Blog Directory CineVerse: September 2018

The pod people formally invite you to Shocktober Theater

Sunday, September 30, 2018

It's that time of year again. Shocktober Theater returns to CineVerse, this time in the guise of a Quick Theme Quartet we call "Out-of-this-world Horror." Once a quarter (every third month), CineVerse will explore four movies tied together by a theme. Our fourth quartet will focus on four horror films with science fiction elements.

Part 1 happens October 3, with “The Invisible Man” (1933; 71 minutes), directed by James Whale; and “Invasion of the Body Snatchers” (1956; 80 minutes), directed by Don Siegel.

Note: due to the long combined runtime of both films, we will start CineVerse promptly five minutes earlier, at 6:55 PM.

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Singing the Black Rock blues

Thursday, September 27, 2018

How do you build an effective action film without much action? Turn it into a whodunit western thriller and cast Spencer Tracy in the lead role as a deceptively strong and resourceful protagonist on a mystery mission in a small town where nobody wants him around. That's the recipe at work in "Bad Day at Black Rock," and it cooks up a pretty tasty stew for audiences to savor. For further proof, here's a summary of our major CineVerse discussion points from last night:

THEMES BUILT INTO THIS FILM INCLUDE:

  • The ugly legacy of xenophobia and racism 
  • Our civic duty to stand up for the oppressed, bullied and outnumbered 
  • The dangers of crowd conformity and not thinking for yourself. 
  • This film is considered by many to be a subtextual criticism, like High Noon was, of the McCarthy communist witch hunts years earlier that resulted in many people being unfairly ostracized and blacklisted to little public objection. 
  • The movie also represents one of the earliest indictments by Hollywood of the way Japanese Americans were interred and unfairly treated during World War II. 
  • The Riding the High Country film blog suggested a further theme: the nature of the west itself. “When Smith points out that suspicion of the unfamiliar is just a natural throwback to the old days, Macreedy observes that he always thought the old west was characterized by hospitality. And there’s the point, that the myth of the old west was subverted through time into the kind of small-minded defensiveness represented by Black Rock. To Smith, this new west has been neglected and forgotten, of interest only to academics or businessmen seeking a quick buck. Although it’s never explicitly stated, the inference is that the responsibility for the death of an innocent Japanese doesn’t rest merely on the shoulders of the bunch of ignorant rednecks who dealt the final blow. The suggestion is that these people have been bypassed by progress (the train that never stops) and abandoned to their own prejudices – an embarrassing by-product of the apathy in wider society.” 
WHAT MAKES BAD DAY AT BLACK ROCK MEMORABLE AND DISTINCTIVE?
  • It’s essentially a contemporary western, in which you have the man in the white hat who vies against men in black hats within a very small, undeveloped frontier-like town. 
  • It’s also essentially an action film, yet there’s not much action or violence to speak of. 
  • It’s interesting to see, during the postwar 1950s, considered by many nostalgic types to be a golden era for America, a movie that isn’t afraid to point the finger at deeper social issues, like racism, morality and guilt for our nation’s past actions. 
  • The movie ratchets up the tension effectively by limiting the viewer’s knowledge and by establishing a whodunit thriller: we don’t know why, until later, Macreedy has arrived at Black Rock, and we don’t know what’s happened to the man he seeks or who is responsible for him disappearing. 
  • Arguably, the film is effective because it’s lean and brisk; it’s only 81 minutes long, and the filmmakers don’t waste time on superfluous subplots, romances, flashbacks, or otherwise. 
  • You could make a case that Spencer Tracy is miscast here due to his older and pudgy appearance and the fact that he’s not known as a tough guy action hero. 
    • Others would contend, however, that this is nice casting against type that’s both refreshing and unexpected. 
    • Also, Tracy’s visage is considered by many to be one reflective of our nation’s collective morality and conscience. Consider how Tracy’s characters are often imbued with higher moral authority in movies like “Boys Town,” “Guess Who’s Coming to Dinner,” “Inherit the Wind,” “Judgment at Nuremberg,” and others. With this admirable baggage, he’s ideal to play this role. 
  • The widescreen aspect ratio was a smart choice to demonstrate visually how desolate this Bad Rock setting is and how isolated Macreedy is within any given shot he appears in. Note that this was one of the first pictures by MGM to be photographed in CinemaScope, so it was a relatively new format. 
BAD DAY AT BLACK ROCK CAN ALSO MAKE US THINK OF THESE MOVIES:
  • High Noon—another film featuring a solitary man pitted alone against formidable foes and another veiled allegory for the Hollywood blacklist and the McCarthy communist witch hunts 
  • Platinum High School—which revamps the basic story as a cautionary tale about juvenile delinquents 
  • Yojimbo 
  • Billy Jack 
  • Conspiracy 
OTHER MOVIES DIRECTED BY JOHN STURGES
  • The Magnificent Seven 
  • The Great Escape 
  • Gunfight at the O.K. Corral 
  • The Eagle Has Landed 
  • The Old Man and the Sea 
  • Last Train From Gun Hill

