Showing posts with label oscar winner. Show all posts
Showing posts with label oscar winner. Show all posts

Sunday, December 11, 2011

Milk (2008) Review

Milk (2008)
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Gus Van Sant has always been an excellent if somewhat eclectic director. Although I have enjoyed his previous efforts, I was somewhat apprehensive when I heard he was undertaking a film biography of Harvey Milk. A gay figure of this importance, I thought, should be handled by someone a little more mainstream. Like many gay people, I am weary of gay-themed films that reach no one beyond a gay audience, and the message I would want to emerge from a film about Harvey Milk should be heard by everyone.
As if reading my mind, Mr. Van Sant has fashioned a film that is accessible to all, while approaching his subject with sharp focus and a singleness of purpose that is at once definitive and topical. A stunning achievement, MILK manages to make its point without ever being preachy or trite, while remaining as true to the facts as any film bio could ever hope to be.
The film opens with snippets of gay history that many young gay people, let alone a straight audience, may be shocked to discover. During the opening credits, a barrage of vintage film clips remind us that a scant 50 years ago, gay men, lesbians and transsexuals were subjected to violence, harassment, physical abuse, arrest and humiliation by the very people that most citizens look to for protection; i.e. the police and judicial authorities. The newsreel images of gay bar raids that open MILK project a surreal yet somehow eerily familiar atmosphere that seems to alternate between the bizarre and the barbaric. Many people today are not aware that, in the 1940's and 1950's, right here in the USA, gay people were arrested for simply patronizing a gay bar (newspaper headline: "Den of Perverts Busted"). Many of those arrested had their names and employers published in the morning paper (!), and often found themselves unemployed and unemployable, branded with the label of "deviate". It is this chilling fact of social injustice that clears the way for the film's swing into a very important piece of gay history.
Skillfully telling us the story of Milk's rise as a leader in the Castro Gay Community of San Francisco, Harvey Milk is seen throughout the film as a living, breathing flesh and blood person. Van Sant adroitly propels Sean Penn through a warts-and-all portrayal of a frail human being with an idealistic bent and a politician's savvy. As with any good film, it is difficult, if not impossible, to discern which is more impressive - the balance of a perfect cast and lovingly detailed direction weave their way through a seamless portrait of an important historical figure, yet we are somberly reminded that many people remember Harvey Milk solely for the "Twinkie" defense of his star-crossed killer. The end result is that gay audiences emerge from seeing this film with a sense of pride and purpose, while straight audiences leave with a better knowledge of who we (gay people) are, what we want, and what we are struggling for. By word of mouth I expected a thrilling cinematic experience; what I got was a surprisingly near-perfect motion picture and some of the best acting I've ever seen. I heartily recommend MILK to any straight person who wants to get a grasp on what the last 30 years of gay history were really all about, and any gay person who wants to feel good about themselves. MILK is a triumph. See it.

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Monday, September 19, 2011

A Touch of Class (1973) Review

A Touch of Class (1973)
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I saw this movie when it first came out in the 70's and have seen it many times on and off for years.
The movie is funny, but what makes it work is the two stars. George Segal (who never looked better) is in fine comedic form, and he and Glenda Jackson complement each other perfectly. She was especially singled out for critical acclaim -- some people compared her to Katharine Hepburn in Hepburn's comedic roles.
The movie also affords a look at London in the early 70's.
Because the actors work so well together, I would've liked a different (happier) ending for the movie. Still, after thirty years, "A Touch of Class" remains very watchable and poignant -- largely because of the two stars.

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Thursday, August 25, 2011

The Best Years of Our Lives (1946) Review

The Best Years of Our Lives (1946)
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Just before legendary director William Wyler died, equally legendary director Billy Wilder was interviewed about his feelings about Wyler's films, from "Best Years of Our Lives" to "Roman Holiday" to "Ben Hur" to "Funny Girl."
Wilder, a tough cookie who hates schmaltz and sentiment, the director of such classics as "Some Like it Hot," "The Apartment," "The Seven Year Itch" and "Sunset Boulevard," suddenly got emotional, expressing great affection for "The Best Years of Our Lives," noting that it was one of the best films he had ever seen.
He reacted the way I reacted. He said that it was the only film that he could remember (of course, this was well before "Saving Private Ryan" was released in 1998), where he and the entire audience were drenched in tears within the first 10 minutes. It was an unforgettable experience for him, and he recognized immediately that "The Best Years of Our Lives" was obviously a deeply personal work for Wyler, where every scene, every frame, every note of music and word of dialogue, rang true with authenticity and emotion. This was Wyler's territory. He knew the material. And many of the scenes that were shot mirrored his own experiences when he returned home from war.
This is why, after so many viewings, I still can't get over the fact that no matter how many times I say to myself, "I'm not going to be moved by this or that scene," I fail miserably. I just can't help it. To say that this is a great film is an understatement of the highest order. And yet I can only count on one hand the number of friends I know who have seen this film from start to finish. I think the running length has something to do with it. You never see it on commercial television at all and unless you're lucky enough to have cable, you'll miss it entirely. And it's not a film that people are banging down the doors to rent.
The wonderful thing about "The Best Years of Our Lives" is that it still holds up beautifully, unlike a lot of films that seem awkward or stilted. Fredric March, as the patriarch of the family (in an Oscar winning role), is stupendous. His acting and delivery of lines seems effortless and spontaneous, not the product of a script recited from memory. And to have Myrna Loy as his partner and the wonderful Teresa Wright playing his daughter (the latter an Oscar winner a few years earlier in "Mrs. Miniver"), how can you lose?
Like all great films, time has no meaning. The story sweeps you along like a great wave -- a ride -- that you never want to end. The famous "long hallway homecoming shot" that appears in the first 10 minutes of the film -- I don't care that it's the scene that most people remember and is usually the ONLY scene that turns up in any highlight reel of greatest films ever made -- it gets me every time.
And the ending, the last line from the movie, the one uttered by Dana Andrews -- despite the sentimental setting -- is so fabulously understated and cynical and yet filled with such hope, that you can't help but be -- what I describe as being -- "happily devastated." It's a wonderful ending that purposely leaves you guessing about what will become of the characters played by Teresa Wright and Dana Andrews, but you can't help but feel that their future looks bright in spite of their apparent state of destitution.
I just wish more people would see this film. There's a treasure chest of great movies from the past that people overlook every day. This is one of them. I pity people who still buy or rent movies based on slick packaging alone.
I would rather pay $10 to see this film on the big screen or less than $20 to own this film so I can see it on a little screen -- than pay about $4 to rent junk that has a good looking box -- and a few great critical reviews from people you've never heard of.
Some films are good enough to rent, but only a few films are good enough to buy. "The Best Years of Our Lives" is a film to BUY.

