The Urban Filmmaker

Film #285: "Guys and Dolls" (1955)

scotejavuse — Fri, 17 Feb 2012 19:53:12 -0800

Guys and Dolls. Joseph L. Mankiewicz. United States, 1955.

Guys and Dolls isn’t a bad film, but it isn’t necessarily a good one either. To me, the film’s biggest problem is that it isn’t all that memorable. There’s a lot of other movies I would rather watch and certainly a lot of musicals that I think outshine Guys and Dolls by a very wide margin. There isn’t much to see here besides pulp entertainment. You might even be at a loss to find that.

Grade: 6/10

Memorable moments: None that come to mind.

Film #172: "Double Indemnity" (1944)

scotejavuse — Sat, 11 Feb 2012 01:21:00 -0800

Double Indemnity. Billy Wilder. United States, 1944.

Double Indemnity was my first film noir. That’s a large part of the reason why I decided to watch it. There was something a bit mysterious about the film to me. I knew I would love seeing a film with a style I had never seen before.

Double Indemnity is such a fantastic film. I love old movies, but there’s something about this one that’s even more special. I think it’s just so well-written and so well-made that it was able to consistently keep my interest. Additionally, the cinematography is brilliant. The light is not only indicative of the setting, but of the mood of the narrative. When the plot turns darker, this is reflected in the cinematography. There are lot of long shadows, moody darks and piercing lights, all of which make Double Indemnity a very exciting film to watch.

Grade: 10/10

Memorable moments: The sexual tension, the cinematography, “Yeah. Two ‘F’s, like in Philadelphia.”

Film #141: "Citizen Kane" (1941)

scotejavuse — Fri, 10 Feb 2012 22:43:00 -0800

Citizen Kane. Orson Welles. United States, 1941.

I just saw this film for the first time recently and I was justly amazed. Though I myself would be incredibly reluctant to refer to any film as “the greatest of all time,” I can certainly see why so many place this label upon Citizen Kane.

Not only does the film continued its ability to keep attention, but watching it now makes it immediately apparent how much this film has inspired filmmakers, changed the art of cinema and shaken up the Hollywood system. Welles’ narrative is revolutionary, as is cinematographer Gregg Toland’s photography. It is very clear that both men heavily influenced their respective fields with this film.

Citizen Kane is a film worthy of its acclaim and practically demanding of multiple viewings.

Grade: 10/10

Memorable moments: The opening, the beautiful mirror reflection shot, the eerie and stunning final sequence (pictured above)

Film #28: "The Gold Rush" (1925)

scotejavuse — Sat, 19 Nov 2011 02:12:00 -0800

The Gold Rush. Charles Chaplin. United States, 1925.

Before I left for school, I watched the first half of Chaplin’s The Great Dictator, only to have to take it out of my DVD player and return it that night before finishing it. A few weeks later, the original 1925 cut of Chaplin’s The Gold Rush came to me via interlibrary loan. So despite having seen the first half of another one of his films, The Gold Rush is the first Chaplin film I have seen in its entirety, as well as my first silent feature film in general.

I knew beforehand that I would end up respecting The Gold Rush. Never did I think I would be so entertained, as well. It is truly a testament to Chaplin’s talent and comedic prowess that even after 85+ years since the release of this film, it is still able to elicit laughs from viewers.

The Gold Rush is so charming, so well-made and so refined in its gentle slapstick. Chaplin is proof that you don’t even need genuine dialogue to made a good film. While it might not be everyone’s cup of tea, I know I certainly enjoyed watching this film. I plan to watch more of Chaplin’s material. Hopefully his other works will also succeed in filling me with the same sense of wonder.

Grade: 9/10

Memorable moments: The teetering cabin scene, the opening sequence, Chaplin’s “little tramp” character

I'm back!

scotejavuse — Fri, 04 Nov 2011 19:29:39 -0700

If you’ve seen the recent review of Sinnui Yauman, you should know that I’m back to writing reviews, hopefully on a somewhat regular basis. Things are much calmer here, so I’m more able to get back at this again. A few things…first, I’ve decided to rename my blog ‘The Urban Filmmaker,’ mostly because I’ve discovered another blogger with the name name of ‘1001+ Movies.’ That, and I feel my new blog title is a bit more original. Also, I’ve signed up with a service called Disqus, so now you can leave comments on my posts. God only knows why you aren’t able to do this directly in the first place… Why does Tumblr always have to be so non-conformist? ;)

Films coming up soon:

~ The Gold Rush

~ Guys and Dolls

~ Nuit et Brouillard

~ Giant

~ North by Northwest

…and more!

