Daily Archives: January 27, 2008
Klute (1971)
NETFLIX SYNOPSIS: Jane Fonda won a Best Actress Oscar for her role as a manipulative big-city prostitute who helps a small-town detective named Klute (Donald Sutherland) solve a missing persons case. As “working girl” Bree Daniels, Fonda sees men as victims of their own base instincts — until she meets the incorruptible Klute and starts to fall for him. Fonda thoroughly inhabits what is by far her greatest role.
REVIEW: A recent discussion of 70’s movies reminded me of this fav, which I watched this weekend for the first time in some 20 years. It really holds up well. Not a great film by any means, but a fine thriller; it has greatness in it by way of Jane Fonda’s amazing portrayal of confused prostitute Bree Daniels. The heart of the movie is really a character study of Bree, who wants out of the life but can’t quite figure out what she wants instead, and Fonda gives a seminal female performance in the style of psychological realism that was to become the hallmark of films of the late 60’s and most of the 70’s. We usually think of the male actors of this period – DeNiro, Hoffman, Pacino, Hackman – but the women, who of course had much less opportunity, were doing their thing too – Faye Dunaway, Julie Christie, Diane Keaton, Karen Black, Ellen Burstyn, Jill Clayburg. And Fonda, who had already shown her stuff in “They Shoot Horses Don’t They?” gives a modern, natural performance that predates many of those more well-known male actors most famous roles.
Fonda takes us deep into Bree’s psyche; in a early scene, Bree, who wants to be a model/actress, sits among a seemingly endless row of models as the agents walk down the line, noting the physical peculiarities of each, talking among themselves as if the women weren’t sitting right in front of them, and when they reject Bree we can see both her disappointment and her disdain for the process – isn’t this just whoring on another, more respectable level? In her sessions with her shrink, brilliantly improvised by Fonda, we learn of Bree’s fear of being out of control of any situation, this is what draws her to the life, that sense of being in total control of her johns. When she starts to fall in love with Klute, one of the few genuinely selfless, caring people she’s ever known, she is terrified of that unknown, of not being able to manipulate a man, to know what is going to happen next. The title of the film is meant to be ironic, since it’s really about Bree, not Klute, but his simple decency is the catalyst that finally turns her life around.
In her review of “Klute” critic Pauline Kael wrote of this performance: “Fonda is very exciting to watch: the closest closeup never reveals a false thought, and seen blocks away, she’s Bree, not Jane Fonda, walking toward us.” Nowhere is this total immersion in character more evident than in the scene, late in the film, when Bree is alone w/the killer and is forced to listen to a recording of a friend as she is about to be murdered. The camera is static, in closeup of Bree’s face, for at least 2 minutes, an eternity in film, and Fonda’s face is almost frozen in terror and anguish the entire time as she listens to this horror, tears streaming down her face. It’s absolutely gut-wrenching and raises this thriller to another level.
4 Stars (for the thriller) – 5 Stars (for Fonda)
Harold
Honey, I Shrunk the Kids (1989)
NETFLIX SYNOPSIS: Scatterbrained inventor Wayne Szalinski (Rick Moranis) inadvertently shrinks his own children and the neighbor kids and throws them out with the trash. Together, the crumb-sized crew must journey across the vast backyard and, with luck, back to full height. Sprinklers, bugs, dogs and human feet torment the adventurers as Wayne plots a rescue of his own. This endearing family adventure spawned several sequels and a TV series.
REVIEW: I remember this innocuous film as a surprise hit in the pre-grunge world. At the time, the update of The Incredible Shrinking Man was goofy fun for audiences of all ages. Now, however, the special effects have aged poorly and the silly plot certainly can’t carry the film. My four year-old enjoyed it, but older kids will probably resist its limited charm.
3 stars (add one star if you’re 8 or younger)
HAWK
Party Monster (2003)
NETFLIX SYNOPSIS: Macaulay Culkin stars as Michael Alig in this film based on the book Disco Bloodbath. The true story follows Alig and his buddy James St. James (Seth Green), who left the Midwest for the Big Apple and instantly integrated themselves into the New York City club scene, even becoming engrossed in the various clubs’ pricey drug scenes. All is well until Alig gets convicted of murdering his drug dealer and dumping his body in a river.
REVIEW: Party Monster was okay. I guess it would help if you have an interest in drug-addled slackers, co-dependency and people in the core of a social scene.
I nearly chuckled aloud when I saw Randy’s comment of HOME ALONE (because the word reminds me of Macaulay Culkin)” after I submitted PARTY MONSTER. I couldn’t imagine Culkin grown up to around 20 years old, but having gone completely wrong emotionally, to become Culkin of PARTY MONSTER. I guess I can’t separate the precocious kid of H.A. as being the drug-addled scenester in P.M.
I can dig, and almost wish I could have partaken of, the decadence of New York during the 1960’s through the 80’s. Beginning with Andy Warhol being the center of counter culture in the 60’s through to the life of Culkin’s character in P.M., these were the people who set the pace of things decent people revile. They created the respective scenes which orbited round them.
