October-November 2018

 

THE OTHER SIDE OF THE WIND (2018)

    I have been reading about and anticipating seeing this film since I first become entranced by movies and cinematic history. That was when I was in my early 20s. I am now 62 and director Orson Welles has been dead for 33 years.

    I can now say that I’ve seen the master’s final film; or, more accurately, I’ve seen a collection of half-baked improvised scenes that Welles shot between 1970 and 1974, assembled, with the best intentions, by Welles' acolyte Peter Bogdanovich and others.

    What is clear, more than anything on the screen, is that the reason Welles never finished editing the footage is that he realized, at some point, that he didn’t have a film among the thousands of hours of celluloid. He had an idea about a legendary director who, trying to recapture his relevancy, makes a film in the style of the hip 1960s and '70s films yet fails to attract financial backing. As much as he denied it, Welles was making a film about himself and he kept shooting scene after scene in hopes of creating something worthy of his reputation. He failed, and he knew it.

     What remains is an incoherent collage of indulgence, with little discernible story or characterization, nothing close to the bravado filmmaking style we associate with Welles or the intellectual rigor he brought to all his films. It almost feels like a practical joke Welles was playing on everyone involved, never imagining that someone (ironically his off-and-on friend/rival Bogdanovich) would pull it together and call it an "Orson Welles film."

     This film, if you can call it that, should be avoided by all but Welles’ completists.

       Most of the movie is set at an industry party in which this much-anticipated new film by Jake Hannaford (a seemingly uninterested John Huston) will be screened. A collection of crew members, sycophants, assorted directors and film critics mingle as Hannaford rambles from one room to another, insulting anyone who crosses him. Whatever impact these encounters might have had in the script (if there ever was one—another Welles scam) disappears on screen, largely because the director’s chaotic filming schedule.

     Conversations between Huston and party-goers were often shot years apart—as the frenetic cutting and different film stocks reveal—and never were all these performers in the same room, as detailed in journalist Josh Karp’s book “Orson Welles’s Last Movie.” The disconnect between characters is painfully obvious; there’s not a  snippet of dialogue in the film that feel real nor a moment of sincerity.

     If I hadn’t read the book on this film, I wouldn’t have had a clue as to what was going on. What I was left with was spotting familiar faces in the crowd.

    Those with substantial roles include Bogdanovich (replacing comedian Rich Little, who quit the film with no explanation months into filming) as a confidant and punching bag of Hannaford, along with veteran character actors Cameron Mitchell, Paul Stewart, Mercedes McCambridge, Edmond O’Brien and Norman Foster. Seen briefly are Susan Strasberg as a Pauline Kael-like critic, Lilli Palmer as the party hostess, directors Paul Mazursky, Dennis Hopper and Henry Jaglom as themselves, while among the extras, reportedly, are now disgraced ex-CBS president Les Moonves and future writer-director Cameron Crowe, then a teenager.

      Another prominent role is played by 23-year-old Wisconsin film critic Joe McBride, who connected with Welles by going to Larry Edmund’s Bookstore on  Hollywood Boulevard, where he was given Bogdanovich’s phone number and, within a day, receiving an invite to Welles home. Life, even Hollywood, was simpler in 1970. (McBride has gone on to a successful career as an author, critic and film teacher.)

     But actually anyone of a certain age should consider adding this film to their CV—no one will ever know if it’s true.

    The film within the film, which is titled “The Other Side of the Wind,” is Welles’ attempt to parody the emotional disconnect of 1960s art films of Michelangelo Antonioni. Welles' longtime mistress, Croatian actress Oja Kodar plays a mysterious seductress who has sex with a young man in a car and then, completely naked, chases him across various landscapes. It may be the longest continuous nude performance outside a porn film in movie history.

     According to the book, Welles kept spending more and more money—while paying his crew and actors only occasionally—with, in my judgment, no plans to finish the movie. While Welles was unquestionably one of the greatest talents ever to sit in a director’s chair, he was ill-equipped to deal with the compromises required to survive in Hollywood. And to get his way, he was more than willing to exaggerate and lie. He spent years deceiving investors, critics and movie fans about the progress of the film and then would renege on promises after he received the money he needed.

       Even after his death in 1985, the picture remained in limbo mostly due to the bickering of his daughter Beatrice and Kodar and the reluctance of anyone—offers were made to Steven Spielberg, Oliver Stone and Clint Eastwood—to “finish” the film.

    Sad to say, but it might have been much better if this film had never been seen, remaining a legendary lost film, like Alexander Korda's "I, Claudius" or Josef von Sternberg's original version of "Greed." Instead, the genie is out of the bottle and it’s not the last great film it was sold as for decades.