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A Bad Day at Black Rock, but a good day for CineVerse

Sunday, September 23, 2018

Even a silver-haired Spencer Tracy can whoop some ass, as proven in “Bad Day at Black Rock” (1955; 81 minutes), directed by John Sturges, chosen by Mike Bochenek, slated for CineVerse on September 26. Plus: prior to the film, join us for a movie trivia game, with a chance to win DVD prizes,

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Cineversary podcast honors "Vertigo"

Friday, September 21, 2018

For its third episode, Cineversary pays homage to one of the greatest movies of all time: Alfred Hitchcock's "Vertigo," originally released in 1958. Host Erik Martin interviews USC film professor and world-renowned Hitchcock film scholar Drew Casper to get at the heart of what makes "Vertigo" so memorable. They discuss why the picture is so revered 60 years later, ways it inspired countless filmmakers, what it can teach us today, and more. To listen, click play below.

Learn more about the Cineversary podcast at www.tinyurl.com/cineversarypodcast, like us on Facebook at www.facebook.com/cineversarypodcast, and email show host Erik Martin with a comment, question or suggestion at cineversegroup@gmail.com.



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From red to red, white and blue

Thursday, September 20, 2018

A good "fish-out-of-water" story, when told well, can be satisfying to movie watchers. "Mao's Last Dancer" is that kind of tale, told from the perspective of a Chinese dancer-turned-dissident who discovers the wonders and possibilities of America while never forgetting his homeland and the family he left behind. Here's a recap of our group discussion of this film last night at CineVerse (to hear the full recorded discussion, click here):

WHAT DID YOU FIND INTRIGUING, REFRESHING, OR UNEXPECTED ABOUT “MAO’S LAST DANCER”?

