Blog Directory CineVerse: March 2015

New Zealand makes more than movie hobbits

Sunday, March 29, 2015

On April 1, World Cinema Wednesday returns to CineVerse. This time out, we'll spotlight a picture from New Zealand: “Out of the Blue” (2006; 103 minutes), directed by Robert Sarkies, chosen by Dan Quenzel.

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Breaking down "Bedford"

Thursday, March 26, 2015

"The Bedford Incident" plays out as a fitting conclusion of sorts to an unofficial Cold War/cautionary nuclear annihilation trilogy preceded by "Dr. Strangelove" and "Fail-Safe," both released a year earlier. All films end with nightmarish visions of mushroom clouds. But "Bedford," although arguably not as memorable as the other two films, is a meritorious vessel in its own right worthy of analysis. Here's how CineVerse dissected the picture:

WHAT IS DIFFERENT, DISTINCTIVE AND UNIQUE ABOUT “THE BEDFORD INCIDENT” FOR A 1965 FILM?
Consider the chilling topical relevance and timeliness of this picture: This was just a few years removed from the tension and terror of the Cuban Missile Crisis, which was still fresh in Americans’ minds, and it came at the height of the Cold War when many people believed nuclear annihilation could happen anytime.
While the movie isn’t sympathetic to the Communists, the Russians aren’t necessarily depicted as the evil villains here; instead, the villain is Finlander himself and what he represents. Also, we aren’t shown the perspective of the Soviets at all—there are no counterpoint characters shown from the other sub, nor is the Big Red sub shown at all, for that matter.
Tied in with this thought is that, while the movie points a finger at the dangerous mindset and attitude of Finlander, it doesn’t try to throw the entire U.S. military or U.S. government or our country’s stance during the Cold War under the bus. Remember that Finlander receives telegrams from NATO ordering him to wait on any military action, and he was denied a promotion to Admiral based on his backing of military action during the Cuban Missile Crisis.
Interestingly, the film could be seen as both an anti-war picture and as a pro-military picture that offers a cautionary tale about the dangers of a rogue leader and unchecked power of one or more members of the military. The movie is admirable for taking a critical stand of Cold War politics, especially the policy of nuclear deterrence, at the height of the Cold War.
Also, the casting of Poitier is interesting: the role was not written for an African American, and could have been played by anyone; by giving him this character, the filmmakers were demonstrating a culturally and racially progressive attitude—essentially practicing “colorblind casting (that) would mean more diversity in film, TV and theatrical productions and wider job opportunities for actors of color…the decision to ignore the blackness of Poitier’s character suggests an  attempt to create a unanimity of opposition against Finlander’s darkly ‘patriotic’ military zeal,” wrote critic Karla Rae Fuller.
The ending is abrupt, surprising and shocking, especially for its time.
The choice to use black and white is also interesting at a time when color dominated and black and white was on the decline, but appropriate, considering the documentary-like style of the movie and newsreel/news footage look the filmmakers were going for (TV viewers watching coverage of the Vietnam war on their sets were predominantly watching in black and white, too).
Lastly, this is a thriller, but a slow burn one in that it’s not loaded with action sequences or daring sub chase scenes; the pacing can be slow, as we wait a long time for action to happen. The real action here is the tension and fireworks between the characters on The Bedford.

WHAT THEMES ARE ESPOUSED BY THIS FILM?
The danger of military aggression driven or excused by patriotic zeal 
How absolute power corrupts absolutely
The danger of over-relying on technology (nuclear subs and missiles) while ignoring the potential for human error and human misbehavior

THIS STORY BEARS OBVIOUS PARALLELS TO “MOBY DICK.” CAN YOU CITE SOME OF THE SIMILARITIES?
Finlander is like Ahab—ruthless, driven, inflexible.
The “Big Red” Soviet sub plays the part of the white whale.
The Bedford stands in as the Pequod.
Munceford is a modern day Ishmael, although the former has a lot more face to face interaction and conflict with his ship’s commander than the latter. Like Ishmael, Munceford serves as the surrogate for the viewer/reader—the “eyes and ears” of the audience in that, like him, we know little about submarines or military matters, and we learn as Munceford learns.

