting. He plays a skip tracer who dons all kinds of wacky disguises and costumes to catch the perps, and they are actually decent pieces of comedy given Clints persona. But even that small kick cant improve what probably would have been better off as a Fox Movie of the Week in the 90’s.

HOWEVER, I encourage one watch Pink Cadillac in a room full of friends. There are laughs to be had, just not the ones the film was going for.

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That is 16 films with 41 more to go.

Will Clint ever get to tell young people to get off his lawn?

Will anyone every make Harry Callahan’s day?

Will The Man With No Name every find out what it is via his birth certificate?

Tune in next time and find out!

GROWLS AND ‘SWELLS’ : AN ANALYSIS OF CLINT EASTWOOD (PART 3)

EPISODE 3: …AND AS ALWAYS, KILL HITLER!

It seems like every filmmaker has the secret desire to tell their version of the Second World War.

Countless filmmakers and actors have tackled this subject since the war itself began. It’s undeniable that the attraction to story tellers is that it is ostensibly a clear cut case of “good vs. evil” that almost builds the script itself. World War II and the events leading up to it play out in a fascinating tragedy with devastating consequences, with every point of view feeling shattered in their own way as the dust settled on VJ Day. And its portrayal in Hollywood has developed over the years much like the war itself evolved as time went on till its conclusion. From the once shining idealism of our boys fighting the good fight over there punching out Nazis as fast as some Captain with a shield (wink), we have over the past 30 years started to come to the point our boys did when the concentration camps were liberated and the bombs were dropped on Hiroshima; a world where the atrocities of the past must be more than just flash and glory.

And Clint grew up through Hollywood on both cylinders. His acting career as a rough tough fighting soldier of fortune only lasted two films, but they are sterling examples of the gritty gung ho war films of the 60s that we think of today when we think about any military action/adventure.

Some 35 years later, Clint had reached a point in his directing career where he was starting to break down the mythos and legacies of his own characters. Along this same line, Hollywood had become much more responsible with it’s portrayal of WWII and its devastating effects on victims and soldiers. So when he finally tackles directing his own two films on the battle of Iwo Jima, he is packed with knowledge that most filmmakers dont have: what we were then and what we are now.

So join me in examining Clint’s four films that delved into the subject of the greatest generation. He leads us into an operation to rescue a general, the lust ridden search for gold behind enemy lines, into the understanding of men returning home as war raged on, and then finally shows us the side of the war we rarely ponder.

KELLY’S HEROES

4 outta 4 TIGER TANKS

In the grand scheme of things, Kelly’s Heroes may only be remembered to todays audience for its score by Lalo Schifin and its use in 2009’s Inglorious Basterds. Hopefully though, those who are in the mood for a gritty action packed mad cap comedy. A lot of descriptives for a film that is at its core the Oceans 11 of war films (context lying within the 1960s version, not the 2001 version)

The film, directed by Brian G. Hutton, follows Clint as Pvt. Kelly who learns of a bank behind enemy lines carrying $16 million in gold bars. He assembles a team of his own to carry out the dangerous mission to retrieve the gold and say “Up the Brass” to their superiors. His team consists of the curmudgeonly Don Rickles as Crapgame, the gritty Telly Savalas as Big Joe, and the hippie- dippie Donald Sutherland as Oddball. All the while, the teams exploits are being followed by a blowhard General played by All In The Familys own Archie Bunker, Carroll O’ Connor.

The cast works incredibly well, playing on their own strengths, with Clint leading the group in his lovable rough and tough self. The director even managed to sneak in a brief visual homage to Clint’s Sergio Leone days. The films strength lies in a very anarchic spirit that recalls Mad Mad World mixed with machine gun mortar, balancing the action and comedy without tipping the scale.

And as stated, the Lalo Schifrin score is dynamite, ably accompanied by “Burning Bridges” by The Mike Curb Congregation.

WHERE EAGLES DARE

3.5 outta 4 Ski Lifts

Brian G. Hutton, director of Kelly’s Heroes and this film, has one visible trait in his two notable films outside of the backdrop of the second world war. He relishes the “men on a mission” realm with a panache that would be among the top tier examples in the genre that would influence films today. WHERE EAGLES DARE is a prime example of such feats.