  • You don’t have to be a ballet or dance enthusiast to enjoy or appreciate this movie. The story themes and various genre elements—including action, music, romance, and political thriller—are compelling enough to appeal to all kinds of viewers. 
  • The film isn’t necessarily centered on politics, and it doesn’t try to preach, such as a movie like “Rocky IV” does (consider that film’s ending, where Rocky tells the Russian sports spectators and Soviet leaders in attendance, “if I can change, and you can change, everybody can change!” 
  • There are a lot of flashbacks employed here; instead of following a linear narrative, from childhood through modern day, the filmmakers bounce around a lot, perhaps suggesting that Li is reflective and deeply contemplative of his past. 
  • It’s likely many viewers didn’t see the failure of Li’s first marriage coming, or the surprise that he later marries the new female dancer he’s suddenly paired with toward the end of the film. When that new dancer is first revealed to Li, by his teary-eyed former dancer (Mary) who’s been replaced, the expectation is that, perhaps, this new dancer will serve as a late act villain and present an intriguing subplot. But that doesn’t happen. 
SOME CRITICS CONTEND THAT “MAO’S LAST DANCER” USES ASIAN AND IDEOLOGICAL STEREOTYPES THAT ARE CLICHED. DO YOU AGREE OR DISAGREE?
  • Ella Taylor from NPR wrote: “I wish that Beresford had not fallen into the familiar trap of dividing Chinese characters into two roles: brutal, ideology-spouting apparatchiki; or parable-spouting, salt-of-the-earth proletarians, the better to show off by contrast the open society of the West.” 
  • Cinema Autopsy blogger Thomas Caldwell wrote: “The representation of ideology in Mao’s Last Dancer is incredibly shallow and crude. The exploration of racial and cultural differences are also very clichéd and reducing Li’s early dialogue to pigeon-English is simply embarrassing.” 
  • One could argue that these approaches used in the film were necessary to tell this kind of story, where you have to contrast the politics and culture of the East versus the West and depict Li’s struggles and challenges—including language barriers and political pressure felt—in order to better sympathize and understand his situation. 
THEMES AT WORK IN THIS FILM:
  • Culture clash—the movie contrasts Li’s repressive native land, China, with the land of plenty that he experiences, America. 
  • Commitment—Li demonstrates bravery in choosing to defect, and must remain determined and focused in his goal of becoming a great dancer. 
  • Transition—we see many shifts, evolutions and conversions as the movie progresses, including the transition from boyhood to manhood and maturity, from East to West, from repression to artistic expression, from rags to riches, from unimportant to renowned, from single to couple, etc. 
  • Fables and parables—like the story of the frog and toad, and the tale of the archer 
  • A fish out of water, or stranger in a strange land 
  • Art as an expression of freedom. While Li performs ballet in his native China, he isn’t able to perfect his craft and dance the way he wants to on his terms until he comes to America, a land of democracy and independence. 
  • Art knows no boundaries. Consider the different nationalities present in this film and its making; you have a multicultural love story, and the movie was shot by an Australian filmmaker on location in Australia, China, and Texas. 
MOVIES SIMILAR TO “MAO’S LAST DANCER”:
  • White Nights 
  • Moscow on the Hudson 
  • Center Stage 
  • The Last Emperor 
  • The Turning Point 
OTHER PICTURES DIRECTED BY BRUCE BERESFORD:
  • Driving Miss Daisy 
  • Tender Mercies 
  • Breaker Morant 
  • Crimes of the Heart 
  • Mister Johnson 
  • Black Robe

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Save the last dance for Mao

Sunday, September 16, 2018

World Cinema Wednesday returns to CineVerse on September 19 with a sleeper from Australia: “Mao’s Last Dancer” (2009; 118 minutes), directed by Bruce Beresford, chosen by Carole Bogaard.

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A rally-round-the-flag film

Thursday, September 13, 2018

They just don't make films like "Sergeant York" anymore. Truth is, who would swallow the sincerity and genuine patriotism today? That would be some heavy lifting for a contemporary filmmaker and a modern audience. Yet it's fascinating to examine the propagandistic power and forthright folksiness of Howard Hawks' 1941 picture, which wears its heart--and its love of country in a time of war--on its sleeve. These thoughts made for a compelling conversation last night at CineVerse, during which time we discussed the following:

OTHER FILMS DIRECTED BY HOWARD HAWKS:

