It's a Mad, Mad, Mad, Mad World (1963)

Stanley Kramer's IT'S A MAD, MAD, MAD, MAD WORLD (1963, UA) is my favorite comedy of the sound era and the most fondly remembered movie of my 1960's childhood in the San Francisco Bay Area. It has a sunny and airy mood, the comedy cast of a lifetime, sharp and hilarious dialogue, an irrestible greed plot, a melodic music score by Ernest Gold, and furious pacing for almost, or just over, three hours (depending on what version you are watching). The more I watch it on DVD at 161 minutes or at 182 minutes on Turner Classic Movies, the more I love it and want to see the long-lost 192 minute Cinerama world premiere version.

MAD WORLD does something right that every other movie of its type gets wrong--it starts a chase plot in reel one, then develops character outward as we go along. It does not spend 45 minutes setting up the story, as similar movies do. In the opening scene, a dying millionaire (Jimmy Durante) tells a group of people in the Southern California desert that a large sum of money is buried "under a big W" in a park south of San Diego. Mickey Rooney and Buddy Hackett are gag writers headed for Las Vegas. Milton Berle is headed for a vacation with wife Dorothy Provine and Ethel Herman as the mother-in-law to beat all mothers-in-law. Sid Caesar and Edie Adams are a dentist and his wife. And Jonathan Winters is driving a van of furniture. Monitoring all of them, as they race after the money, is Spencer Tracy as the coastal city (a compilation of Long Beach and Santa Monica) police captain with a wall map.

So we have a slapstick chase movie to end all slapstick chase movies. (WARNING: PLOT SPOILERS AHEAD!!) Heading a golden age of television cast are Caesar and Adams, who get to fly in a makeshift plane, then get locked in a hardware store basement. In a career performance, Winters hilariously gets to completely demolish a desert gas station. Berle has a running battle with the mother-in-law from Hell, Merman, who in turn has been given some gloriously acidic dialogue by superb sreenwriters William and Tania Rose. The Roses have never been given enough credit here. All of the sublime dialogue is on the printed page. Along the way, Winters meets up with Phil Silvers, who in turn mixes up with miner Mike Mazurki. Silvers is staggeringly funny with a car at the bottom of a canyon, then later drowning in a river. Rooney and Hackett are in another plane that flies through a Coke billboard after pilot Jim Backus knocks himself unconscious. There is also Dick Shawn as Merman's lifeguard son at Silver Strand Beach. And a phone running battle in his inner police office with Tracy and his wife and daughter that escalates over a simple vacation. And this is only part one, before the film's intermission! Part two has some of the funniest dialogue and greatest car chases in all of movie history for me. And the grand climax has never been topped for me--not even by silent era clowns.

MAD WORLD got mixed reviews when it opened city by city in late 1963, right before President Kennedy's tragic death in Dallas. The positive ones praised a wonderful cast and hilarious chase plot. The negative reviews said it was too long and repetitious at 193 minutes. So producer/director Kramer and his editors carefully cut the Cinerama world premiere version, two months into its run, to 162 minutes. It played in 70mm Cinerama engaggements at 162 minutes until 35mm engagements in Spring 1965. It was further cut then to 154 minutes with roadshow music and intermission removed. All 35mm prints today--and since 1965--run 154 minutes. The DVD, which may or may not still be for sale, restores roadshow music and runs 161 minutes. At an aspect ratio of 2.55, it also blessedly comes close to restoring the ultra-wide widescreen images of the original film. Maddeningly, though, this 161 minute DVD print is curiously missing the Oscar-nominated title song overture.

But there is also a 182 minute print of MAD WORLD (!), restored by my dear filmmaker friend Paul Scrabo, MGM executives, and a dying Kramer in 1991. That is the version that hit VHS and laserdisc in 1991 with a splendid hour-long documentary that I wish could be seen nowadays. It briefly surfaced on one DVD edition, then removed from another that has no bonus material. (So we have two different 161 minute DVD prints that may both be on moratorium! One with a lot of bonuses and one with none. It's a mad, mad, mad, mad world!) Anyway, the 1991 documentary combines behind-the-scenes filmmaking with cast/crew reminiscences. Almost everyone recalls a lot of hard work in desert heat, but also a heck of a lot of slapstick fun. One other thing I love about the movie is that the Southern California desert landscapes are deserted for miles--no other cars and no homes, just an occasional truck and gas station.

For 22 years, Paul and I and others have been on a futile quest to restore IT'S A MAD, MAD, MAD, MAD WORLD back to its original 192 minute Cinerama world premiere length. The closest we have come is the 182 minute reconstruction on home video and cable TV, and it includes preview material. So we are still missing at least ten minutes of crucial visual material and as much as fifteen minutes. Included in the still lost material (I have the complete script--I think) are Shawn stealing his married girlfriend's (!) convertible, more of Buster Keaton's cameo as a crook, getting Jim Backus INTO a shower he subsequently is removed from, the identity of a strange man in the police station (he is a police reporter told to sit on the story for now), Tracy learning who Silvers is (an unemployed piano player and gambler), and the beginning of almost all the police office scenes. Current prints, including the 182, join them in progress.

There are easy-to-find Internet articles on Stanley Kramer's immortal masterpiece that claim the great Robert Harris and James Katz, who restored VERTIGO and MY FAIR LADY among others, want to reconstruct MAD WORLD. My Internet sources claim Harris has in his possession "188 minutes of bona fide world premiere footage." Only four minutes missing off the original 192 minute print--close enough for me! The Internet claims further that Harris just is waiting for a $2 million purchase order--lunch money in today's Hollywood--to do the work that needs to be done to restore this wonderful movie back to the length it ran when it opened in Los Angeles on November 7, 1963; the version that early in 1964 got six Oscar nominations.

We owe it to the memory of a great filmmaker and a magnificent cast, many still very much alive, to reconstruct and restore IT'S A MAD, MAD, MAD, MAD WORLD from 154 or 161 minutes to 192 minutes for theatrical re-release (it has always been an audience favorite) and letterboxed 2.76 ratio home video sales. It is a precious part of our cinematic and cultural heritage. THIS REVIEW IS BASED ON THE 161 MINUTE DVD and 182 MINUTE CABLE TV PRINTS.

It's a Mad, Mad, Mad, Mad World is a classic comedy. Combining big name talent, it tells the story of what happen when a group of strangers finds out where $50,000 is buried. Soon, these normally law-abiding citizens are speeding, stealing, and destroying property. What they don't know is the police are observing them the entire time. As the situations get more out of hand, the movie gets funnier.

I wasn't that impressed the first time I saw this movie. But on repeated viewings with friends, I've come to enjoy it more. The actors are phenomenal and the material has a timelessly funny quality to it. I'm young enough that I don't recognize all the stars, but that doesn't diminish my enjoyment at all.

I was excited when I found out that the movie was coming to DVD, but I've got to say the final product disappointed me. I have only seen the "restored" VHS version that's been out for years. This DVD goes back to the original theatrical release and cuts out some of my favorite scenes. They are included in the deleted scenes section, but it's a very poorly thought out section that makes it hard to find what you want to see. The DVD does include good picture and sound, and I have always enjoyed the documentary included from the videos.

This is a classic movie that everyone should see. However, if you're a fan of the recent videos, be forewarned that this is not the entire movie you are used to seeing. Hopefully, this movie will be reissued on DVD with this footage added back.

Buy It's a Mad, Mad, Mad, Mad World (1963) Now

I really wanted to like this DVD. I have the movie on VHS and enjoy it a lot. My reason for rating it so low was that it had almost 23 minutes missing from what was on the restored DVD version, including several memorable Phil Sivers moments. I see no reason why a DVD should offer less than the VHS. Shame on the producers of the DVD. What could they possibly have been thinking?

Read Best Reviews of It's a Mad, Mad, Mad, Mad World (1963) Here

As the first film I ever paid to see as a child (I was 11, and so proud of saving up the money!) I loved "It's a Mad, Mad, Mad, Mad World". It was slapstick on a grand scale, with a clever commentary on greed thrown in. And the cast! Tracy, Berle, Caesar, Silvers, Winters, Rooney, Hackett, Shawn, Terry-Thomas, Falk, Rochester...and the 3 Stooges had a bit part, along with Jack Benny, Jerry Lewis, Buster Keaton, so many more! For one of the first generation of 'TV Kids', I was in Heaven!

With adulthood, and changing tastes, I can see some of the film's flaws...It's too long, Spencer Tracy is obviously in poor health and straining to keep his energy level up, some of the scenes (especially the early ones) lack pacing, and the Cinerama format almost guarantees you'll miss part of the action, even in a wide-screen format.

But the film's sense of joy is undimmed, and the new digitally-remastered edition Amazon.com is offering gives them full attention. Enjoy again Rooney and Hackett's mishandling of an airplane, Jonathan Winter's gas station destruction scene (a classic!), and, of course the bodies-flying finale.

And hang in there...After the film is a 'Making of...' documentary, with FABULOUS ancedotes by the surviving cast members...It alone is worth the cost of the film!

After 36 years, I STILL love this movie!

Want It's a Mad, Mad, Mad, Mad World (1963) Discount?

I'm not going to go into a review of the 1963 film "It's a Mad, Mad, Mad, Mad World.'' This is one of those films that's almost beyond reviewing--you either love it or you hate it. I love it, and have loved it for more than 30 years, ever since my Mom took me to see it in its 1970 theatrical re-release. It's a classic.

What I want to talk about here is the new DVD version of the movie. Is it good? "Yes emphatically" and "yes kinda" at the same time. The main drawback for the dvd is the aspect ratio-strange for a widescreen 16x9 enhanced dvd, yes? Let me explain.