Film #774: "Sinnui Yauman" (1987)

scotejavuse — Thu, 03 Nov 2011 23:07:00 -0700

Sinnui Yauman (A Chinese Ghost Story). Ching Siu-tung. Hong Kong, 1987.

While we can all love and respect films that have a deep or meaningful message behind them, sometimes we all just need something to kick back and have fun to. Though Sinnui Yauman is certainly a film of the latter category, its silly and fun storyline is strengthened by quirky performances, well-paced action sequences and intriguing special effects work.

Though this is an incredibly campy and very odd film, it has a sort of ‘cult classic’ feel to it. Sinnui Yauman embraces its strangeness and uses this quality to its advantage. I especially loved the sequences with the Tree Demon character, where every line of dialogue was full with the potential of being malicious, evil or just plain strange.

In my humble opinion, Sinnui Yauman is a finely made, incredibly entertaining film. In some aspects, it’s not exactly an incredible example of masterful filmmaking. In other ways, you might be able to say the exact opposite. Though this film is very hard to come by, it’s certainly not impossible to find. We can only hope Criterion will release this film in the near future so generations to come can experience Sinnui Yauman and all its swiftly moving, blissfully cheesy, demon-tongued glory.

Grade: 8/10

Memorable moments: The Tree Demon, the beautifully awkward comedic moments, the badass appeal of Yin Chik-ha, genuinely creative and original special effects work

*Reviewed for the 1001 Movies Blog Club

http://www.filmsquish.com/guts/?q=node/4577

An Apology

scotejavuse — Sun, 02 Oct 2011 20:46:50 -0700

Sorry for the recent lack of posts! I’ve just recently started going to school again, so things are a bit hectic right now. I assure though that this blog has not escaped my mind for a minute. I’ll be back to posting once things are more normal.

Jeff

Film #278: "Shichinin no Samurai" (1954)

scotejavuse — Tue, 13 Sep 2011 23:55:23 -0700

Shichinin no Samurai (Seven Samurai). Akira Kurosawa. Japan, 1954.

Shichinin no Samurai is yet another Kurosawa classic. The film tells the tale of a small village plagued by bandits. Desperate to keep their town alive, a few of the villagers go off to the city to hire protection in the form of seven samurai.

At three and a half hours, Shichinin no Samurai definitely runs into the ‘epic’ category of filmmaking. However, despite the long running time, no scene is superfluous. Kurosawa spends an enormous amount of time with the exposition of the film, yet this is crucial to the story. Seeing the depth of each individual character only makes it more effective to see them struggle, fight and in some cases, perish to the fall of their enemies’ blades.

As with any Kurosawa film, the cinematography is a sight to see. The shading is breathtaking and everything is perfectly framed. The acting is also noteworthy, with Toshiro Mifune in particular putting in another quirky performance.

It is easy to see how influential this film is, especially when Hollywood films like The Magnificent Seven and a bug’s life steal the plot completely. Even 55+ years later, Shichinin no Samurai is a feat in motion picture storytelling.

Grade: 10/10

Memorable moments: Toshiro Mifune, the marvelous dialogue, the film’s rare comedic moments, the final battle

Film #589: "Bring Me the Head of Alfredo Garcia" (1974)

scotejavuse — Tue, 13 Sep 2011 20:45:00 -0700

Bring Me the Head of Alfredo Garcia. Sam Peckinpah. United States/Mexico, 1974.

Today I take a break from chronological posts to review Bring Me the Head of Alfredo Garcia, this week’s selection of the 1001 Movies Blog Club, of which I am a member.

Alfredo Garcia stars Warren Oates as Benny, a bartender and piano player who has been given the task of traveling to the grave site of one Alfredo Garcia and chopping off his head. He then must deliver it to the associates of a wealthy man whose daughter Garcia slept with, knocked up and subsequently abandoned. Needless to say, the rich papa is pissed off, given the plot and title of the film. Along for the ride is Benny’s girlfriend Elita, a prostitute and incidentally, Garcia’s ex-lover.