WHAT IS INTERESTING OR INSIGHTFUL ABOUT THE NAMES OF THE CHARACTERS?
“Finlander”: makes you think of a cold foreign land like Finland; Also, “fin” and “lander” conjures up images of a master of both water and land
“Munceford”: “munce” is a person carrying out an act of stupidity, and a “ford” is a shallow part of a body of water; thus, in Finlander’s eyes, Munceford could be thought of as an unintelligent, inexperienced landlubber.
“Potter”: a potter is a sensitive craftsman or artisan who sculpts with his hands, suggesting a person who takes a more personal, human approach to his work and contact, in stark contrast to Finlander’s approach.
“Schrepke”: The first part of his name sound German, foreign, and coldly mysterious; the second part is “key”, hinting that this character, while foreign, is the key to helping Finlander make the right informed decision.
“Ralston”: In the 1960s, the Ralston Purina company was a household name known for making products like dog food. This name could connote a loyal, but lowly, lackey who becomes “dog food” to Finlander in that the captain doesn’t like or respect him, and Ralston can only exercise blind obedience without having any power.
“Queffle”: sounds like a combination between “quaff” (meaning “to drink deeply”) and “trifle” (meaning a piddling, small amount). Hence, this moniker suggests that Queffle drinks deeply of Finlander’s style of leadership, but he is merely a small, trifling cog in the captain’s wheel.

WHAT OTHER FILMS OR STORIES REMIND YOU OF “THE BEDFORD INCIDENT”?
Two previous films of this era that, with “Bedford Incident,” form a sort of Cold War/nuclear age movie trilogy: “Dr. Strangelove” and “Fail Safe”
Other submarine action thrillers like “The Hunt for Red October,” “Crimson Tide” and “Das Boot”; the latter is particularly similar in that we don’t see the perspective of the enemies of the main characters.
“The Caine Mutiny” and “Mutiny on the Bounty”, both featuring dangerously rigid captains 

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What happens when you cross "The Caine Mutiny" with "The Hunt for Red October"?

Sunday, March 22, 2015

You get something like The Bedford Incident (1965; 102 minutes), directed by James B. Harris, chosen by Ken Demski, which is slated for March 25 on the CineVerse schedule.

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A pre-code charmer

Thursday, March 19, 2015

Hollywood filmmakers were able to be more daring, adult and sexually insinuating prior to the enforcement of the Production Code and onset of the era of censorship in 1934, as evidenced in films like Ernst Lubitsch's "Trouble in Paradise" (1932), quite possibly the most elegant-yet-naughty romantic comedy of the 1930s. CineVerse took the microscope to this finely tailored feature last evening and came away with the following conclusions:

