Ben-Hur (1959)

So last night after I got home from my long day of Jury duty, I was so exhausted I didn't think I had the energy to even watch a movie. Then the thought occurred to me "I should watch Ben-Hur". I know it doesn't make sense that I would choose such a long film to cap my sleepy evening, yet somehow it was just the thing I needed.
Ben-Hur was one of my childhood favorites. I've always been a sucker for big epics, but over the years many of the films that I once loved have become taxing to watch, such as Cleopatra, and My Fair Lady. Not the case of Ben-Hur. For being such a Hollywood "Sword and Sandal" spectacle, Ben-Hur still holds up as good film making. I think part of this is because, though it is awfully long, it doesn't seem to have a lot of filler. The film doesn't stop to let you marvel at the sets and costumes, it just keeps the story moving. There is plenty to marvel at, but it never takes precedence over the characters. And of course the legendary Chariot race is truly marvelous, the stunts and camera work are virtuosic. The stunt coordinator was the legendary ex- stunt-man Yakima Cunutt, who besides performing stunts in countless Hollywood classics, performed the still hair-raising stunts in Stagecoach. Also, I find the Christian themes of the movie to be suprisingly light-handed considering the time the film was made. Though not for everyone, Ben-Hur is still high entertainment.

Groucho, I Love You!

I never would have thought that I would become one of those people that loves the Marx Brothers. I mean, it has always seemed to be a certain type of person that was really into them. And, I foolishly have always categorized The Marx Brothers with The Three Stooges, which I still hate. But Groucho is SO funny! He just slays me.

I have a certain fondness for the other brothers, Chico I think would be my second favorite, followed by Harpo. Harpo does have some brilliant moments, but his style kind of gets boring sometimes. Zeppo. Now really I shouldn't take it out on Zeppo, because he is the straight man. But the other brothers don't need a straight man, the rest of the world is their straight man, and Zeppo is kind of just dead weight. I'm sure he was very nice, but he was a bore. Groucho on the other hand is a genius. He is kind of like a funnier Woody Allen minus the Bergman. I'm reading this book HELLO, I MUST BE GOING -GROUCHO AND HIS FRIENDS and it is also hilarious. I had to buy it, the celebrity endorsements were unbelievable. Everyone from King Vidor, and Mae West, to Jacques Tati and Woody Allen. I couldn't pass it up, and I'm glad I didn't because it's so fucking funny. Hopefully it will help me pass the time tomorrow while I wait to be called for Jury duty.

Robert Wise

STANDING: Robert Mulligan, William Wyler, George Cukor ROBERT WISE, Jean-Claude Carriere, Serge Silberman, SEATED: Billy Wilder, George Stevens, Luis Bunuel, Alfred Hitchcock, Rouben Mamoulian. At a luncheon in honor of Luis Bunuel in 1972.

I love this picture. This is a gathering of cinema Gods. Sadly missing from this picture are John Ford, who had to leave this lunch early due to his poor health, Fritz Lang who wasn't available until the following day, and Jean Renoir, and I don't know why he wasn't here, but he should have been.

I have been thinking about this picture today because of the loss of one more of these great directors Robert Wise who passed away yesterday. Leaving Robert Mulligan and Luis Bunuel's writer Jean-Claude Carriere as the only survivors of this photo.

Wise would work his way up through the studio system, first uncredited, as a sound supervisor, then film editor, and finally feature film director.
Robert Wise was Orson Welles' editor on Citizen Kane(He was the last living crew member), and would later be in charge
of the legendary re-edit of Welles' Magnificent Ambersons. Wise began directing films for the legendary producer Val Lewton, who is best remembered for a string of brilliant low budget Horror films at RKO, including Jacques Tourneur masterpiece Cat People. It was actually The Curse of The Cat People that would mark Wise's directorial debut.
Over the next twenty years Wise would prove himself as a skilled director, at ease with virtually every conceivable genre. His films include, Born to Kill, The Set-Up,
The Day the Earth Stood Still (coincidentally I was preparing a post about this film when I read of his death),
I Want to Live!, Somebody Up There Likes Me, Odds Against Tomorrow, Run Silent, Run Deep, The Haunting. But he is most remembered for his brilliant direction of possibly the two greatest musicals of the 1960's
West Side Story, and The Sound of Music. He would win Best Director Oscars for each. After helming those super-productions, Wise would have more difficulty finding projects that suited him. He would continue to direct a wide range of films such as The Sand Pebbles, Star, The Andromeda Strain, Audrey Rose, and Star Trek: The Motion Picture. Robert Wise turned 91 last Saturday. The twilight of the film gods is now a little dimmer, with his passing.

Easter Parade

I'm just sitting on a wonderfully rainy summer afternoon watching the delightful Technicolor musical Easter Parade, starring Judy Garland, Fred Astaire, Ann Miller and Peter Lawford. This film is so much fun I don't care that it isn't Easter. So much talent! I really wish that actors still had to be so multi-talented. Now we are lucky if actors are merely attractive, charisma isn't necessary. Good acting now is often measured in how convincing the actor looks, or how much weight they gained/lost to play the part. Well fuck those people. I'll take Judy Garland, and Fred Astaire, two actors who would never get a job based on their good looks, but boy did they have talent.

Boudu Saved From Drowning

I'm Back! And though I now have plenty to talk about I seem to be short on time so I will try to be as quick as possible.
First up I need to talk about a true cinematic gem, Jean Renoir's 1932 film Boudu Saved from Drowning (Boudu suave des eaux).
This film is really spectacular. It is one of the several classic films that Renoir would direct during the 1930's. Other films from this period are La Chienne, A Day in the Country, Le Crime de Monsieur Lang, La Grande Illusion, La Bete Humaine, and The Rules of the Game, to name a few. Each of which I would strongly recommend. But first let me elaborate on why you must see Boudu.


Michel Simon is Boudu a Parisian Bum who jumps off a bridge and is quickly saved by Edouard Lestingois, a kindly well-to-do Book store owner, who invites Boudu to live in his house with his wife and servants. But this is no Pygmalion.

The diff- erences in social classes is hardly a new theme in film or art in general, nor was it when Renoir directed this film. Then why does this film feel so fresh unique? I feel that it is partly in how light-handed this film is. No one is judged. Lestingios, and his family are shown to be a little more reserved, but they aren't particularly stuffy, and they are shown be generous and considerate in rescuing and housing Boudu. But on that note, the Lestingois' seem to be fascinated by Boudu as if they were studying a wild animal. Boudu on the other hand is both full of life an sexual energy, arousing both desire and ire in the occupants of the household. But even Boudu seems unbearable to live with and certainly only masochist would continue to let him live in the house.

Renoir's use of Paris locations and live sound give this film a documentary like sense of reality. The parks, the sounds of traffic people chattering and birds chirping, all enrich this film with a vibrancy unusual in most films. Michel Simon's performance cannot be praised enough, Boudu practically jumps off the screen. He is almost constantly moving, and is usually crawling over furniture and other objects like a wild animal. Michel Simon's energetic performance is truly wonderful, even 70+ years later he still seems fresh and exciting.

If this film sounds to old for you, I would recommend watching the 1986 remake called Down and Out in Beverly Hills. Well, I really better go. I'll be back soon!

Be Right Back

I have a couple of posts coming soon. I just haven't found the time to finish writing them.
In the meantime, I thought I would show you one more reason why I love John Ford. This Picture. People this is what a great director looks like!
I'll be back in the next couple of days, with some Jean Renior, John Sayles and Robert Wise. Till then, enjoy the weekend!