Richard Burton leads the relatively obscure cast as a British Intelligence operative who plays double agent with the help of an American Soldier (played by Clint) to infiltrate a Nazi infested castle and rescue a General.

The film excellence and disappointment lie in its running time, which does test patience while at the same time grandly capturing the scale of the action on a beautiful dark lit canvas. So call it a draw.

Burton is slick in the role, though he lacks any of the charisma of his co-star Clint offers, and he is essentially written off in the film as a lackey with cool demeanor and tasty one liners.

Ultimately, the film is worth the investment, if nothing else to see what it looks like for Clint to play second banana.
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Now onto the IWO JIMA DOUBLE BILL. Both films will be examined separately as usual, but post review their will be an analysis of the films as a whole.

FLAGS OF OUR FATHERS

3.5 outta 4 Flags

It is tough to follow what Spielberg did visually with SAVING PRIVATE RYAN in 1998, but Clint comes closer than any other director has with FLAGS while still holding firm with his reputation as a storyteller who cares deeply about characters.

Following the story of the raising of the flag at Iwo Jima, the film flips back and forth narratively between the battle and the aftermath which finds 3 of the men that raised the flag (played aptly by Ryan Philippe, Jesse Bradford, and Adam Beach) on a US Bond tour to raise money for the war effort. The Homefront narrative proves more fascinating than the battle at points, as Clint is showing us a side of WWII Hollywood rarely dives into. Its strongest aspect is Adam Beaches incredible performance as Corporal Ira Hayes, who deals with survivors guilt and racial prejudice as he returns home, yet is still eager to get back overseas and fight.

Clint does a great job directing his actors through the bouncing narrative and presents a bleak and grey visual atmosphere that blends together with its characters. He definitely took some cues from Spielbergs Normandy Invasion, but theres a light touch that harkens back to war films of the 60s and early 70s that is unmistakeable.

Overall it is a gripping and fascinating story that leaves you enthralled.

LETTERS FROM IWO JIMA

4 outta 4 Letters…. From Iwo Jima

The sheer feat of directing a film in a language that is not your own is impressive itself. To create an utterly beautiful masterpiece out of it is just astonishing. LETTERS is the perfect film to show anyone just how powerful Eastwood can be as a storyteller. His key trigger as a director is the breaking down of mythos and idyllic glory, and here he lays it out in the most brutally honest fashion.

The film covers the Battle for Iwo Jima through the perspective of the Japanese defending the island under the command of General Kuribayashi (Ken Watanabe) and the inner conflict of the soldiers as they deal with duty versus survival. The emotional complexity of the story is unique to American cinema and puts the audience through a very gripping watch that they cannot possibly look away from topped with a brutally claustrophobic atmosphere that puts you right into the thick of it with the soldiers. In addition, the film provides a dual viewpoint of Americans on screen as we see both the good and the down right nasty of soldiers in the battle; one particular scene involves two Americans shooting dead their Japanese prisoners rather than stand guard and watch them. Its an unrelenting, challenging, and honest viewpoint of war that mainstream cinema normally likes to tackle and Clint
handles it perfectly.

Ken Watanabe’s performance as Kuriyabashi is not just the best of his career, it was one of the best performances of 2006. His position as General of an already lost battle is tragic and deeply human.

Of all the films that Clint has directed without him starring, this is the one to beat all others and is easily one of the greatest WWII films ever made.

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Of course the IWO JIMA DOUBLE BILL is a unique case, as the two films work with each other in conjunction to present the full visual and psychological scale of the battle for the Island. Theres an interesting aspect where the two films are filmed in such a way that they could both be re-edited inti one massive 4 hour and change epic, based on the choreography of the battle sequences with the flash forwards in time, it would be interesting to see. Alas, the beauty of the set is that separation is necessary to grasp the full impact of the overall purpose of the duo.
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Thats 12 films down and 45 films more to go.

Who knows what the next batch will bring? Only I do, and I dont even know.