For decades since I saw it on the big screen, the only version I was able to see of "Mad4World" was the pan-and-scan version-which meant for years I was seeing only about half the picture. I thought myself lucky when I recently caught a "widescreen" version of the movie on cable TV (either Turner Classic or American Movie Classics, I forget which-probably TCM since my tape has no damn commercials stuck in the middle of it). Unfortunately, this version was only a small bit "wider" than the pan and scan; but it was better than what I'd seen on TV previously. You see, "M4World" started its life as a ultra widescreen Cinerama movie. That means its picture was not only super-wide, having been shot in 70mm SuperPanavision, but that it was also projected onto a curved screen that wrapped around the audience, taking up almost all your peripheral vision if you sat in the front part of the auditorium. An anamorphic lens was used in the projector which distorted the picture at the edges in order for them to look normal when projected on the huge curved screen. The original aspect ratio was 2.55:1.

So the point I'm trying to make is that this was a VERY widescreen movie. And now we have a very widescreen transfer on DVD. Now we can see more of the film than we have been able to in years, right? Good, right?

Well, yes and no. You see, for some reason, MGM has put "Mad4World" out not at a 2:55 aspect ratio, but at a slightly narrower 2:35 aspect ratio. This might not seem like such a bad thing, but the surprising result is that there are many things I can see on my old vhs tape of the pan-and scan version that I cannot see on this widescreen DVD!

The reason is this: as I said, this widescreen version is slightly less wide than the original, and often characters on either the far left or far right sides of the screen are cut off a bit. In my old P&S version, the person who had done the panning and scanning simply panned all the way to the right or left side of the picture if the action was on that side, showing that character fully (but of course showing the characters on the other side not at all). In this new dvd (not-quite) wide (enough) screen version there is, of course, no panning and scanning; the 2:35 picture is simply shown. Unfortunately it is a slightly smaller picture than what was originally there, and often the result is characters cut off at the shoulder.

Of course, this is MUCH better than anything we've had on home video before. And MGM should be praised for releasing the DVD at such a reasonable price, and with some decent extras. I just wonder why they didn't go ahead and transfer the film at its original aspect ratio.

If I have to look at Phil Silvers, I wanna see BOTH his shoulders, dammnit!

Save 40% Off

Il Divo (2009)

"Il Divo" is unusual breed of biopic, a mixture of fact and fiction, whose power is in its visual and auditory style rather than in narrative. The subject is Italy's seven-time Prime Minister Giulio Andreotti, who was associated with every major political scandal in Italy for 50 years, frequently accused of murder and mayhem, and rumored to be the true master of the P2 Masonic Lodge. Some believe him responsible for many of the 236 political murders that occurred in Italy between 1969 and 1984. Writer/director Paolo Sorrentino focuses on the early 1990s, from the beginning of Andreotti's seventh government in 1991 until his trial in 1996, during which time he lost a bid to become President and was undermined by Mafia turncoats who testified against him.

Roger Ebert described "Il Divo" as "like a black comedy version of The Godfather". I can't think of a more apt description. This is satire, though many of the events of the film actually happened. Andreotti (Toni Servillo) is almost a comically absurd character, in spite of the violence, and speaks about himself with an ironic tone. This is all the more amazing because Giulio Andreotti is still living. The Italian political system is portrayed as farce. Andreotti is a laconic man, enigmatic and apparently self-consciously so. He is known for his lack of emotion, so Paul Sorrentino felt the need to introduce some into a character that might seem wooden otherwise. Andreotti's preoccupation with the 1978 death of Aldo Moro, which troubles him in the film, is fictional as far as anyone knows.

Being unfamiliar with Italian politics, I don't know what else has been fictionalized. What captivated me about "Il Divo" is that it is unusually cinematic. There is not a lot of dialogue, though Andreotti's meetings with the members of his faction, the fast-talking Paolo Pomicino (Carlo Buccirosso), slow Vittorio Shardella (Massimo Popolizio), and foolish Franco Evangelisti (Flavio Bucci), are darkly hilarious. The film lacks a strong narrative thread but is visually engrossing. Luca Bigazzi's camera creeps around. The eclectic score is perfect. I was never sure what Giulio Andreotti wanted, unless it is "perpetuating evil to guarantee good", as he says, and "Il Divo" takes patience. But this is a stunning and thoughtful film, even if it doesn't try to go anywhere. In Italian with optional English subtitles.

The DVD (MPI 2009): Bonus features include 11 deleted scenes (12 min) and 3 featurettes. "Making of Il Divo" (30 min) interviews writer/director Sorrentino about his approach, members of the cast, producers, cinematographer Luca Bigazzi, and composer Teho Teardo. "Special Effects Featurette" (7 min) interviews visual effects supervisor Nicola Sganga and shows some examples of effects used to change the weather, time of day, or in the many death scenes. In "Interview with Director Paolo Sorrentino" (12 min), the director talks about the character of Andreotti and making a film that is both fictional and factual. English subtitles are available for the film and the bonus features.

Prime Minister Giulio Andreotti (Toni Servillo) had been elected to Parliament seven times since it's inception in 1946. Having served in multiple roles in the government including President of the Council of Ministers, Prime Minister, Foreign Minister, and Defense Minister, Andreotti was known by many names including "The God Giulio," "The Fox," "Beelzebub," "The Black Pope," "The Prince of Darkness," "The Hunchback," and others. After losing a bid for President of the Republic, Andreotti is confronted for allegedly having dealings with the mafia which, among others, led to the death of his friend Aldo Moro. Blamed for many of the ills that have befallen Italy during his times in office, Andreotti is sent to trial for his supposed mafia ties.

Il Divo won the Jury Prize at Cannes Film Festival and was released in January of 2009 to US audiences. Directed by Paolo Sorrentino, Il Divo is a look into the moral ambiguity of a man who doesn't prize relationships, only politics. Rarely does Giulio Andreotti crack a smile or show any emotion at all, but in Sorrentino's look at the man you see the effects of the emotions that eat away at him from the inside. Surrounding himself with men, good and bad, Andreotti feels that he's doing what's best for the country, even if he gets there by the improper means sometimes. While this works great for a simple character study, is this enough to get audiences beyond those that would normally watch foreign films into it?

Absolutely! Sorrentino gives the film a very stylish flare worthy of Martin Scorsese. Utilizing quick cuts, pop/ rock music, intersting titles, etc. Showing various scenes of graphic violence intercut with more mundane moments in Andreottie's life shows the difference between the calm exterior of Andreotti and the violence that possibly bubbles below leaving you to wonder if Andreotti was behind the violence as was purposed, or did he have nothing to do with it. This is one of the keys to Sorrentino's great film, while we see Andreotti as something of a soulless person for most of the film, we're never really given the filmmaker's opinion of whether Andreotti is guilty or not. Removing himself from the film, Sorrentino accomplishes something most filmmakers are unable to accomplish.

What really makes this movie though, is Toni Servillo's portrayal of Giulio Andreotti. The real trick of this performance is appearing unemotional on the surface, but also showing the current bubbling beneath the surface from past decisions that are eating away at him. In one brilliant moment in the movie, Andreotti appears to be either talking to his wife, or practicing a conversation he's going to have with her, and in essence speaks to the audience talking about things that he's done in the past that have caused people to die, and the speech is brilliant and could easily be compared to Jack Nicholson's "You can't handle the truth..." speech from A Few Good Men.

On the downside of the film though, it's impenetrable in the terms of politics. Il Divo doesn't really try to explain Italian politics, and while that's good to a certain extent, those of us who aren't familiar with Italian politics will get lost at times. Also the film seems more interested in being consciously stylish that it doesn't really feel like it is the political commentary that it tries to be.

But, in terms of entertainment, this movie definitely delivers. If you like political dramas, Scorsese style movies, or foreign films I highly recommend this film. It is thoroughly entertaining giving you a mix of political drama, action, and a character study of a man who would do anything for the politics of a nation.

4/5

Buy Il Divo (2009) Now

"Il Divo," (2008), is an Italian-language film, written and directed by Paolo Sorrentino. It is a biographical drama about the life of Italian Prime Minister Giulio Andreotti, who had been elected to the Italian Parliament seven times since its establishment in 1946, and was ultimately declared a senator for life. It stars Toni Servillo in the title role. "Il divo" means the maestro, or master, in Italian, and is generally used in a musical sense, but this is apparently what people call the uber-powerful Andreotti, who was rumored to have connections with the Mafia, and to the murder, by the Red Brigades, of former Italian Prime Minister Aldo Moro. Many people believe Andreotti, who is thought to be a member of P2, the powerful, illegal Italian Masonic lodge, also had a hand in the possible 1978 murder of Pope John Paul I, and the murders of Cardinal Paul Marcinkus, of Chicago, and banker Roberto Calvi, all to do with the Vatican's corrupt Banco Ambrosiano that apparently lost Mafia money.

Servillo does an excellent job of giving us a thoroughly unattractive, evil politician; the character actors who play the supporting parts around him are excellent, as well; and the film does, of course, have subtitles, though I suspect most English speakers will have trouble, even so, with all those Italian names. The settings, whether interiors, or around Rome, are well-done, and there's been no stinting on cars, extras, etc. The script is witty, and wise. However, director Sorrentino perhaps mistrusted his material, as he has chosen to fool around with flashbacks and flash-forwards; to me, this just made the movie even more difficult to follow. And be warned, the film features a lot of blood and death, if that upsets you. Yet, it's also got some marvelously surrealistic scenes, as those of a cat with two different colored eyes wandering the Quirino, the historic Senate building. Undoubtedly, though, it will be a more satisfying experience for those with some familiarity with the language and history of Italy.

Read Best Reviews of Il Divo (2009) Here

IL DIVO is a brilliantly acted and beautifully photographed film with some incredible artwork and design. Paulo Sorrentino's expose of the Italian regime presents both sides of a contentious story in an equal and frank portrayal. Highly reccomend this film to fans of arthouse cinema and anyone who appreciates strong, quality acting and writing.