A lot goes on in Alfredo Garcia’s two-hour running time, yet I was never once lost. The pacing of the film is perfect and the story is exciting enough to keep you interested. The action sequences are jarring and gloriously violent.

Surprisingly enough, this film was met with sour reception and a dismal box office response upon release. There’s some who today maintain that this is one of the worst films ever released. While Alfredo Garcia does have an element of silliness, it’s well-made and incredibly fun overall. I’m surprised it took so long for the film to find an audience.

I’m sorry, but anyone who thinks this is a bad film needs to see at least five minutes of an Uwe Boll production. Lighten up and accept Alfredo Garcia for what it is: two hours of prime entertainment. You don’t have to accept it as anything else and I sincerely doubt anyone is expecting you to anyway.

Grade: 7/10

Memorable moments: The action sequences, Kris Kristofferson’s cameo, the ending

http://www.filmsquish.com/guts/?q=node/4577

Film #274: "Rear Window" (1954)

scotejavuse — Tue, 13 Sep 2011 17:51:35 -0700

Rear Window. Alfred Hitchcock. United States, 1954.

Everyone loves Alfred Hitchcock and everyone loves this film. And I do too.

Time and time again, there’s two things that Hitchcock is absolutely fantastic with: building up suspense and creating fantastic characters. I would say Rear Window is generally known for both.

L.B. Jeffries is one of my favorite Hitchcock characters. He’s well-meaning, nice and you genuinely feel for him. Even the secondary characters are great, particularly Grace Kelly as Jeff’s girlfriend Lisa and Thelma Ritter as his nurse.

Rear Window has an interesting story, unique set design, pitch-perfect characters and a charming cast. That’s enough to call it one of Hithcock’s best.

Grade: 9/10

Memorable moments: The snappy dialogue, the subtle camerawork, James Stewart

Film #257: "Tôkyô monogatari" (1953)

scotejavuse — Tue, 13 Sep 2011 17:12:00 -0700

Tôkyô monogatari (Tokyo Story). Yasujirō Ozu. Japan, 1953.

My Asian Film professor once said that Ozu is like the anti-Kurosawa. Both are usually considered the best Japanese directors, yet the two couldn’t be more different.

Ozu is a very quiet director. His films are very understated and slow, yet meticulous in their approach. I found Ozu’s characters interesting and the images he puts together are undeniably beautiful. Yet, despite how hard I tried, I just couldn’t get into Tôkyô monogatari. It could be because of the modern American film style I’m so used to, but Ozu’s method was just too slow for me to fully get into.

I respect Ozu and his approach to filmmaking. Any decent critic can watch this film and agree that it is spectacularly filmed. On a personal level, I couldn’t indentify with it. I can appreciate Tôkyô monogatari, but I have a hard time embracing it completely.

Rating: 7/10

Memorable moments: Setsuko Hara’s adorable character, the two parents, Ozu’s subtlety with the camera

Film #256: "From Here to Eternity" (1953)

scotejavuse — Tue, 13 Sep 2011 16:54:30 -0700

From Here to Eternity. Fred Zinnemann. United States, 1953.

This film probably has one of the most iconic scenes ever (pictured above). It’s been spoofed countless times and thought you may not know the film associated with it, you’ve certainly seen this scene a few times before. That said, does anyone really remember anything else about this movie?

I may be alone with this, but nothing really stood out to me. Lots of pretty people running around Hawaii. Crazy dramatic situations. Frank Sinatra being a drunken fool… World War II and stuff… Yeah… It just didn’t all add up to me.

Much like Gone with the Wind, the biggest problem I had with this film was its war setting. Much of the film deals with the various drama and romance of the various characters and then, all of a sudden, Pearl Harbor happens. Why was this needed?

From Here to Eternity isn’t a complete waste of time and it certainly isn’t a bad film, it’s just not as good as you’d expect from a film with such an iconic image attached to it.

Rating: 5/10

Memorable moments: The beach scene, seeing Frank Sinatra try to act

Film #245: "Singin' in the Rain" (1952)

scotejavuse — Tue, 13 Sep 2011 16:34:35 -0700

Singin’ in the Rain. Stanley Donen and Gene Kelly. United States, 1952.

Singin’ in the Rain just might be the best musical I’ve ever had the pleasure of seeing. Not only does it feature fantastic classic music, but it isn’t afraid to have an enticing story and interesting characters as well.