     It adds nothing to Welles legacy as a filmmaker, which remains pretty safe with no less than five great films, including his debut, “Citizen Kane,” which remains the best movie ever made by an American.

    "The Other Side of the Wind" is the perfect title for this collection of scraps from the table of a boisterous, charismatic one-time boy wonder who had run out of ideas. There is nothing on the other side.

A STAR IS BORN (2018)

   You could write a fascinating book about the four versions (five if you include “What Price Hollywood?” the 1932 source of the story) of this quintessential show business cautionary tale.

      It’s unusual that any story not based on a classic piece of literature has been remade so many times, but these characters and their fate connects to filmgoers in 2018 just as strongly as they did in the Great Depression, the 1950s and 1970s.

     At the center of all versions is alcoholism and the difficulty men have to taking a secondary position in a relationship, whether in the movie industry as seen in William Wellman's 1937 drama and the 1954 George Cukor musical or the two recent versions focused on singer-songwriters.

     You know you are in for more than your standard Hollywood recycling job when, in the opening sequence of the new version, country-rock star Jackson Maine (Bradley Cooper), on his way back from a concert, orders his limo driver to find a bar after emptying a whisky bottle.

      Maine spots a lighted door down an alleyway and directs the drive to pull over. Inside, the jam-packed bar features female impersonators except for one Ally (Lady Gaga), a singer as dramatic as the impersonators, who delivers an unforgettable version of Edith Piaf’s “En la via Rose,” that totally captivates the visiting celebrity.

    Ushered into the dressing room, Maine autographs a “girl’s” fake boobs and flirts with Ally, convincing her to get coffee with him. They spend most of the late night-early morning together, talking about her singing and songwriting. 

    This leisurely meet-cute sequence feels like it plays out in real time--it easily lasts for 20 minutes--and the dialogue between Maine and Ally sounds unscripted. At least in the early scenes of the film, Lady Gaga’s lack of acting skills are a plus; her reaction to the attention from a national celebrity seems authentic as is her reluctance to take center stage.

    More so than previous versions, the drinking of Maine is shown to be a problem from the start and, maybe this is a sign of the times, Ally’s fame isn’t presented as the source of his addiction.

     The film loses some of its energy during its second act as Ally’s career blossoms and she acquiesces to being remade into a pop diva. Cooper, who directs and also co-adapted the screenplay from all the previous pictures, straddles the fence on making judgments on what Ally is willing to do for stardom, how she wants to use her musical talent. (Ironically, a question that could be addressed to Lady Gaga herself.)

    Lady Gaga, whose natural charisma makes up for her amateur acting, and Cooper, who performs his own songs and never shies away from the dark aspects of the character give the very definition of movie star performances.

    In addition, there's Sam Elliott, bringing his usual cool presence and unaffected acting, as Maine’s older brother and manager. Here’s hoping the awards campaign for the film will also deliver an Oscar nominations for Elliott.

    This year’s “A Star Is Born” isn’t the great film that the 1937 and 1954 versions are, but it’s a well-written, memorably acted entertainment, benefiting from the powerful voice of Lady Gaga, that seems destined to add to the franchise's collection of Oscar nominations.

THE ODD COUPLE (1968) and LOST IN YONKERS (1993)

     Few writers, Shakespeare and Arthur Conan Doyle come to mind, have been the source of more motion pictures than playwright Neil Simon, who died in August at the age of 91.

   During his most productive 20-year period, from 1968 to 1988, his plays or original scripts were the source for 20 features, along with two television series based on “The Odd Couple” and eight TV movies. At least for a time, audiences couldn’t get enough of Simon’s New York-centered, bickering comedies.

     While I wasn't a fan of most of his works—he couldn’t resist a sentimental emotion or a hackneyed characterization (I never want to see "Sunshine Boys" or "Goodbye Girl" again)—he did write some memorable comedies in his early years and, near the end of his writing life, displayed the skill of making universal a retelling of his youth.

       “The Odd Couple” remains one of the quintessential comedies in Broadway history and, on screen, retains its dark, irascible tone while delivering on its classic comic setup, worthy of Preston Sturges. Jack Lemmon gives one of his defining performances as clean-freak Felix Ungar who, after his wife throws him out and a few half-hearted suicide attempts, moves in with the ultimate uncouth bachelor, Oscar Madison (a snarling Walter Matthau).

     While some of the humor feels dated—and why wouldn’t it after a half a century?—most of the punch lines still work as does the physical humor done to perfection by these superb actors.

     The long scene with the Pigeon sisters, a pair of British gals who live upstairs, on a double date with an anxious Oscar and a reluctant Felix is a superbly written and performed comedy classic.