Want Il Divo (2009) Discount?

"Il divo" (2008) starring Toni Servillo, educates the newer

generations on the powerful Italian politician of the 1960's and

1970's that was Mr. Giulio Andreotti ("GA"). It transcends what he

was about during those years, who he truly was as a man and leader,

how he operated, and how he fell into disfavor.

This film is in Italian, with excellent subtitles in English, is

wide-screen and professionally filmed and edited, with excellent

DVD clarity.

The soundtrack is a mixed bag, with as many hits as misses. The

better audio numbers accompanies the classy footage of ornamented

rooms, luxurious decorations, opulent palaces, gold plated pieces

and sculptures, tiles, handcrafted furniture, high-end chandeliers

etc. Some generic, modest pop songs are played as well so the

public doesn't take all of the hot air or political oneupmanship

too seriously.

The treatment of GA is superficial, judging a book by its cover.

The actor never fails to portray GA as an introverted intellectual

and geek, whose mind is racing 24/7 on events past and present,

never leaving his home with the exception of parties and events

related to his work. During those, he fails to enjoy himself

(dance, drink, chat, eat, gamble, flirt, etc). The story fails to

reveal GA as the brilliant leader he was over a long time, in a

hyper-competitive political field, made up of Machevellian rivals.

Instead, viewers are treated to the disease of "condescension" that

is the mantra of political analysis and mass media, reminiscent of

the dismissive treatment of Mussolini by critics.

Predictably, innuendo reinforces rumors of GA mob involvement -

recreating the "Man of Honor" induction ceremony, spilling drops

of blood on a saint, setting fire to it and juggling it. Those

accusations were not proven. We hear that elections in South Italy

and Sicily are won with mob influence on the public for given

candidates. It says GA was complicit with P2 or Propaganda Due, in

between the Red Brigades violence, on no facts.

The microcosm of GA's life is shown, a world in itself, made up of

businessmen, religious leaders, political friends and foes,

colleagues summed as a closed universe, yet everyone sharing a

unique set of values, education, breed from not only embracing

Italian civilization, but belonging to a power elite.

GA is shown attending church, confession, insisting in having the

Pope's rep in his power clique during private meetings,. His piety

and generosity, responsibility, natural sense of scruples are

shown. The story indicates GA's success hinged on self-control, a

skill to mentally calculate how far he can go to favor people he

imagines as friendly to his ideology and vision, and to block

others that his intuition tells him are against from afar and

nuanced.

In Europe, with its high concentration of people, numerous mass

media, combined with limited education in the general public,

every rubout, hit, economic failure, anarchy, kidnapping, crime and

more is attributed to the prime minister. The story perpetuates

this fallacy, by posting a litany of rubout victims and those who

ended their own lives, over his tenure and blaming GA.

A valid point is made that the Italian justice system is more

transparent than what goes on in the streets.

Save 80% Off

3:10 to Yuma (2007)

Although many say the Western is dead, in books as well as movies, it continues to rear its head and make itself known every so often. There's something inherently noble and visceral about the artform and the subject matter, the calm delineation between good and evil, that stubbornly continues to attract an audience.

In 2007, the Western showed back up at the box office in a trio of films that came out roughly at the same time. 3:10 TO YUMA was the first out of the gate, but it was followed in quick order by THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD and NO COUNTRY FOR OLD MEN.

The movie had been made fifty years ago, and much of the plot in that version made it into the remake. Both movies were based on a short story by Elmore Leonard, who has had several of his Western and crime novels made into films.

Christian Bale stars as Dan Evans, a one-legged, down-on-his-luck rancher struggling to keep a home together for his wife and two kids. Russell Crowe plays Ben Wade, an intelligent and heartless outlaw who's leading one of the blood-thirstiest gangs to ever take up the owlhoot trail.

Both stars take turns stealing scenes. Bale has the hard-edged look of coarse rawhide. Crowe possesses some of the deadest eyes ever shown in movies.

One of the best portrayals in the movie was a surprise to me, though. It took me a minute to recognize Peter Fonda as professional bounty hunter turned Pinkerton agent Byron McElroy. Fonda reminded me a lot of his father Henry, but part of that is because Fonda has aged. He also delivers a quality of acting and honesty in the character that is just amazing, and he was content to carry the supporting character role and didn't try to upstage anyone.

Logan Lerman was another surprise. He stared as William Evans, Dan's 14-year-old son. I'd thought Lerman was much older, but as it turned out he was 14 when the movie was made. He was likeable and intense.

When it came to truly cold-blooded villains, though, Ben Foster as Charlie Prince totally blew me away. The hair on the back of my neck went up as soon as he stepped on stage, and within a minute I hated him.

The story is simple. Dan is struggling to make ends meet and bumps into Wade during an armored wagon job. Later, after taking Byron McElroy into town for medical attention, Dan confronts Hollander, the man who's trying to run him off his land. When Hollander won't give him an extension on his loan, Dan finds Wade and helps take him captive. Then he agrees to help transport him to Yuma for $200.

The movie quickly spins out into the action of the violent road trip. In addition to being one of the fastest gunmen around, Wade is also a skilled psychological warrior, constantly taunting his captors and seeking out their weaknesses.

The action involves traveling through hostile Indian lands, meeting up with a team of killers working the railroad coming through the area, and a final showdown in Yuma that is one of the most exciting I've ever seen in a Western.

For two hours, I sat marveling at the characters, then tensely awaiting the outcome of the latest danger they were all facing. Even then, the twists and turns of the characters, the back stories they were all hiding till the very last moment, were awesome. No one was quite who I thought they were.

Westerns succeed best by having good men with a history of bad violence and bad men who haven't completely gone over to the dark side. 3:10 TO YUMA is one of those.

One caveat I will offer to people who have seen the original movie starring Glenn Ford and Van Heflin, this version does NOT follow the same paths or end up the same way. Expect to be surprised and shocked at how things turn out. And you'll be tense nearly the whole way through.

The Western genre is pretty rare nowadays--the Hollywood of today usually prefers other kinds of films (we feel you Clint Eastwood). Fortunately for the die-hard fans of the classic Spaghetti Western, the waiting is over. 3:10 to Yuma is one of the best Western film in years and probably one of the best films of 2007 overall. Not only we get excellent performances by Crowe and Bale, but the film captures the Western film traditions from the past--everything from a compelling story with a sense of justice and great gun action. Read on and I tell you, even if you're not a fan of Western, why you have to watch this extraordinary film.

Brief Intro Story:

The Old West is hard place to live, not only you have to deal with criminals and desert weather, but also with creditors who can be just as dangerous.

Things are not going well financially for the crippled family guy Dan Evans (Christian Bale) who has to support his wife Alice and two sons--he didn't pay the bills and his creditors burned his barn. As he is going back to town with his kids to complain about what happened, they see the famous outlaw Ben Wade (Russell Crowe) with his vicious gang who just busted a wagon full of cash (killing almost everybody). The gang members see Evans and his kids, but Wade (the boss of the gang) decides to only take their horses and leaves them standing there, but the gang makes a mistake--they left one wounded man. The gang goes to town and while Wade is alone and having fun with a local girl, he gets captured by the authorities while he is talking to Evans--who made it to town anyways. But they need extra help to transport him to catch a train that will take him to prison, and that's where Evans volunteers to help--for $200 dollars. He doesn't know that transporting this infamous bandit will turn his life around.

Review:

Director James Mangold (Walk the Line) has created an instant Western classic in almost every aspect. Here we find two cowboys, who are on different sides of the law, but at the same time, there is a sense of fellowship, loyalty and understanding between them--Not only their acting is impressive, there is so much chemistry on screen. In one hand, we have the outlaw Ben Wade who is a casual guy, a bit of a playboy, but he can be vicious if you push his buttons. despite all the immorality and his cockiness; he is a likeable character nevertheless. Then we have Evans who is a serious man of integrity, a loving father that will do everything he can to support his family righteously. There is a point in the film where his loyalty is put to the test, as well as the will to continue with the mission--this is the point of no return when it's not even about the money anymore. The two characters blend towards the end, they finally understand each other and create one of the best endings in recent memory.

Technically speaking, 3:10 to Yuma is a marvel to behold. We get the classic look and feel of the Old West with excellent cinematography, intense gun battle sequences and good costume design. Perhaps for many, the first act might be a bit slow, but after Wade gets captured, the film picks up with great drama and suspense. With all these great sequences, we also get excellent sound effects--which reminds me a bit of Kevin Costner's Open Range. Some of these sounds effects creates even melancholia--listen carefully, specially during the final battle.

The Verdict:

We didn't know taking the train could be so difficult back in the Old West. 3:10 to Yuma will not disappoint fans of the genre. It follows the classic Western formula with great performances by Russell Crowe and Christian Bale. Do I see a nomination for any of these vanguard actors? I'd say yes.

Buy 3:10 to Yuma (2007) Now

If there is a truly unique American contribution to film making then that contribution has to be the Western. Though not as popular a theme these days as it was in past decades, it only takes a powerhouse film such as 3:10 TO YUMA to remind us just how pungent storytelling of this type can be. Yes, the story itself (based on a short story by Elmore Leonard) is rather simple: desperate farmer needs money to save his failing farm and family and signs on to escort a powerful outlaw to the train that will take him to prison. But in this screen adaptation by Halsted Welles, Michael Brandt, and Derek Haas the story is fleshed out by sharing with the audience the essence of the pioneer spirit and the sequelae of the Civil War on the minds of the dispossessed who turned to crime against the ruling order the railroads and the banks represented the conquering North and the film becomes one of profound understanding about man's plight in the pioneer West.