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (part 2)

Clint Eastwood plays a film director in the film WHITE HUNTER, BLACK HEART

EPISODE 2: A GOAL DRIVEN MAN

The concept of ‘man on a mission” is not something our subject created, but Clint Eastwood approached the phrase with a unique elegance.

How else do we remember Clint if not as the man who would get the job done. In his 57 + film and TV career, he played a variation on the same theme more than once. The way he made it watchable for so many years can be found simply in the same reasons we still watch the works of Humphrey Bogart, James Cagney, and even John Wayne; I speak of course of charisma. It’s fair to say that in essence Clint is one of the few people alive today that draws a crowd because of his personality and not because of what role he is playing. In consequence though, his acting seems to never have been taken as seriously as it should.

In rounding up our next batch of films, I found myself starting to examine “Clint the character,” and here you will see some interesting examples. His missions always varied; whether it was escaping from the most fortified prisons, running against the clock to save a man from death row, hunting a white elephant, or avenging his partners death with the help of Charlie “Winning” Sheen.

ESCAPE FROM ALCATRAZ

4 outta 4 Chrysanthemums

The Don Siegel Factor is one of the key elements to understanding the Eastwood Factor. This combination is a beautiful pairing, in the tradition of the other more publicized Director/Actor pair up’s. Siegel knew how to show off Clints finer attributes in a way that no other director really was able to while simultaneously creating a film that stands on its own two feet.

Escape From Alcatraz is one of those perfect moments of just the right story with the right people. Covering the only successful breakout from The Rock (no, not the Michael Bay movie, which really flatlines when you compare it to this) in history. Clint plays escapee Frank Morris and delivers an apt performance in the vein of a George Raft from his early Warner prison films, displaying a cool style with a dash of empathy. By the time we get to the escape scene itself, we are firmly established in our righteous concern for Morris to succeed. Our sympathy for his plight lies in our distaste for the warden of Alcatraz (Patrick McGoohan) who while not as vile as Bob Gunton in Shawshank, is cool and contemptuous. His villain is unique because he is pretty much just doing his job correctly and within the line of legal reason, even if he is a cruel horses ass, so its his indifference to
rehabilitation (the principle that a good jail might stand for) makes us root on as the chickens fly the coop (no, not Chicken Run, quit interrupting me).

Topped off with beautiful cinematography and a restrained score, ESCAPE FROM ALCATRAZ is a must watch classic.

THE ROOKIE
2 outta 4 Broken Cigars

This film probably should have been called “Dammit Callahan”, but this a post -Dirty Harry world where THE DEAD POOL was caput for everyones favorite Cop on the edge. Instead we get something both recycled and unique at the same time.

Writers Boaz Yakin and Scott Spiegel did something special here where they made “Cliche: the Motion Picture” and got Eastwood to direct and star in it. So yes, you’ll hear all the classic favorites, all slickly paced and stylishly directed. Hell, you even get Clint Eastwood doing a parody of Clint Eastwood in the film, and there is absolutely nothing wrong with it…..

But when you drag it out over two hours, it can get a bit overwhelming, and top that with villains that were torn out of the phone book (Raul Julia has very little fun here), you do tend to miss the point of being anything more than just a movie for Spike TV reruns.

And I say this all like its bad, but honestly do yourself a favor and watch this at least once. It’s probably the closest thing in tone any Simpsons fan will get to seeing a live action McBain movie.

WHITE HUNTER, BLACK HEART

4 outta 4 Elephants.

Clints directorial work has generally wrapped up on a hopeful note, but always with the sense of “at what costs?” Then there are films (ala Mystic River) where Clint forces us to sit down on a very dark conclusion and ponder it the same way we ponder our own behavior. Its a talent that shines through phenomenally in White Hunter, Black Heart.

Clint plays a John Huston type filmmaker out to make a movie about the courageous acts on a river boat during WWI (The plot is lifted from a fictionalized account of the making of THE AFRICAN QUEEN), but before he shoots a frame, he wants to fulfill his desire to hunt down a White Elephant. In the film, he describes his reason as him wanting to commit not a crime but a sin. In this block of dialogue, his entire character is thrown into the dark realm of obsession that drives his mind. By the time the film ends, we the audience are left not knowing how we should feel about Clint without stepping back and ask ourselves how far we would go with our own obsessions. To tie it into the setting of film production is just a bonus goodie for any filmmaker.