      Both Matthau and Lemmon over-act to the hilt, seemingly trying to outdo the other, but it works, especially since these characters have gained legendary status.

     Lemmon’s performance owes much to Art Carney’s original stage performance as Felix—I noticed a handful of gesture that come directly from Carney’s Ed Norton in “The Honeymooners.” This role was made for Carney, but he wasn’t a movie star, so Lemmon, the perfect replacement, got the role.

    The more serious side of Simon is best represented by “Lost in Yonkers,” a remembrance play (and movie) about a pair of brothers forced to stay with their strict Jewish grandmother (Irene Worth) and her mentally challenged daughter (Mercedes Ruehl). The story serves as both a coming of age, autobiographical tale as the boys get a large helping of real life away from the protection of their father and a heartfelt tale of the boys’ aunt, who is determined to find a place in the world despite her handicap.

      Ruehl gives an emotionally unrelenting yet thoughtful performance as Bella, whose heart is broken when a young man (David Strathairn) is afraid to commit to their relationship after she stands up for her rights to her mother and shady brother (Richard Dreyfuss, in one of his most entertaining roles). That she wasn’t nominated for an Oscar is a crime.

      “Lost in Yonkers” is a finely structured slice of time story that, for me, played better in 2018 than it did when I saw it when it was released.

      There are a few other Simon-penned pictures that I’ve enjoyed: the Peter Falk-led “Murder by Death” (1976) is one of the funniest comedies of the late 70s; the histrionics of Lemmon and Anne Bancroft in "The Prisoner of Second Avenue" (1975) crack open a marriage on the brink; and the always hilarious Alan Arkin as a failed lothario in "Last of the Red Hot Lovers" (1972).

     Simon may not be considered in the same play writing league with contemporaries Sam Shepard, Edward Albee or August Wilson, but his popularity was unmatched in his time and out of that came a few timeless gems.

                   

FIRST MAN (2018)

     I’m not sure why it took almost 50 years for Hollywood to launch a film about the landing on the Moon. The event was only the most spectacular accomplishment since Columbus ran into North America—just maybe worthy of a motion picture.

     Both a biography of Neil Armstrong and a chronicle of the 1960s space program that leads up to July 20, 1969, the film opens in spectacular fashion, joining Armstrong in mid-flight of a rocky test run into the stratosphere. Better than any films I’ve seen, “First Man” captures the traumatic, beyond frightening experience of travelling outside Earth’s atmosphere.

    This is clearly a job for an exceptional human being; ironically, Armstrong seems anything but exceptional.

     A taciturn loner who recedes further from socializing when his young daughter dies of cancer, the Armstrong (Ryan Gosling) of the film makes up for his lack of personality with an unrelentingly dedication to the space program. It earns his a sport in the Gemini program—the bridge between the early “Right Stuff” guys' Mercury program and the Moon-bound Apollo flights.

     By the early 1960s, the Soviets are leading the space race and no one at NASA or in Washington is very happy about it. The film doesn’t shy away from U.S. failures along the way and the deadly risks faced every time another rocket was launched.

     At the same time that the space program is encountering ups and downs, Armstrong’s relationship with his wife (a riveting Claire Foy, Queen Elizabeth in "The Crown") and family grow more and more distant. He has become so laser-focused on his job and the mission that even the news that he will pilot Apollo 11 happens with little fanfare. Program director Deke Slayton (Kyle Chandler) tells him in the men’s restroom, almost as an aside, that he will be headed to the Moon. No high-fives or champagne popping; Armstrong, like most of the astronauts, are professionals doing a job.

    Director Damien Chazelle grounds the film in that sentiment, letting the audience appreciate the accomplishment of it all, rather than having the characters serve as cheerleaders. Working from another smart script from Josh Singer (“Spotlight,” “The Post”), Chazelle digs into the details of space travel and the incredible stress placed on everyone in the program.

     The director wisely leaves the dramatic for the real moments, like piloting a capsule to the Moon’s surface. For anyone who was watching the evening of July 20 when Armstrong and Buzz Aldrin walked on the Moon’s surface—surreal, something out of a Jules Verne novel—this film will resonate deeply. What cinematographer Linus Sandgren is able to recreate is pretty astonishing.

      It’s both an advertisement for the potential of American ingenuity and grit and, at the same time, a sad reminder that space exploration, so glorious in the 1960s and 70s, has been dismissed by the U.S. as too expensive.

     On paper, this would seem to be a role of a lifetime for Gosling, but the performance feels minor compared to the big picture of the story. No doubt he’s nailed Armstrong—the John Glenn of this group—but his unemotional, almost anonymous portrayal left me wanting for a tad more insight into this complex man.