The landscape and atmosphere of Arizona is captured with dusty accuracy by cinematographer Phedon Papamichael and sets the stage for director James Mangold ('Girl, Interrupted', 'Walk the Line', 'Identity', 'Kate and Leopold', 'Cop Land') to work with his talented cast to give a realistic view of life in the hard times of the old West. Russell Crowe is the notorious outlaw Ben Wade whose gang includes such actors as Ben Foster and Rio Alexander and once he is captured during a robbery, the local sheriff promises to pay $200. to destitute, crippled farmer Dan Evans to escort the prisoner to Contention, AZ for catching a ride to the 3:10 to Yuma and prison. The connection between the two disparate men Wade and Evans is the message of the story and is beautifully enhanced by allowing the audience to understand both sides of 'the law'. The co-stars of the film include Gretchen Mol as Evans' wife and young Logan Lerman as Evans' impressionable son William, Dallas Roberts as the head of the bank investment at risk, Peter Fonda, Alan Tudyk, Vinessa Shaw and a large cast of the people who interplay in the drama.

Both Crowe and Bale give superlative performances, acting so cohesively that it would be difficult to single out either for the Oscar: this is ensemble acting at its finest. For once the added features enhance our appreciation of the tales from the Old West and how they became legends and the comments by the director, producers and cast actually make sense! The film will doubtless become a classic: it deserves the honor. Grady Harp, January 08

Read Best Reviews of 3:10 to Yuma (2007) Here

I love the Western myth too much to like this film, which does injustice to the savvy of Western characters in general, and to the Code that drives every classic Western. In these things, it becomes a pseudo-Western; if it *does* revive the Western genre, I hope its successors don't commit its same atrocities.

The film is an exercise in Implausible Plotting. Cowboys and lawmen of the Old West escort a Notorious Outlaw across the wilderness and leave his hands cuffed in front of him, even after he kills two of the escort party in ways he never could have done had they just bothered to tie him up. Said cowboys and lawmen send a decoy "outlaw" in a stagecoach to throw the bad guys off the trail of the escort, and they just happen to lock the unfortunate decoy in the stage *for real* without giving him a key, so he can burn to death when the gang catches up and discovers his identity. Said cowboys and lawmen, armed and holding the higher ground, look out a hotel window to engage in conversation with the Notorious Outlaw's psychotically murderous gang, and then allow them to ride away unaccosted after several death threats, so the carnage can come later. What sane person would behave as these characters do? They act stupidly so dramatic tension can last longer.

Yes, the scenery is lovely. Yes, the acting is pretty much flawless, but who would have expected less from Crowe and Bale? The character actions and the conclusion are the problem here. After seeing this film, my 18-year-old brother remarked, "Well, if that was reality, I'd definitely wanna be on the side of the bad guys ... all the good guys were either stupid or wimpy." That is not the Western myth; that is the antithesis of the Western myth.

Want 3:10 to Yuma (2007) Discount?

The Western film: a truly American invention and in this new millennium a rare commodity. "Unforgiven" comes to mind and that was 10 years or so ago. There are others, of course but they are few and far between. There are Westerns that glamorize the Old West: "She Wore a Yellow Ribbon" and those that don't: "The Man Who Shot Liberty Valance."

"3:10 to Yuma" is somewhere in between the two mentioned above and it is about the eternal struggle between good and evil, between the have and the have nots, between those that would uphold the family and those that would demolish it and those who would preserve the peace and those that would let chaos rule.

James Mangold ("I Walked the Line") has chosen to remake, revise, re-invent the 1957 Glenn Ford starring "3:10 to Yuma" with a sterling cast of Russell Crowe (as outlaw, train robber, Ben Wade), Christian Bale (erstwhile Batman as Dan Evans: everyman, ranch owner-going broke) whose life is turned upside down when he accidentally comes in contact with Wade while Wade is in the process of robbing a Pinkerton protected stage of all of it's loot.

Crowe dominates the screen as Wade. His Wade is mercurial, slimy, sexy, brutal...seemingly willing to do anything for the thrill of stealing and killing. Crowe plays Wade quietly even sympathetically but always in control even when he physically isn't. Crowe dominates, both physically and cosmically, every scene that he is in: he sucks the oxygen out of a room upon entering and, in the one sex scene of the film, his "prey" has no choice, nor does she struggle by the way, but to comply with his wishes. In fact, she wants it as much as he does.

Bale's Evans is downtrodden, desperate as well as desperately poor. He is days away from losing his farm and more importantly losing the respect of his family: the more important of the two in the world of "3:10." For in this world you are nothing without family and property and less than nothing if you lose it.

On many levels Wade and Evans connect: they look at each other and their expressive eyes tell us something akin to "there but for the grace of God go I." But way down deep inside each man, inside their cores, they are brothers who have merely taken different roads.

There is lots of violence, murder and even a little sex in "3:10" and perhaps it is even a bit long by 20 minutes but ultimately Mangold pulls all the various pieces together into a cohesive whole. But the real magic of this film comes from the premiere acting jobs of Russell Crowe, Christian Bale and a terrific Ben Foster ("6 Feet Under") as Charles Prince: a grotesque killing machine, more "Mad Max" than Jesse James who, against all odds plots to save Wade from destruction.

Save 48% Off

Triple Feature (Beetlejuice / Charlie and the Chocolate Factory / Corpse Bride) (2012)

This is a great deal. Even if it were a bit more expensive it'd be worth buying in my opinion. Perfect gift for Tim Burton fans.

Beetles are neat. Not in my juice though. Chocolate is yummy...and there's an entire factory of it! A zombie wife? Eww.... Well, why not?

Buy Triple Feature (Beetlejuice / Charlie and the Chocolate Factory / Corpse Bride) (2012) Now

When I saw these three movies bundled together I jumped on it right away! The movies are great, the transfer to bluray looked good, sounded good, I must say I'm very happy with my purchase.

Read Best Reviews of Triple Feature (Beetlejuice / Charlie and the Chocolate Factory / Corpse Bride) (2012) Here

Really love the triple feature. Very good Tim Burton collection.

I would recommend this blu ray set alot

Five stars!

Want Triple Feature (Beetlejuice / Charlie and the Chocolate Factory / Corpse Bride) (2012) Discount?

All of the films looks very decent to great on Bluray but the transfers are fairly low bitrates around 20Mbps with Beetlejuice being the highest around 22Mbps. At 10 bucks or so you can't go wrong though. I like each film for its own reasons and you can find reviews for each of those somewhere else. All in all nice deal.

Save 27% Off

Bleach the Movie: Fade to Black (2011)

This movie starts with everyone in the Soul Society suddenly forgetting Rukia. Rukia was the Soul Reaper that gave Ichigo (the main character) his powers. No one would know Ichigo if not for Rukia, so everyone forgets Ichigo. The fights between Ichigo and the Captains are amazing. The Mystery of why everyone has forgotten Rukia and Ichigo is very well thought out. I watched this movie when it first came out with English subtitles so I can tell you. This buy is totally worth it even if it is a random buy. Bleach is an amazing series. I would highly recommend that you buy the boxsets for the series as well. With Cool epic fights, a very well thought out story, and very interesting characters developments and types you love this series and all four of its movies that are out. I hope this helped your decision.

I love Bleach and I happen to be a very, very fussy person if the story doesn't hook me in the first few minutes, it loses me. I've seen every Bleach episode, plus the OMAs, fillers, and read the Manga, so that should tell you how good the story is. Since I haven't seen the latest movie yet in order to rate them I can only stand this one up against the first two, and of the three, this is the best of them. So to make it brief IT'S ABOUT ***** TIME!!!! I'll be getting this one the second it's released!

Buy Bleach the Movie: Fade to Black (2011) Now

Fade to Black is the third of the Bleach full length movies and an improvement over Diamond Dust Rebellion. While I still think Memories of Nobody was the best of the movies, this one offers a few reasons to watch and enjoy. As with the other movies, Fade to Black brings in your favorite characters, an interesting enough plot, and a step-up from the series in terms of art and fluidity of the animation. Fans of the series will find this to be a welcome addition to the Bleach universe, particularly as Rukia plays a central role in the film. Aside from her added screen time (which I loved, as she was one of the reasons I started watching the series to begin with) there are bits and pieces of her background that are filled in throughout the story. All this and her "transformation" make this a film well crafted for its faithful audience.

That being said, I do have a few gripes that don't necessarily take away too much (and are rather characteristic of the series in general) but that bug me nonetheless. First, as in Diamond Dust Rebellion (and to a lesser extent in Memories of Nobody), there is a bit too much overly-emotional sermonizing. While the core canon of the Bleach series (those episodes based off the manga) contain little of this, the side stories and movies seem to add it for filler. Again, this is nothing new, but it steals a little from the drama. Second, this film sets up interesting questions about the limits of "humanness" (or, personhood might be a better term) on par with those that Kube brings out through Memories of Nobody and through the Arrancar and their seeming humanity, but just as in that narrative arc there is little down to delve into the question. It is presented (imaginatively so) to the viewer, but is left to hang their unexplored and unresolved. Again, this doesn't hurt the quality too much, but once I would like to see Tite Kubo raise the dramatic tension a bit more.

Oh, and the fights are awesome. But you knew that already.

Read Best Reviews of Bleach the Movie: Fade to Black (2011) Here

An explosion destroys the center of the Seireitei. Afterwards Rukia disappears and looses her memory. Kisuke sends Ichigo to find out what's wrong. Nobody in the Seireitei knows Ichigo or remembers Rukia either. Even close friends like Renji and Captain Kuchiki are baffled by Ichigo's claim to be their friend and his insistence that Rukia has disappeared.

This is a great movie. It's as good as the 1st Bleach movie. It is a very tragic story of Rukia's past. The action and drama are very good in this movie. The Seireitei send all the Captains and Lieutenants after Ichigo, and Rukia confronts her heartbreaking past. Bleach the Movie 3 is awesome!!!

