Mozart and the movies make beautiful music together

On December 3, CineVerse will celebrate the 30th anniversary of “Amadeus” (1984; 180 minutes; director’s cut), directed by Milos Forman and chosen by Joe Valente. Note: due to the extremely long runtime of this film, we will start our meeting at 6:45 and conclude at 10:15 p.m.

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No CineVerse meeting on Nov. 26

Family comes first, which is why there will be no CineVerse meeting on Nov. 26. Enjoy your Thanksgiving holiday.

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An exercise in eye candy indulgence

"To Catch a Thief" may not be among the pantheon of Hitchcock masterpieces, but it's still quite an entertaining romp filled with beautiful people and deliciously naughty dialogue for a mid 1950s flick. Here's what our CineVerse group concluded about this minor classic from the Master of Suspense:

WHAT IS NOTABLE, DISTINCTIVE AND DIFFERENT ABOUT “TO CATCH A THIEF”?

·       It’s visually a very rich, colorful, sumptuous and attractive movie, filled with pretty faces, picturesque locales, elegant costumes, and decadent indulgences (food, jewelry, etc.), all showcased in Technicolor and widescreen Vista Vision—the latter was one of the newer widescreen formats introduced in the 1950s

·       It’s a very sexually playful film replete with double entendres, coded sexual symbolism in the visuals, and suggestive body language and expressions—perhaps the naughtiest Hitchcock ever got when it came to being sexually playful and suggestive.

o   Consider the scene where Grant asks Kelly “do you want a leg or a breast,” or when Kelly asks, “Tell me, how long has it been?” “Since what,” Grant replies. “Since you were in America last,” Kelly says.

o   There’s also the famous sequence where Kelly says “If you really want to see fireworks, it’s better with the lights off. I have a feeling that tonight you’re going to see one of the Riviera’s most fascinating sights. I’m talking about the fireworks, of course.” We then see them kiss as fireworks explode outside, insinuating a sexual climax between them.

o   There are ample references to “lumber” (a metaphor for male genitalia), “diamonds/necklaces” (metaphor for Francine’s breasts), and teasing sexual innuendos throughout. There’s even a hilarious shot where a crippled waiter sees Cary Grant and is (subconsciously) so awestruck by Grant’s attractiveness that he pops a champagne bottle cork and spills the contents, suggesting a climax—not just any male orgasm, but the power of Grant to even make an impotent (i.e., possessing a wooden leg) man climax!

o   This was regarded as a particularly troublesome movie by censors at the time, what with its metaphors for ménage a trios, multiple orgasms and suggestions of “unusual” sexual acts.

·       Arguably, this is lightweight Hitchcock, as, compared to so many of his other pictures, the tone here is much lighter, the plot is not as meaty or interesting, the macguffin Hitchcock employs here is simply the identity of the thief, and there really isn’t much suspense built beyond our waiting for the two protagonists to make whoopee with each other and relieve the romantic tension.

·       Film critic Peter Bradshaw remarked: “Hitchcock's superbly insouciant crime caper from 1955 must surely be one of the last movies in which the American super-rich are indulged so extravagantly and adoringly – the kind of people who stub their cigarettes out in fried eggs.” Likewise, reviewer David Krauss posited: “'To Catch a Thief' is the apex of style and personification of cinematic chic. Never before had a Hollywood movie showcased a European locale with such authenticity, and by thrusting us into the rarefied world of the ultra-rich, Hitchcock succeeds in presenting the ultimate escapist fantasy.”

·       Grant—as he is in “North by Northwest”, and as James Stewart is in “Rear Window” and “Vertigo”—is much older than his costar and her character, yet it’s fitting that the actor and character are this age, as Grant was considering retiring from acting at this time, but Hitchcock talked him out of it, and his character also is coming out of retirement.

HOW IS “TO CATCH A THEIF” SIMILAR TO OTHER HITCHCOCK PICTURES?

·       It employs the theme of “the wrong man on the run,” an innocent man accused of a crime who is pursued by the police or other party.