    I wasn’t much of a fan of Chazelle’s previous, critically acclaimed films (“Whiplash” and “La La Land”), but he clearly is a talented filmmaker and his work here should be in the mix at Oscar time. Like Alfonso Cuarón’s “Gravity” and Denis Villeneuve's "Arrival,” “First Man” brings a bit of needed awe to the big screen. And this time, it’s about the real thing.

THE THIRD DAY (1965)

     As I move, slowly, into my seventh decade, movies of a certain vintage have become much like comfort foods. Not sure if the phrase "comfort movies" has been coined but for me it perfectly describes films from the mid 1960s to the late '70s.

     In general I'm not talking about the great films of the era, but middle-of-the-road programmers that filled screen between prestige Oscar-bound features.

    It doesn't really matter how good the movies are; just that they feature a handful of familiar faces in the cast and a modicum of snappy dialogue and interesting settings.

     "The Third Day" fits the bill to a T. This nondescript, by the numbers thriller stars George Peppard, at the pinnacle of his fame after hit films "Breakfast at Tiffany's" (1961) and "The Carpetbaggers" (1964), as Steve Mallory, a wealthy, self-indulgent businessman who loses his memory after a car crash. He doesn't remember anything--who he is, his wife, his job, his history, even the woman who died in the car he walked away from.

     But he seems rather pleased to discover that he's married to an attractive, if discontent young woman (Elizabeth Ashley) and runs a large plant that employs most of the town's citizens.

    The day after he arrives back home remembering nothing, he and the company's board must decide if they will sell the company or retool it to save the jobs. A version of this plot showed up in almost every crime-solving TV series of the era, though most made more sense. In almost every scene, one of the character acts irrationally.

     But few films can boast of such a sparkling cast.

     In the first 20 minutes of the film, a familiar face makes an appearance in every scene: Roddy McDowall playing the arrogant, deceitful brother-in-law; Mona Washington as the motherly aunt; Herbert Marshall as the comatose patriarch; Robert Webber as the eager district attorney; Arthur O'Connell as the family's clueless doctor; Vincent Gardenia as a hot-headed union organizer; Sally Kellerman as the trampy woman Mallory's mixed up with; and Arte Johnson (of "Laugh-In" fame) as her piano-playing, vengeful husband.

      I kept expecting Robert Wagner to show up as a  corporate lawyer or George Kennedy to appear as a bartender. And I'm not sure why there wasn't a role for Lee Grant as the randy sister-in-law.

    At the time of this film, Peppard was poised to continue as one of Hollywood's leading men into the 1970s, but personal problems waylaid his film career. Instead, he turned to television, where he starred in 1972-74 as the cool investigator in "Banacek" and then, in the 1980s, as part of the hit comedy-action series "The A-Team."

    "Third Day" director Jack Smight, one of the top TV directors of the 1950s and early '60s, would make use of another great cast in his next film "Harper," a classic Paul Newman detective picture and one of the eras defining movies.

Smight's run of features, before he returned to television, included "Kaleidoscope" (1966) with Warren Beatty, "The Illustrated Man" (1969) with Rod Steiger and "Rabbit, Run" (1970) starring James Caan in John Updike's classic.

      So instead of lamenting the lack of charismatic, familiar supporting players in contemporary films, I'll just keep going back to those classic years, finding movies that, despite lacking in artistic merit, serve as cinematic class reunions.

THE WIFE (2018) and COLETTE (2018)

     Along with the well-documented sexual subjugation that has gone on for centuries, women have also endured men hijacking their artistic achievements through the years, often by those closest to them.

     Good timing brings two such stories--one fiction, one based on historical record--of women whose literary skills were used by husbands to promote their own careers.

    In “The Wife,” Glenn Close plays Joan Castleman, the devoted wife of celebrated novelist Joe Castleman (Jonathan Pryce), whose lifetime of work has just earned him the ultimate literary prize, a Nobel. As the celebrations and preparation for the Nobel ceremony in Stockholm commence, the cracks in this long union begin to show, aggravated by a pushy wannabe biographer (Christian Slater), who hopes to circumvent Joe’s insistent “no.”

     What emerges is a woman who has stayed in the shadow of her famous husband, putting aside her own, very promising, writing career, at a time--the 1950s and '60s--when women did that regularly.

    If the plot, especially when it involves their adult son, a struggling writer, feels a bit pat with bickering that becomes redundant, the subtle, multi-layered performances by Close and Pryce carry the film. Swedish director Björne Runge tries too hard to make every scene a dramatic high point, making the film seem a bit stagey.