This is probably the bravest role he’s tackled, and without being filled with violence, ends up becoming the most thought provoking film he directed before Mystic River or even American Sniper. Its an utter masterpiece and something that any film scholar might want to examine closely.

TRUE CRIME

3 outta 4 Hippopotamuses

At first glance, one can look at True Crime as an idyllic version of Tim Robbins DEAD MAN WALKING (which had been released 4 years earlier). The story of the attempt to save a man from death row, while educating the viewer on the process of execution.

But there is something admirable about this films attempt to blend social commentary (regardless on which stand you take on the death penalty) with an intriguing race against the clock thriller. Clint plays a loose, off the cuff investigative reporter who is handed an assignment to cover an execution that evening only to find the facts of the crime don’t add up. Off he goes on a journey to find the real killer as he simultaneously comes to terms with his behavior as a parent (the funniest scene in the film involves a speedy trip he takes with his daughter to the zoo that the internet now calls “Speed Zoo”), his behavior as a co worker (He bangs Denis Learys wife in the film), and his ability to stay sober.

And there is something admirable because the film stays consistently entertaining despite it’s heavy handed side, with some powerful acting from Isaiah Washington as the convicted killer. It’s an interesting gem and worth a peek, if not to see where Clint was as the 90’s drew to a close.

8 films down, 49 to go. The journey has been interesting so far, and it can only get more interesting from here as we delve deeper into the man with the notable snarl.

Note: This article is dedicated to Christian Stephans, who passed away last night. I will miss you sir, thanks for the encouragement and the screenings of There Will Be Blood.

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD

CLINT EASTWOOD flies a Soviet Thought Jet in 1982's FIREFOX

EPISODE 1: STRANGE PLACE, FAMILIAR FACE

A flashback to a period of a nation under pressure and all two kids can argue about is who should win the damn 2004 oscar.

This was my moment at age 13 and I passionately argued for Martin Scorseses THE AVIATOR while a some blonde who kept telling me about this picture called MILLION DOLLAR BABY. Pfft, I balked at the silly girl, the notion of that possibly beating Scorsese.

One week later Million Dollar Baby won best picture.

I was enraged, as since watching The Aviator I had discovered Goodfellas, Raging Bull , and many others. What enraged me more was that while having never seen a film by or starring the director, i knew he had already won an Oscar where Scorsese had none. It was a fervor that would last all of about 6 months, when I finally saw Million Dollar Baby…

My whole perception was changed instantly over the course of 2 hours and the way I enjoyed films would never be the same. For that was the day I met Clint.

Million Dollar Baby was directed by and stars the legendary Clint Eastwood and it is responsible for a man crush that has stood the test of time and can only compete with my equal man crush on Scorsese.

Clint Eastwoods genius and appeal always lies in his persona, both in front of and behind the camera. Its an air of solemn respect for reality with the curious glimmer of hope that can still make you growl in defense. In front of the camera he has been the ultimate tough guy touting a sly wit, true grit, and the inability to quit. Behind the camera he has made it a priority to take everything i have just mentioned and disassemble it thoroughly with a fine tooth comb and show the reality of being a lone wolf. Its primarily why I’ve admired the man for 11 years on: melodrama with a point and action with a purpose.

To make a top ten list without examining each one to see if we missed a gem would be a disservice, so for the next couple of weeks we are gonna examine all 57 of Eastwood’s films, 4 to 5 per article.

To kick things off, we have to understand that beyond his obvious tropes of cowboy and cop, Clint is a man who can really go anywhere; whether its Spy who steals thought jets, jewell thief who sees the president kill a woman, wounded Yankee soldier in a convent full of southern girls, or even begrudged basball scout. Yes Eastwood’s been everywhere man….

TROUBLE WITH THE CURVE:
1.5 outta 4 baseballs

The final moment in Trouble With The Curve shows Clint Eastwood walking down a street alone, almost to say he is walking away from acting forever and this is his graceful bow…. That bow happened 4 years prior with Gran Torino and should have been left to that.