  • Scarface
  • Bringing Up Baby
  • Only Angels Have Wings
  • His Girl Friday
  • To Have and Have Not
  • The Big Sleep
  • Red River
  • Gentlemen Prefer Blinds
  • Rio Bravo
HOW DID THIS MOVIE DEFY YOUR EXPECTATIONS, GOOD OR BAD?
  • While capably directed by Howard Hawks, this picture doesn’t showcase as many of Hawks’ signature traits or hallmarks.
    • For example, Hawks often liked to focus on the dynamics and power of a group working together; this movie concentrates mostly on one person’s heroic journey. 
    • Critics often praise Hawks for his ironic wit and cynical sensibilities, but here he has to treat the character and subject matter with sincerity and reverence.
    • Film critic Robin Wood said: “It is precisely these factors that work consistently against the film’s artistic success. One feels Hawks continually hampered by having to ‘stick to the facts’; an intuitive artist, he is ill-equipped to handle big issues on any but a superficial level.”
  • Interestingly, three-quarters of the movie depicts Alvin York’s life before combat; only about a quarter of the film—most of the last third—depicts his wartime heroics; consider that the latter is what York is famous for. Yet it’s important to flesh out his backstory to invest us more in his personal crisis of conscience and to get us to care about the man and what he values.
  • It feels like the America of York’s time is very different from the America of today.
    • Then, we were rallying round the flag in a show of support for our country, which was just about to enter World War II; this film was unashamedly propagandistic in trying to encourage patriotism and military enlistments. The sentiments and religious convictions are sincere, and there’s no trace of irony or cynicism. 
    • Today, these factors may make the film appear sappy and far outdated, in an era where viewers are skeptical about patriotism, spirituality and trust in government.
    • Glenn Erickson, DVD Savant reviewer, wrote: “Sergeant York pulls out all the stops to get Americans behind its message. It almost shamefully reconstructs the Frank Capra populist formula of 'Mr. Deeds', the naive innocent, staying noble and pure while taking on the evils of the outside world. Instead of asking America to understand what's happening, it keeps its arguments simplistic and personal.”
    • Erickson continued: “Sergeant York doesn't do what we expect it to, condescend to the hillbillies. Hawks and his writers use an hour to paint a warm and fair image of God-fearing, quick-to-fight mountain folk, with understatement and tact. The Tennessee'uns are neither Bible thumping saints nor Dogpatch yokels, and except for York, none are presented as being inherently noble in their ignorance.”
  • It also helps that, even though it’s a war that happened 25 years earlier, the enemy, Germany, is the same.
  • The film has been criticized by some for glorifying war. Consider how York employs his “gobble” turkey tactic to flush out German soldiers, which some say suggests that combat is a sport that rewards the clever. 
THEMES BUILT INTO SERGEANT YORK:
  • Love of God versus love of country—and the reconciliation between these two convictions.
  • Love of country and unabashed patriotism as priority. This film was meant to serve as wartime propaganda during WWII and stir viewers into supporting our country’s involvement in it.
  • Redemption and conversion—both a spiritual conversion and a conversion from a pacifist to a person who believes that war and combat are justifiable. We see York as a kind of Saul to Paul biblical character who is transformed on the road.
  • The meek shall inherit the earth: York comes from simple country folk and uses his skills and values as a farmer to succeed in combat and rise above others’ expectations of him.
  • Honor, bravery and sacrifice.
  • The love of a good woman can inspire any sacrifice.
SIMILAR MOVIES THAT COME TO MIND AFTER WATCHING THIS PICTURE:
  • All Quiet on the Western Front
  • Mr. Deeds Goes to Town
  • This Is the Army
  • To Hell and Back (the Audie Murphy story)
  • Hacksaw Ridge (the true story of Desmond T. Doss, who won the Congressional Medal of Honor despite refusing to bear arms during WWII on religious grounds)

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Tryin' hard to look like Gary Cooper...

Sunday, September 9, 2018

Gary Cooper won his first Best Actor Oscar for "Sergeant York” (1941; 134 minutes), directed by Howard Hawks. Join CineVerse on September 12 for this movie, chosen by Tom Nesis.