·       Grace Kelly is the perfect embodiment of one of Hitchcock’s favorite tropes: the icy blonde who oozes elegance and sex appeal.

·       Film reviewer Alex Young wrote: “Hitchcock’s use of the camera continuously demonstrates how to create the atmosphere of a film by capturing sweeping landscapes without any jump cuts during action sequences. Each scene is very focused without using any fancy optical illusions while still creating mystifying metaphors that let the viewer’s imagination soar and allow each scene to flow into the next one very organically. These visual storytelling techniques are signature elements Hitchcock utilized throughout his body of work so the plot pieces itself together by while each member of the audience is unable to anticipate what will happen next.”

WHAT THEMES ARE AT WORK IN THIS FILM?

·       How human beings are innately attracted to risk and danger.

·       All people, in some capacity, are fakes and charlatans with duplicitous natures who wear masks to hide their true selves.

FILMS SIMILAR TO “TO CATCH A THIEF”:

·       Jewel Thief (1967)

·       Tiger in the Smoke (1956)

·       The Thomas Crown Affair (1968)

OTHER NOTABLE MOVIES BY ALFRED HITCHCOCK:

·       North by Northwest, Notorious, and Suspicion, also starring Cary Grant

·       Rear Window and Dial M for Murder, also starring Grace Kelly

·       Vertigo

·       Psycho

·       The Birds

·       Strangers on a Train

·       Shadow of a Doubt

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Hitch plays it cool with Cary and Kelly

In a span of a week, we move from a bicycle thief to a jewel thief. Make your plans toattend CineVerse on November 19 for To Catch a Thief” (1955; 106 minutes), directed by Alfred Hitchcock, chosen by Rose Krc.

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Psyched about the bike

What more can be said about a film that's virtually perfect in every aspect, one that's been studied and cherished for decades and which continues to inform and inspire new audiences all over the world, regardless of age, ethnicity or creed? Actually, plenty. Here's a recap of observations gathered during last night's CineVerse meeting on "Bicycle Thieves."

WHAT DO YOU FIND FASCINATING AND RESONANT ABOUT “BICYCLE THIEVES” 66 YEARS AFTER ITS INITIAL RELEASE?

·         There is not much action or plot: this is a very simple but effective story that evokes a strong emotional reaction in viewers primarily from its visual poetry and nonverbal storytelling.

·         The father and son, along nearly everyone else in the cast, are not professional actors—these are just everyday people. Yet, marvel at how expressive their faces are and how natural their acting—or nonacting, in this case—is.

·         This film attempts to depict true poverty and economic hardship as it really was in one city at a given time in history: postwar Rome in 1948, which had been bombed out and crippled following the war.

·         The film is consistent and believable in its approach to realism: there is no contrived happy ending or resolution, and bad things happen to good people.

·         To put the film in proper context, consider that Americans didn’t often get to view pictures about poor people in this clear and close a focus before; even films made during and set in the Great Depression often softened the blow when impoverished characters were showcased, and almost always a happy denouement was included.

·         The character of the stalwart and compassionate Bruno, the son, and what we see him observe and react to, is what helps give the film extra power and resonance.

·         The film does attempt to make a political statement—that we should be more concerned with our fellow man and that a fairer political system should exist that provides greater opportunities to everyday people—yet, the film is not so much about the hardships of poverty or the quest to reclaim a stolen bike but rather the relationship between a father and his boy.

·         Charles Burnett, essayist for the Criterion Collection version of this film, said: “I was moved by how ordinary people were able to express so much humanity. The story achieved in very simple terms what I was looking to do in film: humanize those watching. (It) has the quality and intention of a documentary. It is totally unromantic. The characters are just ordinary people, and the film gives the impression you are watching life unfold before you. It is entertaining, but that is not the goal. Its goal is to make audiences aware of a particular social condition that needs a political solution. It is clear that it was made as a tool for change.”