CURVE has the distinct characteristics of an afternoon or late night TNT film, mixed with all the sap and spices of a Happy Ending you can blend together, which in itself would be fine if the editing wasnt so weird and jumbled.

That said though, its a 50/50 because honestly, this cast was so much fun to watch I would absolutely watch this again. In a different reality, Justin Timberlake and Clint would have done at least 2 other team up films, and Amy Adams is just divine to watch as always. It even shows Clint still has it, even if it is Torino Lite. And if this is how Clint wanted to go out, i gotta respect that choice….

THE BEGUILED

3 outta 4 turtles

Directed by Don Siegel, who later this same year of our lord 1971 gave the world a certain Harry Callahan, takes on this Oscar Bait melodrama that is much more than it seems. Its not so much a Clint Eastwood movie as it is a Drama that happens to have Clint in it. The majority of the dramatic heft lies with a house full of lonely southern women who have let Eastwoods character, a wounded Yankee, into their Girls School.

Once inside the house, the film plays an interesting game where we are truly set up to despise Eastwood as the film progresses . Its a rare ‘bad guy’ performance from him that proves just as haunting as the head matriarch of the school ( played by Geraldine Page) who has her own buried secrets.

The tension in this film feels flat at times, but no more than any melodrama possesses, and this films unique setup allows it to play out like a thriller in the vein of a hillbilly Hitchcock.

Be ready for an interesting ride with one of the ballsiest endings of a Clint Eastwood film from this decade.

ABSOLUTE POWER:
2.5 outta 4 fake beards

In this picture is 20 minutes of some of the slickest direction Clint has ever been at the helm for. Its a Robbery scene that goes on for a solid 20 minutes that almost plays out like a short film that has its own strong thematic conclusions without the necessity of any resolved ending that satisfies an honest man/woman.

But alas this is a major motion picture, and we need more than that. Thankfully, while not on par with that chunk, the remainder of the picture turns out a very fascinating airplane novel mystery aptly directed by and starting Eastwood as an aged thief who witnesses a murder at the hands of the secret service. And it takes a while for Clint to really get involved in the plot, in reality his character is more of a supporting player compared to the amount of time he gives to the bad guys. In theory this works, but it still has some major bumps in pacing. The ending itself is something i championed when i was 17, but looking at it now, i would have been much more fascinated if the ending was bleaker and much more hopeless.

Regardless, its one of those fascinating what if scenarios which provides thorough entertainment.

FIREFOX:
2 outta 4 Soviet Thought Missiles

Clint is a man of many wonderful talents, but speaking Russian may not be one of them. Which is probably why when he should be attempting an accent to get past Soviet generals, he instead just speaks in his normal voice and they let him pass by. Yet his character is indeed supposed to be a man who is fluent in the language.

But none of that matters because he can THINK in Russian. Which is handy as his character is tasked with the mission to steal a prototype Soviet Jet that operates by thought. Thats right boys and girls, its a Thought Jet, and we get to see it fly for a glorious 40 minutes in sequences against a blue screen that must have had the boys at ILM scratching their heads saying “Why didnt Clint just call us to do the Flight Sequences”

Apart from the more fanciful elements of Firefox, there still remains a fun little action/spy thriller that delivers the stuff your looking for in a fun tune out and enjoy manner.

P.S. Clint with a bushy mustache disguise is highly interesting.

…. And thats just 4 films kids… we still got 53 more to go…

53 more films… Fuck … is it too late to back out?

TO BE CONTINUED…..

GOLDEN AGE DAZE: THE PETRIFIED FOREST

So this is what it’s like being a contributor…. Sitting in the back yard by a pool ready to write.

To elaborate: I have relocated to beautiful Costa Mesa, California, maintaining my sobriety in a sea of partying that seems only natural to the state.

These days what keeps me at now 83 days clean and going strong is a daily bottle or 3 of Mountain Dew, Tombstone Pizzas, and a nice bundle of Golden Age films.