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It's the hope that sustains the spirit of every GI: the dream of the day when he will finally return home. For three WWII veterans, the day has arrived. But for each man, the dream is about to becomea nightmare. Captain Fred Derry (Dana Andrews) is returning to a loveless marriage; Sergeant Al Stephenson (Fredric March) is a stranger to a family that's grown up without him; and young sailor Homer Parrish (Harold Russell) is tormented by the loss of his hands. Can these three men find the courage to rebuild their world? Or are the best years of their lives a thing of the past? Featuring a brilliant cast that includes Myrna Loy and Virginia Mayo, this postwar classic garnered* seven OscarsÂ(r), including Best Picture. Heart-wrenching, touching and "filled with emotional dynamite" (The Hollywood Reporter), it remains "one of the best films about war veterans ever made" (American Movie Classics).*1946: Director, Actor, Supporting Actor, Writing/Screenplay, Film Editing, Music/Scoring of a Dramatic or Comedy Picture

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Tuesday, August 16, 2011

Sergeant York (Two-Disc Special Edition) (1941) Review

Sergeant York (Two-Disc Special Edition) (1941)
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Gary Cooper was 40 years old when he made "Sergeant York," and his Southern accent is weak at best, but those things do not end up detracting all that much from his performance or this film. Directed in 1941 by Howard Hawks, "Sergeant York" has strong propagandistic elements. A whiskey-drinking hell-raiser, Alvin C. York undergoes a religious conversation when lighting strikes his gun and almost kills him. His goal in life becomes getting himself a piece of bottom land so he can propose to Gracie Williams (Joan Leslie). Things go against him, but Alvin holds his temper and does what the Good Book tell him to do. Then World War I breaks out and Alvin is drafted. Unable to get status as a conscientious objector because of his religious beliefs, Alvin has to come to terms with the obligations of citizenship versus the dictates of scripture. The film is surprisingly even handed in showing Alvin debating the matter with his superiors. In the end he comes to the only conclusion possible for men of conscience forced to go to war: killing is justified to save lives.
On the Argonne Forest battlefield Alvin, made a corporal because of his marksmanship, becomes a hero when his unit is trapped and he single-handedly kills 25 and captures 132 prisoners. Called the "greatest civilian solider of the war" by General Pershing, York received the Medal of Honor, France's Croix de Guerre, and basically every high medal the Allies could bestow upon him. But while the film does a first-rate job of showing York's heroic exploits, ultimately it is more about the man that the solider. Cooper's sense of dignity is well-suited to the role, which gives more weight to York's life in the hills of Tennessee than to the war in Europe. What he learned back home clearly stands Alvin in good stead on the battlefield.
The supporting cast of "Sergeant York" is truly outstanding, with George Tobias as "Pusher" Ross, Ward Bond as Ike Botkin and Robert Porterfield as Zeb Andrews. Both Walter Brennan as Pastor Rosier Pile and Margaret Wycherly as Mother York received well deserved Oscar nominations in the supporting category. Brennan marvelously underplays his role as Alvin's spiritual leader while Wycherly is simply the anchor for the entire film. Mother York says little and moves slowly, but everything comes out through her eyes. The scene where Alvin finally gets home from the war and sees his mother at the train station is especially touching: his face lights up completely and her "I'm right glad to see you, son" is the equivalent of other people crying and screaming for joy. In addition to Cooper winning his first Oscar as Best Actor, William Holmes receives one for Film Editing. This is one of those movies I never get tired of seeing and it remains the ideal film to watch on Memorial Day.

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Story of World War I hero who captured German position single-handedly. Film also portrays York's earlier life in the mountains of Tennessee.

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