WHAT EXACTLY IS “THE LUBITSCH TOUCH,” AND WHAT IS THE EVIDENCE OF IT IN THIS MOVIE?
  • Characteristics shared by many Lubitsch films, especially those in the pre-Code era, include: urbane wittiness; suave, sophisticated but sexually playful characters; ample use of sexual innuendos and double entendres; a smooth, gliding, graceful camera, simple setups, and suggestive visuals (e.g., shadow on the bed, clocks)love triangles; stories in which “an essentially solid relationship is temporarily threatened by a sexual rival”, according to critic Greg S. Faller; a feeling that romance can spring up at any time and affect anyone; and plots that blend elements of deception, mistaken identity, role-playing, and fantasy.
  • Although never definitively defined, the Lubitsch touch has been described as such:
  • A brief description that embraces a long list of virtues: sophistication, style, subtlety, wit, charm, elegance, suavity, polished nonchalance and audacious sexual nuance."   -- Richard Christiansen
  • "A subtle and souffle-like blend of sexy humor and sly visual wit."-- Roger Fristoe
  • "A counterpoint of poignant sadness during a film's gayest moments."   -- Andrew Sarris
  • " . . . The Lubitsch Touch, with its frequent Freudian overtone of revealing previously hidden motivations, the sexual story, by an adroit bit of business or a focus on a significant object. -- Leo Braudy
  • "It was the elegant use of the Superjoke.  You had a joke, and you felt satisfied, and then there was one more big joke on top of it.  The joke you didn't expect.  That was the Lubitsch Touch...."    -- Billy Wilder
  • "A style that is gracefully charming and fluid, with an . . . ingenious ability to suggest more than it showed . . ."    -- Leland A. Poague
  • " . . . a style that hinted at sex, that was playfully adult in its themes, without ever crossing the invisible boundary line that separated smut from genius."   -- Saul Austerlitz
WHAT EXACTLY MAKES “TROUBLE IN PARADISE” SO TIMELESSLY ENTERTAINING AS WELL AS DELICIOUSLY NAUGHTY, EVEN TO MODERN AUDIENCES?
  • As suggested by Criterion Collection essayist Armond White: “it is among the most astute movies ever made about the joys of sex even though it is, primarily, a sparkling abstraction. Each character’s cultured civility only covers up criminal, sexual, human instinct. Within their tuxedos and satin gowns, they reveal animal appetites, recognizable weakness, and enviable wit.”
  • The coded playfully sexual dialogue is clever and masterful: “I would give you a good spanking—in a business way, of course.” “What would you do if you were my secretary?” “The same thing.” “You’re hired.” / “Where does a lady put her jewelry in a gentleman’s bedroom?” “Uh, on the night table.” “But I don’t want to be a lady.”
  • The dialogue is uttered in a sort of natural, smooth Mid-Atlantic chic cadence promulgated by Hollywood films to make them sound and feel more European. 
  • Unlike Hollywood films of the Hays code censorship era that followed 2 years later, the characters don’t have to be moral, prudish or pay a price at the end for crimes or transgressions; Marshall and Hopkins enjoy their sinful ways throughout the picture then conclude it by going on their merry way without any remorse or regret.
  • Unlike so many other romantic comedies that followed, including modern examples, it’s arguably not as predictable, cliché or conventional. Consider what Damon Houx of the DVD Journal wrote about this film: “It communicates a sense of chance that, had things gone a little different, the results might have changed. That may not sound like much, but too often in romantic comedies there are the obvious winners and losers — one only has to look at the aforementioned remake You've Got Mail for evidence of this. From frame one of that film it's obvious that Tom Hanks and Meg Ryan will pair up. However, in Lubitsch's romantic triangle, one could see Gaston heading off with either woman.”
  • Also, this film feels retro-taboo, like an artifact of a bygone time that would have rocked the boat; plus, it’s languished in relative obscurity, waiting to be discovered by modern film fans who can appreciate lesser-known but quality films worthy of their attention.
WHAT OTHER FILMMAKERS DO YOU THINK WOULD HAVE BEEN INSPIRED BY LUBITSCH AND HIS APPROACH TO ROMANTIC COMEDY?
  • Subtly sexually suggestive comedies by Howard Hawks, such as Bringing up Baby and Ball of Fire
  • The naughty comedies of Preston Sturges, including The Lady Eve
  • The comedies of Billy Wilder, who wrote for Lubitsch
  • Double-entendre-laden films by Hitchcock, especially To Catch a Thief and North by Northwest
OTHER MOVIES THIS FILM REMINDS YOU OF
  • To Catch a Thief
  • The Grifters
  • Jewel Robbery 
  • A New Leaf
OTHER FILMS BY ERNST LUBITSCH
  • Design for Living
  • Ninotchka
  • The Shop Around the Corner
  • To Be or Not to Be
  • Heaven Can Wait

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Welcome to the land of Lubitsch

Sunday, March 15, 2015

On March 18, CineVerse will revisit its current monthly series, Sophisticated Screwballs: Masterful Romantic Comedies from Hollywood's Golden Age. Part 3 of our series will feature “Trouble in Paradise” (1932; 83 minutes), directed by Ernst Lubitsch. Plus: Enjoy a  video tribute to Lubitsch prior to the film.