The Golden Age of Cinema … Ahh, now there’s something refreshing in the slew of today (Just for Today, I will not see Seventh Son a second time… Just for today). Nothing quite sets the mood for the evening like the soft focus, the glamorous stars, and the Glorious Black and White (I’m the guy who made TWOMBLEY by the way folks, pleased to meet ya).

It’s with that in mind that I’ve decided to start a weekly goal for myself: Relive the glory days of cinema and spotlight a film from an age gone by; when studios ruled the stretch of land known as Hollywood, Actors were not able to freely choose projects, and all you had to wear as a director was puffy pants and a French beret (monocle optional).

But where to begin… I though it best to start in a film that felt most resonant in a time where my mind has been wandering around looking for purpose.

That is the essential point of today’s film , THE PETRIFIED FOREST.

Directed by Archie Mayo in 1936, the film has gained a reputation in history circles as the film that introduced us to the glory that is HUMPHREY BOGART. But that’s not all it is kids, it’s so much more.

Set in the small town of Black Mesa, Arizona, the film tells the story of wayward writer Alan Squire (a phenomenal Leslie Howard) in search of himself in the form of a hitch hiking tour of the hot dry desert. His travels lead him to a lonely Last Chance Diner inhabited by; a waitress named Gabby (Bette Davis), who dreams of Paris and its splendor of culture, a football hoodlum who’s after Gabbys heart, and an Old Timer who’s claim to fame was being shot at by Billy the Kid. The encounters soon enter a tense game when the notorious killer Duke Mantee (Humphrey Bogart) and his gang hold everyone at the diner hostage. As the night progresses, everyone’s desires are exposed at the thought of not knowing how the evening will turn out that ends with Alan Squire making the supreme sacrifice for Gabbys sake and the sake of all searching for purpose in the ever returning world where the ‘intellectuals’ are being struck back by the ‘beasts of pure animal instinct’

At its heart, it is another example of Warner Brothers supreme triumph in the world of the gangster picture. This studio took a one location stage play and molded it into an action thriller that seems the basis for films made in the present by Quentin Tarantino or Andrew Dominik (Killing Them Softly). Moreover it is a testament to patience, as the film is a talking head piece (as many films from this era are), though that does nothing to detract from the suspense it exudes.

At this time we shine a light on our actors. Lets start off simple with Bogart. According to the history books, Bogie studied the mannerisms of John Dillenger for his portrayal of Duke Mantee, and it shows in his swagger. When he enters the diner, he commands the room with the look and demeanor of a true beast in the thrush of society, where not much is left but survival at all costs… That is until we learn that his dame double crosses him. With one revelation we see the unraveling of a beast into pure and utter panic for the first time in his life. It’s certainly the breakout role in this film.

Then, lest we forget the cool and ‘so-sure’ Leslie Howard. He sees the world as if it is a novel waiting for its exciting conclusion, cavorting in a manner of fear for what he knows humans to be capable of until driven to a certain point. He is afraid because he knows the right answers, but dares not expose what he knows for fear of rejection. Then, as with his beast counter part Duke; Alan Squire, the intellectual, has his own revelation of his sense of self worth, and much like the stories he has read, he becomes comfortable with his fate in a way that can only be described the way the young folks call it: Badass.

All in all, the director, Mayo , maintains a solid stance on keeping true to the stage plays base intentions while throwing in the natural Warner Bros. flare that made their pictures some of the most popular of the era. His attention to detail with the look and feel of the desert scenery is poetic and in many ways shows you the power a beautiful matte painting can have when it’s photographed correctly (cinematographer Sol Polito deserves accolades here as well).

To sum it up, if you are looking for an intriguing battle of the minds centered in the loneliest part of America, THE PETRIFIED FOREST is right up your alley.

Next week we’ll review something else with Bogart in it. Paul Thomas Anderson’s favorite movie as a matter of fact; John Hustons THE TREASURE OF THE SIERRA MADRE.

Till then, this is Zach Eastman, signing off back to the world of yesteryear to find more gems from the GOLDEN AGE DAZE

Say… That sounds like a great title for the column.

Oh and if you want to buy this amazing film, it’s available on Amazon

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Author: Zach