The film tells the story of the Hollywood transition from silent film to sound, mostly through the characters of Don Lockwood and Lina Lamont, two ficticious silent film stars having difficulty with the transition, played by Gene Kelly and Jean Hagen respectively.

Everything about the film is expertly done, from the sweeping ’20s look of the sets and costume design to the flamboyant eccentricities of the characters. Hagen is particularly good as the stubborn and annoying Lina Lamont. Her performance alone is worth the watch.

However, Singin’ in the Rain is not dependent on its cast. It has a lot more going for it. It’s a fun, silly and incredibly entertaining piece of work. And don’t let the musical aspect turn you away. Even my older brother who hates musicals with a passion enjoys this film.

Grade: 10/10

Memorable moments: Jean Hagen’s performance, the music, Donald O’Connor running up the wall, the hilarious final scene

Film #242: "The Quiet Man" (1952)

scotejavuse — Sat, 03 Sep 2011 21:10:05 -0700

The Quiet Man. John Ford. United States, 1952.

To me, The Quiet Man serves as simple ’50s romantic fare and nothing more. Sure, John Wayne and Maureen O’Hara are a nice couple and I always love seeing Mildred Natwick on screen, but this film just doesn’t stand out to me.

For one, it is really hard for me to watch from my standpoint as a young man born in the ’90s. Keeping today’s standards in mind, The Quiet Man is filled with moments of sexism and gendered images. It might have been acceptable entertainment at the time, but it feels awkward to me.

I also felt that the two main characters fell for each other way too quickly. As I’ve said, Wayne and O’Hara have a good deal of chemistry, particularly in their first few scenes together and the scene in the cemetery (pictured above). The amount of exposition the screenwriter gave the two characters just wasn’t enough for me to fully accept their relationship.

However, The Quiet Man is still fun to watch. The climax in particular is quite notable and fairly entertaining. It just isn’t a film that I can see having substantial merit beyond any other sweeping melodrama romance of the 1950s.

Grade: 5/10

Memorable moments: Listening to O’Hara’s thick Irish accent, the climactic fight, John Wayne’s preposterously large bed!

PS- Why is it called The Quiet Man? He never seemed quiet to me…

Film #225: "Rashomon" (1950)

scotejavuse — Sat, 03 Sep 2011 20:26:00 -0700

Rashomon. Akira Kurosawa. Japan, 1950.

There’s a reason why Akira Kurosawa is known as one of the greatest directors who ever lived. Rashomon is sometimes considered to be his best film and though I haven’t yet seen all of his films, it’s certainly my favorite of his so far.

The plot is perhaps one of the most interesting I’ve ever seen put on screen. The film tells the story of a woman’s rape and her husband’s murder from the perspective of four different individuals. Though each side of the story has its own merits, it is ultimately up to the audience to decide who tells the truth, regardless of the hints Kurosawa drops along the way. Rashomon effortlessly shows that regardless of the content of their character or the strength of their conviction, it is impossible to ever know the truth behind someone’s words.

The pacing, the cinematography and the very intentional use of music and sound all combine to create an astounding visual experience. Rashomon is in every way a work of art. It looks, sounds and feels beautiful from start to finish.

As always, Kurosawa regular Toshiro Mifune is captivating as Tajōmaru, a thief and accused rapist/murderer. It is truly entertaining, as well as frightening, to see the madness Mifune puts into his character.

This is an intriguing, beautifully presented film. Though it may be becoming an overused word on this blog, Rashomon is a true classic.

Grade: 10/10

Memorable moments: The cinematography, the screenplay, Mifune’s performance as Tajōmaru, the woodcutter’s story

Film #195: "It's a Wonderful Life" (1946)

scotejavuse — Sat, 03 Sep 2011 20:03:00 -0700

It’s a Wonderful Life. Frank Capra. United States, 1946.

Many people have cherished memories of this film and it’s not hard to see why. For one, it’s hard to find a lot of people in the United States who haven’t at least heard of Capra’s It’s a Wonderful Life. From sheer popularity and nostalgia, it has become an All-American film classic. Whether the film holds up as a genuine classic is another question entirely.

I do in fact enjoy It’s a Wonderful Life. The idea that even the smallest things you do can drastically influence others is an incredibly strong concept. No matter how insignificant we feel, we affect the world just by living, surviving and communicating with others. The film makes this theory clear and even does a good job convincing you to believe it.