Want Bleach the Movie: Fade to Black (2011) Discount?

you either love Bleach or you hate Bleach. thankfully im one of the people that LOVE Bleach.

the story (from the beginning) is amazing, and the movies are always well done. this one is the better of the 3 ive seen so far, although theyre all good.

if you love Bleach youve already seen this movie or are about to buy it.

if you dont love Bleach...why are you standing close to me? ^^

Save 32% Off

Hannibal

I think it's fair to say that Hannibal Lecter became an American horror icon for most people with the Oscar winning film "The Silence of the Lambs." Personally, I discovered Lecter back in 1981 when author Thomas Harris introduced him in "Red Dragon." As a kid, I read this novel with a sick fascination and it was easily the scariest book I had read up until that point. Michael Mann adapted it into the film "Manhunter" in 1986 with character actor Brian Cox in the Lecter role, but it wasn't until 1991 and Anthony Hopkins that Lecter became incredibly popular. Hopkins revisited the role with another interpretation of "Red Dragon" and then "Hannibal," and has owned the role ever since. When I heard that NBC was helming a drama based on Lecter, I thought it was a disastrous idea! Network television is no such place for such evil! But I must say that the program has far exceeded my rather limited expectations. Created as a prequel to the events of "Red Dragon," the show has a thoughtful slow burn appeal that shows surprising restraint. The program might have some gore, to be sure (especially by traditional network standards), but it succeeds most spectacularly as a psychological study of two men with more in common than they'd like to admit.

The plot centers around a FBI profiler named Will Graham (Hugh Dancy). Graham can literally get into the mindset of a killer, and the show stages vivid and brutal recreations as Graham uses these skills to analyze crime scenes. This innate ability to think like a monster has taken an emotional toll on Graham, and he is an absolute mess. Hannibal Lecter (Mads Mikkelsen) is a brilliant psychiatrist who aids in an early investigation but is drawn to the darkness within Graham. Through the course of the episodes, Graham and Lecter become closer. Each seems to get something very important from the relationship. Are they doctor and patient? Friends? Or is Lecter playing a sick game of cat and mouse? It's a fascinating dynamic, one of the strongest components of this show. While some of the episodes are self-contained, more and more is revealed about Lecter as the season progresses. Anyone who is familiar with "Red Dragon" might know where this is ultimately heading, but it's the journey that is more important than the destination in this case.

Dancy is pretty terrific as the scarred and haunted hero. And Mikkelsen is the master of understatement. He underplays every scene to perfection, and this detachment gives "Hannibal" a chilling center. Other familiar characters from the books (and movies) are present like reporter Freddie Lounds (a female in this version), prison warden Frederick Chilton, and FBI Director Jack Crawford (played by Lawrence Fishburne). Gillian Anderson also pops up for a few episodes as Lecter's therapist and they play off each other wonderfully. "Hannibal" is generally well cast, although some of the smaller recurring roles have yet to be developed in any kind of meaningful way. But as long as Graham and Lecter remain in the center, you aren't really paying much attention to the peripheral cast.

The plotting in these 13 episodes is a mix of self-contained stories with several significant on-going threads. Not every individual case is a compelling as the central story strand, but that's to be expected. I always wonder why everyone in the world isn't dead with the number of serial killers that populate popular entertainment! What really distinguishes "Hannibal," though, is its tone. It is not played as an action thriller. Oftentimes, it is quiet and contemplative relying on character interactions to up the unease factor. It is smart, literate, and takes its time. That's what was so unexpected for me, and why the show might not be perfectly suited for someone looking for mindless entertainment. It requires and rewards patience. The actors are great, the staging is unsettling, and the effects are solid. This was put together by a team (led by Bryan Fuller from Heroes and Pushing Daisies) who wanted to honor the Lecter legacy and be true to it. One of the more unusual network offerings of the last year, and one of the best. KGHarris, 5/13.

Absolutely brilliantly done with a cast of characters whose acting talents are far superior to nearly every other on network television. You cannot surpass the level of depth of character development, the writing, where as they discuss real theories of psychology; build up, and character development between Will Graham and Dr. Lecter is unlike anything else on television and cannot be done with a movie.

Eventually we will view shows like this one not to be just a show, but rather a series of movies, each telling a story, where at one point a 2 hour movie will not be enough anymore to satisfy our palate for something as savory as this series.

This will become a classic.

Buy Hannibal Now

Its hard not to compare this show to the Following with Kevin Bacon. On the surface, they're very similar. Tortured main character, gruesome murders, creepy psychopaths. Yet, they are, in essence, nothing alike. Bacon's character is a cliche. Will Graham, the protagonist in Hannibal, is so beautifully drawn, I can't take my eyes off him. He is a "special investigator" with the FBI. Those who work with him see him as fragile, so much so that they all seem to be holding their collective breath, waiting for him to shatter. The thing that makes him an invalid in their eyes is his stunning depth of empathy. This is how he solves crimes. Hannibal Lecter, a psychologist (and future notorious psychopath) who works with the FBI and Graham, has a different perspective. When Graham asks "how do you see me?". Lecter says Graham is "the mongoose I want under the house when the snakes slither by."

The production quality is high, the supporting cast is great. The show is smartly written.

Read Best Reviews of Hannibal Here

Love this show! I had to break up with The Following because it just wasn't plausible (all the procedural gaffes aside...how can anyone's necktie be askew ALL THE TIME?!). Hannibal is elegant, refined, well-dressed, and damn sexy. Mads Mikkelson will have you saying "Anthony Hopkins who?" (it's no easy feat to make the viewer able to visualize someone else as the infamous and well-fed Dr. Lechter). Yes, you will have to work at understanding his accent--but constantly leaning in on the edge of your seat every time Hannibal is on-screen is part of the character's appeal. He has your attention. All of it. The story line is enthralling (overall it is ongoing, but there are shorter arcs), and the show is beautifully shot. Every frame is like a work of art. If you're a fan of the genre--you need to be watching this show.

Want Hannibal Discount?

Fantastic ...unlike anything I've ever seen on regular TV. Dexter meets CSI. Great performances, with intense and intelligent scripting. Anticipating the next episode!

Save 10% Off

Absolute Power (2010)

At the start of "Absolute Power" Luther Whitne (Clint Eastwood), cat burglar par excellence, finds himself in a very strange situation. While robbing a rich man's safe in a large bedroom closet, he is interrupted by the appearance of a man and woman who head straight for the bed. While hiding in the closet, where he sees what is going on through a two-way mirror, he watches while the sex play gets rough: the man hits her, she stabs him with a letter opener, and then two men come into the room and shoot her. Luther gets out of there, but while his presence was undetected it does not go undiscovered. The problem is that the man he was watching happens to be the President of the United States (Gene Hackman).

Now, I have to stop at this point and tell you that one of my cinematic pet peeves is the idea that the United States Secret Service will let the president do anything, no matter how stupid or reckless, without batting an eye. Indeed, in "Absolute Power" there are two such agents, who help to cover up the murder and then try to track down Luther and kill him. However, the actors playing those two agents happen to be Scott Glenn and Dennis Haysbert, which is an important fact because a lot of the faults in this film area absolved by the casting, the credit for which goes to the film's director: Clint Eastwood.

The hook for this thriller is the idea that the president, his Chief of Staff (Judy Davis), and the Secret Service are out to get Luther, whose stated intention is to get out of town and get lost as quick as possible. But the key to this film ends up being a rather odd romantic triangle that exists between Luther, his estranged daughter, Kate (Laura Linney), and the D.C. homicide cop, Seth Frank (Ed Harris), who is assigned to the murder. Frank interviews Luther, not because he thinks the old con is a murderer, but because he is one of the few that could have pulled off the heist. He then moves on to Kate, hoping to get her to persuade her father to turn himself in before the wrath of the rich man (E.G. Marshall) whose wife is dead comes crashing down on him. Frank clearly likes Kate and is rather impressed by Luther, which is good because I like smart cops. For his part, Luther clearly has some admiration for the detective and also likes his taste in women.

My favorite scene in this movie is when Frank takes Kate to her father's house, where she has never been, and (knowing where Luther hides the key), takes her inside. In one room she finds a gallery of photographs, of all of the key moments in her life after her father left. "She was at none of these," she insists to Frank, although clearly that was never the case and we can see in an instant that she is rethinking her entire relationship with her father. As much as it is fun to watch Luther outsmart the cops, the Secret Service, and the hitman sent by old man Sullivan, the heart of this film is between Luther and Kate. Even when she sets him up, believing it to be the only way of helping keep her father alive, he surprises her by showing up. His reasoning? He did not want her to believe he was a murderer. Besides, his daughter wanted to see him.

I understand the script by William Goldman is quite different from David Balducci's novel, but that simply has to do with Eastwood playing Luther (if you read the novel you will understand why this would matter in terms of the significant changes). Eastwood's direction is competent as always, and, as I mentioned above, he gets the credit for being able to bring together such a solid cast for one of his projects (who would turn down a Clint Eastwood movie?). Final Note: the White House Tour Guide is played by the director's daughter, Kimber Eastwood.

This review refers to the Warner Home Video(DVD edition) of "Absolute Power"

This is one of Clint's best. It really shows off his expertise in front of and behind the camera. His on screen magnetism matches his superb direction in this great thriller. Also included is some of the best talent in Hollywood, as Clint has a knack for surrounding himself with the finest actors.

"Absolute Power" from 1997 is a terrific thriller that will have you on the edge of your seat(even after repeated viewings) as Clint goes up against some mighty powerful enemies. He is an aging master thief, and while in the process off pulling of the ultimate job, witnesses a murder.And this murder involves the most powerful man in the world. When Clint is the chief suspect, he must prove that the blood trail leads all the way to the Whitehouse. Not an easy task for our guy, as he is being persued by all sides.The film is multi-faceted as it also let's us in on this thief's softer side as he tries to build a relationship with his estranged daughter. A huge cast includes, Ed Harris, Gene Hackman, Laura Linney, Scott Glenn,Judy Davis, Dennis Haysbert and the great E.G. Marshall.