·         Ultimately, the film succeeds and impacts us so strongly because we identify and sympathize with Antonio and Bruno, despite the fact that they don’t overemote or turn to speeches or soliloquies. We see them as they truly are and it is their behavior and unspoken actions that inform us about them. Antonio’s taking down a peg in front of his son is heartbreaking and universally appreciated, regardless of the time, place or ethnicity.

·         The film also doesn’t give us black and white, good vs. evil tropes: even the young bicycle thief himself is depicted as the victim of poverty and a corrupt, unjust and misery-inducing political system, and his family defends him.

WHAT ARE SOME OF THE HALLMARK CHARACTERISTICS OF ITALIAN NEOREALISM MOVIES?

·         Shooting in near documentary style, on location and often using nonfactors/nonprofessionals

·         The subjects are typically working class people and the impoverished

·         The messages are often bleak, realistic and plausibly pessimistic—without a glossy coating, sentimentalizing and tacked on happy endings

·         There is a deliberate focus away from big name stars, complex psychological themes and issues, and intricate plots and action.

·         Critic Glenn Erickson wrote: “(the) purpose was to strip away the artificiality of conventional filmmaking to show life as it really is.”

WHAT ARE KEY THEMES POSITED BY “BICYCLE THIEVES”?

·         The power of family unity and love over materialism, capitalism, and suffering

·         The search for hope and faith (not necessarily religious faith, but perhaps faith in humanity) in a world that seems faithless; consider that Antonio is hunting for a Fides (“faith” in Italian) bicycle

·         Social conscience: it’s our duty as neighbors, acquaintances, citizens and even bystanders to help our fellow man, regardless of his social stature

·         Class struggle: This is a film about the division and disparity among social classes—we are shown how postwar Italy classes coexist, including the poor, the bourgeois, and the rich.

OTHER MOVIES THAT COME TO MIND AFTER WATCHING BICYCLE THIEVES

·         The Grapes of Wrath (1940)

·         Rome, Open City (1945)

·         Germany Year Zero (1948)

·         Furrows (1951)

·         Pather Pachali (1955)

·         Films with cities featured as a major character, including “Wings of Desire” and “Berlin: Symphony of a Great City”

·         Children of Heaven (1999)

OTHER FILMS DIRECTED BY VITTORIO DE SICA

·         Shoeshine (1946)

·         Umberto D (1952)

·         The Earrings of Madame de… (1953)

·         Two Women (1960)

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A film that will pedal its way into your heart

CineVerse presents a World Cinema Wednesday special on November 12, direct from Italy: “Bicycle Thieves” (aka "The Bicycle Thief," 1948; 93 minutes), directed by Vittorio De Sica, chosen by Carole Bogaard. Plus: Play a movie trivia game prior to the start of the film for a chance to win DVD prizes.

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Boy meets girl, boy says goodbye to girl 12 hours later

Pulling off a successful romantic drama is not easy, what with audience expectations for Harlequin romance novel-esque wooing, torrid sex scenes and formulaic interplays between stock characters. "Before Sunrise" is a refreshing exception to that formula. The following are group observations about this distinctive film:

WHAT CAUGHT YOU BY SURPRISE ABOUT THIS MOVIE, ESPEICALLY FOR A ROMANTIC DRAMA?

·       The plot is threadbare—very little happens; instead of turning to a proven (if not overused) formula, the filmmakers bank on two interesting personalities and well-written conversation.

·       This film isn’t limited in its appeal to Gen Xers only: The issues and questions these young twentysomethings discuss are actually evergreen and relevant to adult couples of almost any age.

·       The filmmakers aren’t trying to pull a melodramatic emotional manipulation or trick you with some heavy-handed twist at the end. As Roger Ebert summarized: “There is no hidden agenda in this movie. There will be no betrayals, melodrama, phony violence, or fancy choreography in sex scenes.”

·       Speaking of which, there really is no sex, which is quite amazing when you consider that almost all movies of this ilk eventually include a bedding down scene as well as real or suggested nudity.