In my opinion, It’s a Wonderful Life certainly qualifies as a good film. Though it is a bit dated at times, it still retains its original charm and candor. Certainly a heart-warming addition to anyone’s film library.

Grade: 7/10

Memorable moments: The concept, the character of George Bailey, “Merry Christmas, Mr. Potter!”

What's Next?...

scotejavuse — Sat, 03 Sep 2011 19:38:00 -0700

Hey there, all! I took a bit of time off, but now I’m back! I still have tons of reviews to put up, so let’s not waste any time.

Expect to see reviews of these films coming up:

~ It’s a Wonderful Life

~ Rashomon

~ The Quiet Man

~ Singin’ in the Rain

~ From Here to Eternity

~ Tokyo Story

…and more!

Film #166: "Meet Me in St. Louis" (1944)

scotejavuse — Mon, 29 Aug 2011 18:16:50 -0700

Meet Me in St. Louis. Vincente Minnelli. United States, 1944.

Meet Me in St. Louis is such a fun film. The songs are fantastic, each one joyful and sweet enough to warm your heart. It’s also the first appearance of “Have Yourself a Merry Little Christmas,” perhaps the most sickly sweet holiday song ever concocted. Needless to say, you’ll probably finish the film off feeling all good inside.

Judy Garland is adorable, but she’s not enough to make the film anymore than a well-produced musical revue. The plot is thin and the dialogue is often weak, which really makes me wonder why this was put on screen instead of the stage. St. Louis features some great, classic music and that’s what it’s ultimately known for anyway. This isn’t necessarily a bad thing. Is Meet Me in St. Louis a “need to see before you die” kind of film? Debatable. But it sure is a Hell of a lot of fun.

Grade: 7/10

Memorable moments: “The Trolley Song,” “Have Yourself a Merry Little Christmas”

Film #152: "Casablanca" (1942)

scotejavuse — Mon, 29 Aug 2011 17:45:00 -0700

Casablanca. Michael Curtiz. United States, 1942.

Now here’s an example of a romance film that really works.

The film is fueled by the strong performances by the charming Humphrey Bogart and stunningly beautiful Ingrid Bergman. The believability of their complicated relationship works because of the definable chemistry between the two. They look and act great together, which is a key reason why Casablanca works so well.

The story would be another reason. Casablanca’s screenplay is rich enough for people of all walks of life to be able to enjoy it. The pacing is perfect, the dialogue is legendary and the plot is enticing. No matter how you look at it, Casablanca is an immensely entertaining and memorable film.

Grade: 9/10

Memorable moments: The famous final scene, Humphrey Bogart and Ingrid Begrman’s chemistry together, every line of dialogue

Film #134: "Fantasia" (1940)

scotejavuse — Sun, 28 Aug 2011 12:18:00 -0700

Fantasia. Samuel Armstrong, Wilfred Jackson, et al. United States, 1940.

Fantasia is undoubtedly the Disney studios’ greatest picture. The imagery is stunning, the themes are strong and the concept is revolutionary. This could be seen as the first truly adult animated film. Though segments like “The Sorcerer’s Apprentice” and “Dance of the Hours” seem to be geared to younger audiences, there’s also segments like “The Rite of Spring” and “Night on Bald Mountain/Ave Maria” (pictured above), that take a very serious, sometimes even dark approach.

The “Night on Bald Mountain” sequence in particular is an absolute classic. The eerie subject matter is only made stronger by the “good vs. evil” stance the sequence takes on. The Devil is shown to be a truly evil, spiteful, malevolent figure. Yet, good triumphs in the end. It is a beautiful moment of finite clarity in an already memorable film full of marvelous eccentricities.

If there is one thing to give Disney respect for, it would be this film. Fantasia is certainly the most clear example of early music video. Though the concept of visual music was toyed with earlier with experimental short films and cartoons, Fantasia was when the concept really stuck in people’s minds. This was a film that took on the concept of visual music and did something breathtaking with it. Without this film, there would probably be no MTV as we know of it. The whole music and film industries could be completely different.

In my humble opinion, Fantasia is the greatest animated film ever produced, as well of one of the greatest films ever made. Even today, it is a startling piece of work.

Rating: 10/10

Memorable moments: “Nutcracker Suite,” “The Sorcerer’s Apprentice,” “Night on Bald Mountain/Ave Maria” (pictured above)