This film looks and sound magnificent on this superior quality DVD. You have the choice of widescreen(highly recommended), or standard format. Colors are vibrant, and the picture is crystal clear.The Dolby Dig 5.1 will have you thinking all the action is going on right in your living room. There are some production notes included and there are subtitles in English, French and Spanish.

This film is also offered as part of a 3-pack here at Amazon...The Clint Eastwood "Hero" collection. It also includes "Heartbreak Ridge" and "A Perfect World", which also stars Kevin Costner. If you are like me and can't live without ALL of Clint's work..the 3-pack would be a more economical way to go!

Washington is no match for our guy!(Who is?)....Go for it..and enjoy...Laurie

more Clint stuff:

The Gauntlet/True Crime

Paint Your Wagon

Music for the Movies of Clint Eastwood

Breezy Clint Eastwood Kay Lenz All Regions NTSC UNRATED(director)

Buy Absolute Power (2010) Now

With MYSTIC RIVER being the most recent example, director Clint Eastwood shows why his movies are so powerful: the casting and the expert, effective direction. Eastwood the director is much better than Eastwood the actor, and there are times I wish he'd cast others in the roles he takes. But that aside, this political thriller soars because of the wonderful actors and the way Clint works with them to bring out the best, even in smaller, seemingly insignificant scenes. Let's look at some of these performances:

GENE HACKMAN an outstanding actor who always gives a hundred percent doesn't get a lot of screen time in this one, but of course his scenes are pivotal and his ability to create such a devious and self-centered liar are brilliant.

LAURA LINNEY one of our most consistently good actresses, Laura takes the cliche role of abandoned daughter, but fills it with the hurt that comes from that; the love that still wants to get out, and her devotion to the man she feels abandoned her. Her scene with Ed Harris in which she goes to her father's apartment and sees all the pictures is wonderful.

ED HARRIS he plays a smart cop and an attractive, lonely one at that. His falling for Linney is understandable, and Harris controls his performance brilliantly.

SCOTT GLENN & DENNIS HAYSBERT as the secret service men are very different and the contrast works well. Glenn is remorseful over his actions; Haysbert is obviously a man who likes to kill and feel power. Their supporting contribution is essential to the movie.

E.G. MARSHALL this late great actor has never been better. An 80 year old billionaire with a young wife who he really loves faces her tragic death and seeks revenge. And yet, he had a room built where he could watch this young wife screw around with younger and more virile men just to prove he loved her. Marshall's scene in the limo with Clint is also very moving.

JUDY DAVIS this talented actress at times reminded me of Cruella Deville with her flashy arm movements and histrionics, but as her character develops, one can see the motivation behind these gestures, and the deep passion she feels for Hackman.

A very well done and enthralling movie.

Read Best Reviews of Absolute Power (2010) Here

I enjoyed this movie very much. I didn't mind that there were plot holes here and there-I just didn't care. It was entertaining and gripping and I loved every minute of it. I especially loved that I didn't know *anything* about the plot of the movie as I watched it. There were a few extra surprises for me along the way, which enhanced my enjoyment of the movie.

I loved Clint Eastwood's character. He's such a wiley and resourceful fellow, definitely able and capable. But he's not above playing the "age card", and making mentions of his AARP membership, and trying to pass himself off as someone who is too old to do anything interesting anymore. The twinkle in his eye as he starts in with the age thing is very amusing indeed.

The rest of the cast in this film is also very good-special cudos for E.G. Marshall, in one of his last roles. His performance is articulate and strong and spot-on. Ed Harris has that friendly, open face, and he's very likeable in this movie. He's also able to show a sweet sense of humor. (The line, "I live alone" will have a special significance after you see this movie!) Gene Hackman is great as a wimpy yet simultaniously slimy character. Judy Davis is absolutely wonderful too-as an evil ice queen hiding behind the mask of an attractive woman. Dennis Haysbert (now playing Palmer in "24") and character actor Scott Glenn are good in their roles as well.

The best part in this film, in my opinion, are the scenes between Eastwood and his estranged daughter, played by Laura Linney. Their relationship is what makes this movie stand out. Eastwood's character has been seemingly so distant from his daughter for so many years; yet she's still his "little girl" and we see how deeply he loves her as the film progresses.

This is a worthwhile film, and very entertaining. Recommended.

Want Absolute Power (2010) Discount?

Absolute Power may not be an overly special film but it was the first movie I saw in the cinema after leaving high school. I was certainly not the target audience but it had my attention from the first scene and maintained the suspense for the during of the running time, even if it doesn't build to much.

Clint Eastwood plays Luther Whitney, an expert thief who targets billionaire industrialist Walter Sullivan (grouchy old EG Marshall, in his last theatrical movie) while he is off on vacation. While in the midst of cleaning out the vault the President of the United States (Gene Hackman) enters the room with Sullivan's wife. Whitney hides in the vault, which has a two-way mirror, and witnesses the President get a little too rough with the woman, which ends in her fighting him off and being murdered by the secret service. The Chief of Staff concocts a plan to cover up the murder not knowing that Whitney is watching the whole thing. As the group leave he escapes, taking a crucial piece of evidence with him.

Initially unsure what to do, Whitney decides to taunt the President, though it's not clear what his complete plan is or even if he's just free-forming. If one should fault Absolute Power for any reason it's that it establishes a lot of plot and potential but never really does anything with it and ends with an anti-climactic cop-out.

Where it succeeds is with the small cast of characters who really make the dialogue and relationships work. Ed Harris as the confused but dedicated cop investigating the case, Laura Linney as Whitney's resentful daughter, and the austere Scott Glenn as the self-doubting agent make every scene effortless even when there's not much happening.

Adapted from (and streamlined and improved in the process) the bloated novel by David Baldacci (I call them 'Airport novels' those 600-page bricks with generic covers featuring nothing but the title and author in giant gold letters in a tacky font) the screenplay makes many changes but they are all for the better. Eastwood's direction is slow and steady or 'mature'. The pace and framing is the antidote for anyone bored to tears with the nauseating aesthetic of today's comic-book movies and CGI nightmares.

A curious thing about the beginning of the movie is that Clint Eastwood only has 2 lines of dialogue for the entire 35 minutes. I don't understand why he didn't cut them out and remain silent, which would give the film a peculiar edge.

The Blu-ray features a fine 2.40 1080p transfer with an active, spatial DTS HD-MA soundtrack. There are zero features.

Save 50% Off

Umberto D. (The Criterion Collection) (1952)

Director Vittorio De Sica, the famous actor and well renown director who was a major proponent to Italian neorealism of filmmaking and introduced the world to films that would take the world by storm. De Sica had many popular films under his belt such as "Miracle in Milan", "The Children Are Watching Us", "Two Women" and many more. But it was the neorealistic films of De Spica that many remember. Films such as "The Bicycle Thief" and "Shoeshine", films that epitomized showcased the poor and working class in Italy. How one deals with poverty and when desperate, the life changing decisions that are made.

But it was the 1952 film "Umberto D." which De Sica has said is the film which he prefers among all the films that he has made because of its "uncompromising portrayal of the characters and incidents that are genuine and true".

But "Umberto D." was a film that would become noticed now more than when it first screened in theaters in Italy. As Italy tried to move past the neorealism and wanted to show the country as healthy, "Umberto D." continued De Sica's dedication to showcase people living in poverty. According to film critic, Stuart Klawans, "Umberto D." was a film that was despised by the Christian Democratic Part's Giulio Andreotti and it was his party who had control of the government and also the movie production loans and right for pre-censorship over scripts. Andreotti went as far as saying De Sica was guilty of slandering Italy abroad.

Needless to say, the film bombed in the box office in Italy and different parts of Europe despite winning a Bodil Award for "Best European Film". But it appeared that audiences fascination with Italian neorealism was over.

Meanwhile in the US, Americans had a different perspective and gave the film a New York Film Critics Circle Award for "Best Foreign Language Film" and the film was nominated an Oscar for "Best Writing, Motion Picture Story".

Before De Sica's death, if there was one thing about "Umberto D.", its that De Sica has always believed it was his best film because it was a film made the way he wanted without compromises.

"Umberto D. was a film written by Cesare Zavattini (who also wrote "Miracle in Milan" and "The Bicycle Thief"), cinematography by Aldo Graziati ("Miracle in Milan", "Indiscretion") and music by Alessandro Cicognini ("Miracle in Milan", "Tomorrow is Too Late", "Anna of Brooklyn"). And the film would showcase people who have never acted before, with the exception of the trained dog who had appeared in several films prior.

The film was a cineaste favorite when it was released on DVD by the Criterion Collection in 2003, but now De Sica's masterpiece was released on Blu-ray by the Criterion Collection in Sept. 2012.

VIDEO:

"Umberto D." is presented in 1080p High Definition, black and white (1:37:1 aspect ratio). This new transfer on Blu-ray looks incredible compared to its previous Criterion Collection 2003 DVD counterpart. Picture quality is actually very good for a film created back in 1952 courtesy of the restoration done by Cineteca Nazionale-Scuola Nzionale di Cinema in collaboration with Mediaset and the original DVD transfer was quite impressive when I originally reviewed it years ago.

But watching it in HD, the detail of the film is impressive. Whites and grays were were well-contrast and black levels were nice and deep. The picture quality is clean and contrast is stunning. The Blu-ray release of "Umberto D." is fantastic and fans of the film will definitely see the improved transfer to be worth the upgrade from the original DVD to Blu-ray.

According to the Criterion Collection, the high-definition digital transfer was created on a Spirit Datacine from the original nitrate camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS and Pixel Farm's PFClean, while Digital Vision's Phoenix was used for small dirt, grain and noise reduction.