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Give a hand to "The Help"

Thursday, March 12, 2015

It's not an easy tale to tell or a comfortable era to depict, but "The Help" confronts the issue of racism at the dawn of America's Civil Rights Movement by presenting compelling characters and intriguing situations that force viewers to ponder on race relations 50 years ago and the progress we've made. Our CineVerse group offered the following observations on this film:

WHAT DID YOU FIND SURPRISINGLY DIFFERENT ABOUT “THE HELP” THAT DEFIED YOUR EXPECTATIONS?
  • Although it’s somber and depressing at times, it’s arguably funnier and, at points, more lighthearted than one might anticipate for a film that addresses themes of racism, oppression and the Jim Crow South era.
  • It’s overwhelmingly a film focused on women, with few key male characters.
  • You can make a case that the white females are given more screen time than the black female characters, for better or worse.
  • This is an impressively cast movie that spotlights several key actresses and Hollywood talent.
  • It concludes on a somewhat sad note, with Abileen getting accused of stealing and fired.
WHAT ARE THE MAIN MESSAGES OF THIS FILM; WHAT IS “THE HELP” TRYING TO SAY OR TEACH US?
  • We need to learn from history and avoid repeating its mistakes. The film could be begging the question: Why do little white girls raised by caring black nannies grow up into bigoted adults?
  • One person can make a difference and help reverse the damage and passed-down traditions of racism: consider that Skeeter bucks the trend and tries to gather the stories of the African American maids and nannies in her hometown.
  • According to New York Times reviewer Manohla Dargis, “the white characters, with their troubled relationships and unloved children, carry burdens equal to those of the black characters. Like the novel, the movie is about ironing out differences and letting go of the past and anger. It’s also about a vision of a divided America that while consistently insulting and sometimes even terrifying, is rarely grotesque, despite Hilly’s best (worst) segregationist efforts.”
CONSIDERING THE SUBJECT MATTER AND SETTING, THIS IS NOT AN EASY STORY TO TELL OR AN EASY FILM TO MAKE. WHAT COULD CRITICS OF THE BOOK OR THE MOVIE POINT OUT AS POSSIBLE FLAWS, WEAKNESSES, OR MISSED OPPORTUNITIES HERE?
  • Perhaps the movie emphasizes the white female characters and their challenges more than the black female characters and their trials and tribulations, which can have the effect of either diminishing the struggles of the latter or overvaluing the experiences of the former. Ask yourself: do you wish the film would have concentrated more on the two main black female characters to more effectively tell this story, or was it necessary to show more of the experience, attitudes and behaviors of the white female characters?
  • The blogger Cease and DaSista wrote an interesting piece that posited the following: “Offering forgiveness is not generally bad advice on its own, but what’s done in ‘The Help’, however, suggests that black people are morally obligated to love, accept, and in essence, cherish white people.” She later writes: “It gives the audience the message, ‘See? Things weren’t really that bad. There were just a few bad seeds who made it rough for blacks, but it’s really because they were hurting inside, not because they were racist. White people really did care about black people, and black folks loved taking care of those white babies.” The blogger further offered: “The Help attempts to dismantle some of these idealized tropes that run rampant in popular culture by showing what was actually lost and who gained from sustaining the image of Scarlett O’Hara and her Tara. What detracts from that noble goal are covert ways the movie eclipses historical white racism through the absence of white men, the blind innocence of white women, and the religious obligation of Black people to heal white people’s wounds and forgive.”
  • You could also argue that, by omitting any major white male characters, the movie does a disservice to history in that it downplays the undeniable presence of white male power at that time, especially in the South.
WHAT OTHER MOVIES COME TO MIND AFTER WATCHING “THE HELP”?
  • The Long Walk Home
  • Driving Miss Daisy
  • Steel Magnolias
  • The Color Purple
  • Imitation of Life
  • Gone With the Wind
  • Fried Green Tomatoes
  • Divine Secrets of the Ya-Ya Sisterhood
  • The Butler

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Come see what all the Oscar buzz was about

Sunday, March 8, 2015

Been waiting to watch "Birdman," recipient of this year's Academy Award for best picture? Your wait is over. Clear your calendar on Saturday, March 14 and count on attending Cinema Chat, the Oak Lawn Library's new monthly event that follows a film screening in the lower level theater with a lively movie discussion. This free, no-registration-necessary event runs from 1-4 p.m. For more details, click here.

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Ask for "Help" and ye shall receive

On March 11, make plans to join CineVerse for a screening and discussion of The Help (2011; 146 minutes), directed by Tate Taylor, chosen by Marce Demski.

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No CineVerse meeting on March 4

Sunday, March 1, 2015

CineVerse will not meet on Wednesday, March 4. Our film discussion group will reconvene on March 11 with "The Help." Hope to see you there.

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