I’m not jealous of their promiscuity, it is the way they created or furthered a movement. It can’t be denied that Warhol had talent and his artistic relevance nurtured the scene around him.
From what I recall of P.M., Culkin’s character caused the underground movement to evolve – around him – through his audacity; however, his overindulgence in drugs and slacker mentality did him in. Culkin’s character lacked Warhol’s talent. He eventually burnt out, and because he had nothing to fall back on, he was spent… wasted… turned to refuse that neither the scene or society had a use for.
I can appreciate progressive counterculture movements, as when a social ‘scene’ is created by people with views or ideas outside the norm. But in the case of P.M., once the next fad came along or their scene became tired or passé, the key people in that era of decadence died with it, whether literally or figuratively. P.M. tells that story.
I thought I had rented P.M. through NF but I checked my complete list of rentals (over the two or three years since I became a subscriber) and its not among the titles there. Therefore, I must have watched P.M. over two years ago which is why I do not recall more specific details about it.
Upon accessing NF, I see that there is a documentary about this ‘scene’ which I will definitely add to my Q :
Party Monster: The Shockumentary (1998) http://www.netflix.com/Movie/Party_Monster_The_Shockumentary/60031411
3.5 stars
Bill
Frank and Ollie (1995)
NETFLIX SYNOPSIS: Frank Thomas and Ollie Johnston are two of Walt Disney’s original animators — best friends and neighbors since the 1930s. This documentary follows the oldsters through their amusing morning routine. When the two finally sit down and talk about their careers, you quickly realize they’ve been responsible for some of entertainment’s finest moments, breathing life and personality into Mickey Mouse, the Seven Dwarfs and Captain Hook.
REVIEW: Frank Thomas and Ollie Johnston became best friends while attending Stanford University, and both were subsequently hired by Walt Disney’s fledgling animation company. The story of the two best friends is interesting; they spent their whole lives as best friends with nary a cross word between them, lived next door to each other and led interesting lives (Frank performed in the Firehouse Five Plus Two musical group; Ollie built a 1″ scale backyard railroad and later restored a larger steam train).
Still, the highlight of this film, for most viewers, will be the Disney Animation Department. Frank and Ollie were around to help with Disney’s pioneering feature-length animated movie, Snow White, during the so-called “Golden Age of Animation” (pre-WWII), as well as many subsequent projects. The documentary shows not only Frank and Ollie’s creative process but also provides a glimpse into Disney history. True Disney aficionados will enjoy the 90 minute feature, and stay for about an hour of bonus DVD features.
4.5 stars
HAWK
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Another 5 star movie! I really enjoyed this look at two of the greatest animators to ever work for Walt Disney. Actually, after seeing their work, I would say they were two of the greatest animators, period.
This isn’t just a story about the early days of Disney animation, this is a wonderful story about a friendship that lasted more than half a century. Frank and Ollie met when they were both studying at Stanford.
I had the best feeling after watching this documentary. It was like visiting with a favorite grandfather and great-uncle.
You will learn a lot about the early days at the Disney studio when Frank and Ollie were getting their start. They had a lot of admiration for the rest of the animators they worked with, “The 9 Old Men,” and especially for Walt Disney.
I would most definitely recommend that you watch the extras on this DVD. They are very interesting and give you a look at the development of their animation and their styles. Also, I enjoyed the segments on their hobbies: Frank’s a pianist and was a member of the “Fire House
5 Plus 2,” and Ollie is an avid railroad hobbyist.
I’m trying to think of way to let you know how much I enjoyed this documentary. Let me just say after watching it twice, I wish those two gentlemen lived down the street from me, so I could visit them and spend the afternoon laughing and listening to them!
5 stars
Big A
Railroad Classics (2007)
NETFLIX SYNOPSIS: All aboard for a fascinating journey back in time with this decade-spanning collection of 10 spectacular railroad films. Since the dawn of cinema, trains have been a favorite subject for movies, and this varied grouping of restored 8 mm and 16 mm films illustrates why. Titles include “Double Headin’ on the Sierra,” “Railroading in the East,” Memories of Steam at Horseshoe Curve,” “September Days of Steam Railroading” and more.
REVIEW: Oh, those magnificent, powerful, romantic giants of the rail, the trains. If you love trains and were raised around them, as I was, then give this historical documentary a try. You will find yourself riding the rails and viewing the scenery of the country side from the perspective of the engineers seat. You will also be standing on the sidelines waiting to admire this majestic beast as it passes by leaving a trail of smoke behind. This is a great film to share with other railroad enthusiasts. You will even be treated to viewing a Snowplow Train. Something I had never thought of, no less seen. But I think my favorite was The Ghost Train.
The film quality is not great. It is a bit blurry and scratchy, as you would expect older film to be. It was filmed mostly in Black and White. There is very little narration, but the music is always in the background. There are narration clips. So, whether you’re a history buff or just have a love of trains, this is worth a toot!
3 stars
Ghost
Netflix Cinemajig 