AUDIO & SUBTITLES:

As for the audio, audio is presented in Italian LPCM Monaural 1.0. Dialogue is clear and I heard no audio problems during my viewing of the film. According to Criterion, the soundtrack was mastered at 24-Bit from a 35 mm optical track print. Pops, crackle, hiss and hum were manually removed using Pro Tools HD, Crackle was attenuated using AudioCube's integrated workstation.

Subtitles are in English.

SPECIAL FEATURES:

"Umberto D." comes with the following special features:

That's Life: Vittorio De Sica (54:32) A 2001 documentary directed by Sandro Lai about Vittorio De Sica's career and behind-the-scenes footage from De Sica's past interviews, behind-the-scenes footage and more.

Maria Pia Casilio Interview (12:06) Filmed in 2003, Maria Pia Casilio talks about how a seamstress with no acting ability won the role for "Umberto D." and from that moment, how and why Di Spica gave her an opportunity to be in every film of his.

Trailer The original theatrical trailer for "Umberto D.".

EXTRAS:

"Umberto D. The Criterion Collection #201" comes with an 18-page booklet with the following essays: "Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D." by Stuart Klawans, "De Sica on Umberto D." and "Am I Battisti or Umberto D.?" by Carlo Battsti.

JUDGMENT CALL:

It has been nearly a decade since I have watched "Umberto D.", one of filmmaker Vittorio De Sica's masterpiece and a classic film of Italian neorealism that many will remember long after they have watched it. A film that resonates strongly within a viewer because of its heartfelt story, its circumstance and imagery of its time, but most importantly, a film that event today, many people experience similar situations of homelessness and being too old and relevant to others during a time where world economy is bad and one can only hope for the best.

"Umberto D." is a story about humanity, a story about hope and persevering no matter how bad things are and to protect those who you love or are close to, even when a person is unsure if they can do it or not.

When I originally reviewed this film years ago, it was during at time that I took an interest in De Sica's work. At the time I wrote, "And fortunately, both films are not alike with the exception that you have two older men who contemplate their life as "Ikiru" focused on a man who doesn't have much time to live, while "Umberto D." is about a man who is trying to survive and knowing he has no one to depend on, but yet his dog...his only companion depends on him and several times, Umberto has disappointed his canine friend. His stubbornness and not willing to find shelter but to see if he can prove to his landlord that he will not be kicked of his apartment can be seen as commendable, and that the old man still has enough fight in him. In "Ikiru", we see the value of life. In "Umberto D.", we see an old man's life thrown into despair and not knowing what to do with his life. Nor does he do much to fix it.".

Watching "Umberto D." once again, the relationship between Umberto and canine companion is important because for many older people, one must be inspired to live. For Umberto, the dog is his connection to life, having no family that he can depend on, no friends that he can depend on, it's his dog that needs him, depends on him and it's that relationship that captivates the viewer. We feel sympathy for both but knowing that old age, no job, during a time of despair...you feel as if things continue to be unresolved, hope may seem to far out of reach.

The film has so much relevance because I'm sure even 60-years after this film was released in theaters, I'm quite sure many people have met someone like Umberto. Young adult or elderly, family member or friend... I'm sure that there are times we have been apathetic and also frustrated by such people. This was a time of despair economically and while families had each other, those who were elderly and could not work were not seen as productive but as expendable.

And so, the message of the film was taken to heart by those who have watched it then and now. Interesting enough that the film was criticized because it was seen as a disservice to Italy according to Giulio Andreotti, Undersecretary of Public Entertainment, who wanted to see more healthy and optimistic cinema. But it's understandable as Italy was undergoing a tumultuous time of uncertainty. The government wanted to rebuild Italy to a positive nation and they needed their film industry to change the mood of its people. While De Sica and other filmmakers wanted to bring attention to social injustice and the need for social reform to help the poor.

Needless to say, it was a conflict in Italy's cinematic past and in the end, more people wanted to be entertained than be shown what they know already about their country's political and social problems and sure enough, Italian Neorealism would eventually start to transition into more upbeat films via commedia all'italiana or even neorealismo rosa, which later became more in demand.

Seeing the transition and changes in Vittorio de Sica's career, I look at "Umberto D." as a time capsule to Italy's past and grateful that the filmmaker used cinema to communicate to viewers that the people have the right to voice their displeasure towards their government and ask for social reform.

"Umberto D." and "The Bicycle Thieves" are important films by Vittorio De Sica, because we watch how this filmmaker wanted to see change and what best to use cinema as a powerful voice to communicate to millions.

I mentioned that "hope may seem so far out of reach" for Umberto D., but the ending of the film can be seen by different people with different interpretations. I tend to look at it as man's best friend giving the man a second chance at life. Whether your optimism or pessimism comes into full gear after watching this film, just know that its relevancy then continues to be powerful even now and this classic Italian film should be seen by all cinema fans. I would go as far to say that "Umberto D." is a must-watch film and for cinema fans, it's also a must-own. I believed back then that this film was a keeper and I still hold that belief today.

As far as the Blu-ray is concerned, the transfer to Blu-ray is fantastic. Back in 2003, my review was favorable because of its restoration and clarity on DVD. But watching it on Blu-ray, the clarity, contrast and overall picture quality makes this version the one to own. As for special features, I absolutely enjoyed the documentary about director Vittorio De Sica's life and also hearing from the actress Maria Pia Casilio and hearing how cool of a director De Sica truly was and how he treated her so well. You can only admire what De Sica brought to filmmaking but also when given the opportunity to create a film with no compromises.

Overall, "Umberto D." is a masterpiece. Cinematography was beautiful, the non-professional actors turned actors brought a wonderful performance for the film and Zavattini once again has nailed down a solid screenplay. Sure, "Umberto D." may not tug at your heart or make you cry like Kurosawa's "Ikiru" but the despair of his characters are quite real and relevant today.

It's Italian neorealism at its best and "Umberto D." is definitely a film that I highly recommend!

This is one of the seminal films of the post-World War 2 era.

If you want to break your Heart, this film delivers !

Buy Umberto D. (The Criterion Collection) (1952) Now

Very sad, in a way--happy in others....the life of an old man and his dog....DeSica does an incredible job, as usual--everything is just perfect in this film....the b/w picture looks very good on the blu-ray, and the sound is decent enough for what it is....it is the story and the way it is told that makes it all worth, though....the extras are a little on the light side for Criterion--no matter....one of the very best....

Read Best Reviews of Umberto D. (The Criterion Collection) (1952) Here

This is one of those rare movies, that it is a easy movie to watch, aside from it being a great movie technically. The blu-ray is awesome, movie does not feel "dated" in anyway.

Want Umberto D. (The Criterion Collection) (1952) Discount?

The Third Man (The Criterion Collection) (1949)

It was with great anticipation that I viewed The Third Man recently. I had last seen it nearly 25 years earlier. At the earlier viewing I was impressed with the atmospheric treatment of Vienna and the mystery surrounding Joseph Cotton's search for the truth about his friend Harry (Orson Wells). However, though I then thought of it as a very fine movie, I did not think it would rank in my top 20. Now I see what I missed as a younger person. I can also see why this film would rank as number one on a British list of greatest films of the 20th century.

The film is a surreal examination of the tension between loyalty, love, and friendship on the one hand, and truth and justice on the other. The Viennese are suffused with the cynicism of a destroyed continent and damaged culture. The British know only about the truth and justice side of the equation. The American writer of simple westerns still is naïve enough to care about friendship and truth, and follows both wherever they lead. At the same time, Carol Reed scarcely shoots a scene in which there are right angles. Nearly everything is tilted. Close-ups of faces exaggerate their features. The black and white of the film emphasizes the shadowy nature of the story and its moral underpinnings.

At first Holly Martins (Cotton) thinks he is helping his best friend, Harry Lime (Wells). At the same time he becomes Harry's rival for the woman, Anna. When Harry realizes that Holly has discovered his true evil scheme, Harry has a chance to murder Holly and make it look like an accident. What stops him? Friendship? And why does Harry accept Holly's invitation to meet? In the penultimate scene in the underground sewer tunnels, does Holly fire the final and fatal shot, or does Harry kill himself?

This magnificently filmed and wonderfully acted masterpiece has remained in my mind for days after seeing it. If you are a lover of cinema and not merely of movies, please get this classic. It richly deserves its reputation. Highly recommended.

I have always seen inferior prints of this film until I found this Criterion DVD and I must say, it was like watching a completely different film. The crisp b&w photography has been restored to the original pristine quality and one can easily see why this film took home the Oscar for best cinematography. The sound is also superb. The DVD is loaded with extra features such as the original opening monologue to the British release (voiced by director Carol Reed), a reading of the novel by author Graham Greene, archival footage of the sewer system "police" in Vienna (which plays a significant part in the film), and numerous stills with tantalizing behind the scenes information (like the fact that Orson Welles was so put off by working in the actual sewers that he refused to return and the crew had to build a sewer set at Shepperton Studios). There are many other extras as well, actually too many to remember. Bravo to Criterion for their amazing work on this classic film!

Buy The Third Man (The Criterion Collection) (1949) Now

The Studio Canal blu ray version of the Third Man is an ok transfer--but not as good as the version released by Criterion Collection. Having purchased the Studio Canal version, and then subsequently finding a new copy of the Criterion Collection version, it is apparent that each has used a print from a different source. In regards to the Studio Canal version, I noticed some less than stellar frames near the end of the film----where Joseph Cotton is leaning at the road side, watching Alida Valli walk by. In any case, the Studio Canal version isn't bad and I wouldn't discourage its purchase. But if you love this film and want the best print available---try to locate a copy of the Criterion Collection---before they completely disappear.