·       The dialogue feels realistic and authentic, as evidenced by its occasional stream-of-consciousness direction, focus on mundane as well as momentous, philosophical matters, and lack of florid, overscripted language and one-liners/catch phrases.

·       The film is set in naturally picturesque and colorful Vienna, but it doesn’t try to romanticize that city or use it as a travelogue-like backdrop where the characters “naturally have to fall in love because they’re surrounded by so much beauty.” In other words, the filmmakers don’t try to exploit the fact that it’s set in a foreign city and use its famous landmarks, art and architecture to oversentimentalize or color its characters or situations.

·       It’s also rated “R”, despite the fact that there is no nudity or violence, and only sparse profanity. That’s too bad, as it limited its original theatrical run audience to adults only, when teenagers could have certainly enjoyed and learned from this picture.

·       The director doesn’t try to be flashy or artsy-fartsy by going for complicated setups, experimental framing or elaborate camera movement or editing choices. Instead, Richard Linklater and crew keep the proceedings simple in terms of shots, edits, and camera placement. In fact, he utilizes many an extended take (including what feels like an uninterrupted eight-minute shot on the bus) that lets the characters do the heavy lifting and allows us to linger longer on them and perceive any would-be chemistry without excessive editing manipulation.

·       Like other Linklater films, including “Dazed and Confused,” this story takes place in one day, without giving us the benefit of a prologue, epilogue or flashbacks. We also don’t know if they’re ever going to meet again by the conclusion (although now, 19 years later, we are aware that there have been 2 sequels in which they do meet again).

WHAT ARE THE NECESSARY INGREDIENTS FOR THIS FILM TO WORK AS WELL AS IT DOES?

·       It’s a film that relies primarily on good casting, good performances and good dialogue, as very little in the way of action or plot happens.

·       According to film reviewer James Berardinelli, “for this film to work, (Hawke and Delpy) have a threefold task: embrace their characters; attract each other; and connect with the audience.”

·       The success of this film, because it is so reliant on its two main characters to captivate us, is for the director and his crew to get out of the way and let the actors do the work, as aforementioned.

·       Because we need to believe in the dialogue and find it credible, the writing required a balanced approach from a man and a woman; hence, Linklater enlisted the aid of female screenwriter Kim Krizan, who especially helped with Celine’s lines. Written entirely by a man, this film may not have felt as plausible.

·       An appropriate musical score that isn’t too heavy on the melodramatic tone and which allows the characters to telegraph how we should react.

WHAT THEMES ARE EXAMINED IN “BEFORE SUNRISE”?

·       Discovering yourself through the eyes of another person.

·       The fleeting nature of existence and relationships: the 12-hours in which the characters are limited in their time together underscores how quickly life goes by and how fast an opportunity can pass.

·       Adapting to one’s limited environment and acting uninhibitedly in spite of these limitations: both Celine and Jesse decide on the spur of the moment to depart the train and forget their rules and restrictions.

·       The unpredictable nature of fate vs. happenchance: were Celine and Jesse destined to cross paths like star-crossed lovers, or was this just a random event that won’t mean much in the long run?

WHAT OTHER FILMS DOES “BEFORE SUNRISE” REMIND YOU OF?

·       “Brief Encounter”

·       “An Affair to Remember”

·       Vincente Minnelli’s “The Clock”

·       “Lost in Translation”

·       Many of the films of dialogue-driven romance films of Woody Allen, including “Annie Hall” and “Manhattan.”

·       “Chungking Express”

·       “My Dinner With Andre”

OTHER FILMS BY RICHARD LINKLATER

·       1991 Slacker

·       1993 Dazed and Confused

·       1996 SubUrbia

·       2003 School of Rock

·       2004 Before Sunset

·       2013 Before Midnight 

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The early bird catches Cupid's arrow

On November 5, CineVerse will take a romantic detour and explore“Before Sunrise” (1995; 105 minutes), directed by Richard Linklater, chosen by Art Myren. 

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