Then Playing — Vermiglio; The Breaking Point; Never Open That Door
Reviews of movies directed by Maura Delpero, Michael Curtiz, and Carlos Hugo Christensen Continue reading Then Playing — Vermiglio; The Breaking Point; Never Open That Door
Tag: michael curtiz
Then Playing — The Sea Wolf; Twisters; The Prisoner of Second Avenue
Reviews of films directed by Michael Curtiz, Lee Isaac Chung, and Melvin Frank. Continue reading Then Playing — The Sea Wolf; Twisters; The Prisoner of Second Avenue
Then Playing — Dementia 13; Emily the Criminal; Goodbye Again
Dementia 13 (Francis Ford Coppola, 1963). The first feature directed by Francis Ford Coppola is miles away from the elegant import of The Godfather and other more esteemed entries on his filmography. Made within the confines of Roger Corman’s scrappy … Continue reading Then Playing — Dementia 13; Emily the Criminal; Goodbye Again
Then Playing — The Helen Morgan Story; Cabin in the Sky; Jimmy the Gent
The Helen Morgan Story (Michael Curtiz, 1957). It’s like A Star is Born if the venerable tale of showbiz melodrama was overtly based on a true story. Helen Morgan (played by Ann Blyth) was a singer and actress who made … Continue reading Then Playing — The Helen Morgan Story; Cabin in the Sky; Jimmy the Gent
Top Fifty Films of the 40s — Number Two
#2 — Casablanca (Michael Curtiz, 1942) Casablanca is the quintessential Hollywood film of its era, so completely shaped by the strictures of the time and grounded in the established mechanics of narrative cinematic storytelling that it very nearly transcends itself to become a movie about what movies can achieve. It intermingles hope and cynicism, romance and sorrow, stirring patriotism and nomadic isolation. Filmed and released after the United States was wrenched into the tumult of World War II, it serves as an effective avatar of the somewhat ambivalent view towards international engagement that still defined the national sentiment. The theme of the weary, … Continue reading Top Fifty Films of the 40s — Number Two
Campbell, Cukor, Curtiz, Gluck, von Donnersmarck
Adam’s Rib (George Cukor, 1949). Probably the apex of the onscreen collaborations between Katherine Hepburn and Spencer Tracy, largely because the storyline involving married attorneys facing off against one another in a high-profile trial allowed for the sort of warm, frightfully intelligent banter that served the duo best. For most of the film, the interplay is infectiously delightful, especially as presented by the sure lens of George Cukor, who demonstrates an unerring sense of timing, including knowing when to just lean back and let his stars cut back and forth across the frame. The screenplay by Ruth Gordon and Garson … Continue reading Campbell, Cukor, Curtiz, Gluck, von Donnersmarck
Audiard, Curtiz, Elliot, Polanski, Vaughn
Mary and Max (Adam Elliot, 2009). A beautifully downbeat stop-motion animation feature about unlikely penpals on the opposite side of the Atlantic who correspond over a number of years, developing a moving, warm, fragile and occasionally fractured relationship. Despite the distance–or, arguably, because of it–they drawn strength and even courage from one another, muddling through the unique challenges of their respective lives in part because they’ve got a lifeline out there somewhere in the world, someone who may not understand them, but at least takes the time to try. Max, voiced by Philip Seymour Hoffman, is an especially wonderful creation, … Continue reading Audiard, Curtiz, Elliot, Polanski, Vaughn
Greatish Performances #3
#3 — Humphrey Bogart as Rick Blaine in Casablanca (Michael Curtiz, 1942) I’d seen Casablanca many, many times before I took note of the moment in which Humphrey Bogart resets an upended little aperitif glass. It arrives in the film … Continue reading Greatish Performances #3
Pivotal film, selling out your monkey
In Bruges (Martin McDonagh, 2008). The acclaimed Irish playwright follows up his Oscar-winning short film with a feature debut about a pair of hitmen laying low in a Belgian tourism mecca. The film is enjoyable, charged by a flinty wit and features a pair of winning lead performances by Brendan Gleeson and Colin Farrell. It’s also fairly inconsequential, structured with the shrewd storytelling insight of a seasoned dramatist but somewhat wanting in depth. All of the characters feel like pieces instead of completely realized creations. None of the relationships have resonance, causing problems as the twists of the plot require … Continue reading Pivotal film, selling out your monkey
Coffee for Two 