Read Best Reviews of The Third Man (The Criterion Collection) (1949) Here

According to Criterion, this 2 disc release should contain:

All-new, restored high-definition digital transfer

Video introduction by writer-director Peter Bogdanovich

Two audio commentaries: one by filmmaker Steven Soderbergh and screenwriter Tony Gilroy, and one by film scholar Dana Polan

Shadowing "The Third Man" (2005), a ninety-minute feature documentary on the making of the film

Abridged recording of Graham Greene's treatment, read by actor Richard Clarke

"Graham Greene: The Hunted Man," an hour-long, 1968 episode of the BBC's Omnibus series, featuring a rare interview with the novelist

Who Was the Third Man? (2000), a thirty-minute Austrian documentary featuring interviews with cast and crew

The Third Man on the radio: the 1951 "A Ticket to Tangiers" episode of The Lives of Harry Lime series, written and performed by Orson Welles; and the 1951 Lux Radio Theatre adaptation of The Third Man

Illustrated production history with rare behind-the-scenes photos, original UK press book, and U.S. trailer

Actor Joseph Cotten's alternate opening voice-over narration for the U.S. version

Archival footage of postwar Vienna

A look at the untranslated foreign dialogue in the film

Optional English subtitles for the deaf and hard of hearing

PLUS: A booklet featuring essays by Luc Sante, Charles Drazin, and Philip Kerr -Also: a web-exclusive essay on Anton Karas by musician John Doe

AUDIO: Dolby Digital 1.0 signal on 5.1-channel sound systems / two-channel playback.

Want The Third Man (The Criterion Collection) (1949) Discount?

It was with great anticipation that I viewed The Third Man recently. I had last seen it nearly 25 years earlier. At the earlier viewing I was impressed with the atmospheric treatment of Vienna and the mystery surrounding Joseph Cotton's search for the truth about his friend Harry (Orson Wells). However, though I then thought of it as a very fine movie, I did not think it would rank in my top 20. Now I see what I missed as a younger person. I can also see why this film would rank as number one on a British list of greatest films of the 20th century.

The film is a surreal examination of the tension between loyalty, love, and friendship on the one hand, and truth and justice on the other. The Viennese are suffused with the cynicism of a destroyed continent and damaged culture. The British know only about the truth and justice side of the equation. The American writer of simple westerns still is naïve enough to care about friendship and truth, and follows both wherever they lead. At the same time, Carol Reed scarcely shoots a scene in which there are right angles. Nearly everything is tilted. Close-ups of faces exaggerate their features. The black and white of the film emphasizes the shadowy nature of the story and its moral underpinnings.

At first Holly Martins (Cotton) thinks he is helping his best friend, Harry Lime (Wells). At the same time he becomes Harry's rival for the woman, Anna. When Harry realizes that Holly has discovered his true evil scheme, Harry has a chance to murder Holly and make it look like an accident. What stops him? Friendship? And why does Harry accept Holly's invitation to meet? In the penultimate scene in the underground sewer tunnels, does Holly fire the final and fatal shot, or does Harry kill himself?

This magnificently filmed and wonderfully acted masterpiece has remained in my mind for days after seeing it. If you are a lover of cinema and not merely of movies, please get this classic. It richly deserves its reputation. Highly recommended.

The Hudsucker Proxy (1994)

Two things killed this movie at the box office when it was first released: first, its title. Americans didn't seem to know what a "proxy" was, much less a hudsucking one. The second was its time of release. The movie came out in May as an early summer release but was actually a movie that would have been better received at Christmas. "Jaws" is a prototypical summer film. "It's A Wonderful Life," by comparison, would hardly be a summer blockbuster but sets the perfect tone for the holiday season. Come back in twenty years and you will find that "The Hudsucker Proxy" IS the Frank Capra classic for a new generation. It is Capra meets "Metropolis" blended with the smart humor of the Coens. The casting is near perfect. Tim Robbins is the naive and goofy savant. Paul Newman is as wonderful a villain as you will find as the evil Sidney Mussberger. Only Jennifer Jason Leigh takes a bit of getting used to as the tough talking reporter but she will move you by movie's end. I've had to beg, plead, wheedle and cajole my friends through the years to watch this movie and not let themselves be turned off by its title. Thus far it's left no one disappointed.

The movie's middle third is unbelievably funny, and Jennifer Jason Leigh is perfect. Buscemi shows up briefly during a scene at the Beatnik bar. The DVD isn't of great quality, though. The first hint comes from the fact that "Ethan" (as in "Coen") is spelled "Ethen" in the jewel case's blurb. As soon as you begin watching, you'll notice the graininess in the opening shots, and some jaggies during a pan from Tim Robbins on the ledge. The DVD is ok from then on, until you get to the dancing sequence with the white background. So, the disc is a hack job (maybe that explains the low price, too), but the movie is so well done you can overlook it for all but about 10 seconds.

Buy The Hudsucker Proxy (1994) Now

The Hudsucker Proxy is one of my favorite movies of all time. I won't go over what's so great about it because you can get all that just as well by reading the other reviews on this page.

I do want to address the quality of the DVD, however. While the DVD does offer both standard and widescreen mode (anamorphic, no less), it decidedly comes across as a sub-par job. The transfer is terrible, dark and grainy in places and completely washed-out in others (the dancing scene made me wonder if something was wrong with my player). The sound is in Dolby stereo rather than the 5.1 channel surround just about everything post-1990 is available in. Not to mention the complete lack of extras: no actor bios, commentary (which I would have really liked to have seen) -not even a theatrical trailer. For a movie of this quality, I would have expected a lot more.

I love this movie, so I got it anyway and am happy with it (after all, it won't deteriorate like VHS). But don't expect a Matrix quality disk or anything.

Read Best Reviews of The Hudsucker Proxy (1994) Here

If Fargo could bag an Oscar, The Hudsucker Proxy should be Required Viewing. To put it simply, this is sheer genius on tape, there really is so little not to like about this film.

The Coens attempted to revive the screwball comedy genre, and boy did they do it. Tim Robbins enjoys himself immensely as the gormless mailroom boy promoted to company President in the space of one day as a patsy to allow boardroom creeps to gain control of the Hudsucker company. Jennifer Leigh's amalgam of Katharine Hepburn/Rosalind Russell/Jean Arthur (from the 1930s) is priceless. I personally felt Paul Newman was a bit wasted in his role, but that's just me.

However, these performances would be for nothing if it wasn't for the marvellous scriptwitness the boardroom scenes in which the directors discuss how many floors it was that Mr Hudsucker fell ("not including the mezzanine") or the scene in which they interrogate Norville about his new invention. The script is also responsible for the fantastic line "Y'know, for kids!" which means nothing if you haven't seen the movie but now always makes me laugh whenever I think of it.

Film making at its finest. Rent it, steal it, embezzle it -but watch this gem!

Want The Hudsucker Proxy (1994) Discount?

In The Hudsucker Proxy the Coen brothers tackle the genre of classic American studio-produced comedy. It talks like the 30's, looks like the 40's and is set in a 50's New York that only exists as the workplace. The film, like any film by the Coens, is populated with characters that feel like they're something less than wholly human. The directors push their characters toward emulating the past's character actors with such uncanny precision that they become misshapen. None of these characters has a home or a life outside the workplace. The film, which follows the rise and fall of a mailroom clerk (Tim Robbins) that lives and creates the American dream, exists entirely within the tight sphere of its genre, and to stop to suggest more would only detract from the overall, streamlined effect.

In my opinion, The Hudsucker Proxy is the closest the Coen brothers have come to creating a mission statement. It's a clever satire of the phoniness of the studio system's product that simultaneously seems to be celebrating it (or, perhaps, its ability to expose its own falseness). There's such a corporate cleanliness and symmetry to the film that one suspects the brothers' main target is assembly line, Hollywood-ized narrative itself. It's probably not coincidental that this film was the first Coen brothers film with a significant budget (over $30 million). The film's key sequence, and perhaps the key to understanding all of the Coens' work, is one in which a female reporter's (Jennifer Jason Leigh channeling Katherine Hepburn and Rosalind Russell) investigations into what makes the Hudsucker Company tick take on a bold literal dimension. She meets Moses, a black custodian (a part that would feel racist if not for the film's satiric bent) that tends to the firm's oversized clock. The keeper of the machinery, he is the only person that understands the events as they transpire. He explains to Leigh's reporter the circularity of the situation and predicts the outcome of the events. The assertion here is that these characters act as they do because they've been programmed like machine parts to do so in order to achieve the film's desired outcome. In this film, which has been programmed so that the little guy will "win", he isn't even free to lose, since the story is ultimately being told by the big guys complete with their biases, stereotypes, and rigid sense of class structure. They've been getting rich off of selling the little guy a simpleminded, counterfeit dream that he eats up time and again. Worse yet, many little guys are tricked into thinking the big guy's version of their dreams is actually their dream. When the film closes with Moses' narration, his knowledge of another, similar, story that took place on an even higher floor that this one did sounds like nothing less than a threat.

It's rare to see such directness in a Coen brothers production, as they usually seem somewhat aloof about their motives. This film seems to be the key to understanding their work as a whole. Every head whip and hand swing of Leigh's character has to be accompanied by a whooshing sound because that's the requirement of the genre taken to its full extreme. They pump up the falseness inherent in this sort of character stereotype until it reaches its breaking point. In some of their films, such as O Brother, Where Art Thou?, the bubble breaks revealing nothing profound underneath the façade. In their better films like this one, and The Big Lebowski, their best film, they manage to make that core of hollowness a reprimand to the ideals that the film's very specific time and place represent. Here, Hollywood's corporate perception of the American dream being a direct function of ingenuity and hard work seems to be the target. The inevitability of the story's outcome and the pre-destined happiness of its stars both feel like arbitrary rules a cruel game. And cruelly, at the film's end, there's little implication that the future holds anything but more of the same.

Save 9% Off