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The simple bear necessities of "Life"

Thursday, September 6, 2018

Pairing up Morgan Freeman with a popular and respected A-list actor (like Jessica Tandy in "Driving Miss Daisy," Tim Robbins in "Shawshank Redemption," Brad Pitt in "Se7en," and Clint Eastwood in "Million Dollar Baby") and having him serve as the "Jiminy Cricket conscience" of the duo has worked wonders over the past three decades. Would casting Freeman alongside Robert Redford in "An Unfinished Life" repeat that magic and elevate the film as a cut above? The jury was split on this one, as evidenced by the reception (mostly positive) to the film last evening at CineVerse. Here's a recap:

HOW DOES THIS MOVIE RISE ABOVE THE TRAPPINGS OF A TYPICAL PAINT-BY-NUMBERS, OVER-SENTIMENTAL MELODRAMA – OR DOES IT FIT THAT DESCRIPTION?
  • You can make a case that the story is fairly predictable: Redford’s crusty old codger simply has to thaw once he gets to know his granddaughter better; Jean will almost certainly escape the clutches of her abusive boyfriend somehow; and Mitch is destined to either find healing and peace or die an inspirational death. 
  • Yet, the solid casting of beloved veterans like Redford and Freeman ensure that this picture will be a cut above the norm, based on sheer acting talents alone. 
    • Redford, in particular, is memorable here, as he is freed from the shackles of having to be the romantic lead. 
    • On the other hand, many critics found fault with the casting of Jennifer Lopez in her role, feeling that she isn’t up to par with Freeman and Redford. 
  • Also, the way the bear subplot is resolved could take many viewers by surprise, especially those who expected the bear to be shot down or to maul someone else. 

WHAT IS THE TITLE OF THE FILM – AN UNFINISHED LIFE – REFERRING TO, AND YOU FEEL THIS IS A FITTING TITLE?
  • It could be referring to Einar’s dead son and the fact that there are unresolved threads and unfinished business left behind after his passing. 
  • Consider that Einer’s granddaughter, who he didn’t know existed previously, could represent the unfinished part of the dead son’s life – she continues his story by continuing the family lineage. 
  • Or, it could be referencing the father, who has unfinished business of his own before dies – namely, making peace with his daughter-in-law and overcoming his bitterness. 
MORALS AND MESSAGES WOVEN INTO AN UNFINISHED LIFE:
  • The power of forgiveness and redemption 
  • The unpredictability of predators and the damage they can inflict – think of both the abusive boyfriend and the bear 
  • Recovering from grief and overcoming bitterness 
  • Blood is thicker than water, and family is forever 
  • Don’t cage up your rage: Like the bear, you have to let go of your bottled-up anger. 
WHAT METAPHORS ARE EMPLOYED IN THIS FILM?
  • The bear = anger/raw emotion 
  • Teaching/entrusting the granddaughter to drive and forgiving her accidental hitting of the gearshift = Einar forgiving his daughter-in-law and accepting that his son’s death was an accident 
  • The treehouse = Einar’s family tree; at first he tells his granddaughter to get down from there (suggesting she doesn’t belong and isn’t part of his family), but later he tells her to stay there 
  • Honey on the meat = treating others with kindness can be a lot more successful
OTHER MOVIES THAT AN UNFINISHED LIFE REMINDS US OF:
  • Ulee’s Gold 
  • Million Dollar Baby and Unforgiven – two films by Clint Eastwood featuring Eastwood playing a grizzled older character paired with Morgan Freeman 
  • Films in which respected actors, previously considered handsome romantic leads, aren’t afraid to show their warts and all older sides, such as Paul Newman and Nobody’s Full, Michael Douglas in Wonder Boys, and Jack Nicholson in About Schmidt 
  • On Golden Pond 
  • The Horse Whisperer, directed by Redford 
  • Rabbit Hole 
  • Still Walking 
  • Moonlight Mile 
  • Journey 
OTHER FILMS DIRECTED BY LASSE HALLSTROM:
  • What’s Eating Gilbert Grape 
  • Chocolat
  • The Cider House Rules 
  • My Life As a Dog

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Robert + Morgan + JLo = a finished movie

Sunday, September 2, 2018

On September 5, CineVerse will present “An Unfinished Life” (2005; 108 minutes), directed by Lasse Hallström, chosen by Brian Hansen. Make plans to join us for this highly acclaimed film.

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