     Close, who has been nominated six times for Oscars, has never been one of my favorites; her performances usually seem a bit too calculated for my taste. But here she soars, revealing all the frustrations and bitterness that women through the ages have kept to themselves. It is her finest work on the big screen and should score her nomination number seven.

     Keira Knightley plays late 19^th Century sensation Colette, who enters the literary world when she marries an older man, who is a friend of the family and a literary con-man. I’ve read about his type before, not uncommon in the era; a high-profile, man-about-town whose bylines in newspapers and magazines have made him famous, but the stories are written by those in his hire.

    He becomes the public face and receiver of accolades though his talent is as an aggregator, not creator.

    In the case of Henri Gauthier-Villars, known as Willy (Dominic West), he enlists his clever wife into his operation soon after they are married, first as an editor and then taking credit for her stories about her youth. The “Claudine” books become a Paris sensation, with their teasing sexuality, vaulting Willy and Colette to celebrity status. Though Colette is the true author, she acquiesces to this masquerade, for a time.

     The film has some holes; leaps of time and logic that had me questioning how close the film was sticking to the truth and making it difficult to lay blame. But director Wash Westmoreland ("Still Alice") certainly knows how to get the most out of his actresses; Knightley hasn't been this convincing since "Pride and Prejudice" when she was 20.

     Eventually, Colette begins exploring her dormant desire for women, becoming a stage sensation in a provocative lesbian review (it has to be seen to be believed; especially considering early 20^th Century mores).

     But she does finally received her literary credit and is now remembered as a barrier-breaking writer, while her husband is long forgotten. Time, the avenger.

WHERE IS KYRA? (2018)

     I think Michelle Pfeiffer gives a pretty good performances in this indie picture about a down-on-her-luck middle-aged woman who takes desperate measures to survive. But I'm not sure: trying to be hip and European, director Andrew Dosunmu and his cinematographer Bradford Young ("Arrival") shoot most of the film in long shot and using available lighting. Even in the most dramatic moments, I couldn't swear under oath that the actress is Pfeiffer.

   At least one-third of the film was incoherent because of the way Dosunma shoots and directs the picture. I'm sure he would argue that he's representing the anonymous state of those in Kyra's economic situation and the dark times so many unskilled workers in contemporary America face. Great, but first do no harm. I never imagined I would have to take the title literally.

    He has turned what might have been an interesting little film into an confusing, unwatchable mistake. If I were Pfeiffer--who at 60 can't expect to score many good dramatic roles--I would sue.

    Divorced, unemployed Kyra manages while caring for her elderly mother in a Brooklyn apartment, but once the old woman dies, Kyra faces dire realities that spur her to  impersonate her mother to dip into her bank account and pension checks. (There's an attempt to explain why she doesn't have access to the deceased mother's money, but like the rest of the script--by Dosunma and Darci Picoult--it was presented so vaguely that I missed the detail.)

    I think Dosunma really want to make a silent film--it might have been more understandable.

    Kyra falls into a relationship with Doug (Keifer Sutherland), struggling to get by working as a daycare worker, who tries to offer emotional support, but her questionable ethics get in the way.

     I wanted to understand Kyra, sympathize with her situation, but the director expected me to care without knowing the details. That doesn't work for me.

August 2018

BLACKkKLANSMAN (2018)

    In almost all his films, Spike Lee has tackled various issues of American racism. Yet in recent years, his attempts have slipped into boorish proselytizing, losing his audience and his point.

     I hoped that working from a true story in his latest picture would rein in Lee's instinct to preach, but even when handed an incredulous story on a platter, the director takes a chainsaw to the issue rather than a more appropriate well-sharpened scissors.

    Lee's heavy hand kicks off the film, as he presents, confusingly, the filming of a propaganda newsreel narrated by a nerdy bigot named Dr. Kennebrew Beauregard (Alec Baldwin). He spews the usual racist diatribe of the 1950s, but why it's in the film I have no idea--it plays like something straight out of "Saturday Night Live," only pointlessly delaying the film's central story.

     Once the actual story begins, the film is riveting. It's the early 1970s and the Colorado Springs police department hires Ron Stallworth (John David Washington, Denzel's son) as its "Jackie Robinson," integrating the force.

     He's stuck in the records room until the chief needs a black man to work undercover at a local appearance by Black Panther leader Stokely Carmichael (a very memorable Corey Hawkins). Wearing a wire, with veteran investigators Flip (Adam Driver) and Jimmy (Michael Buscemi, Steve's younger brother), listening from the car, he makes friends with the attractive leader of the Black Student Union and then listens to Carmichael's rousing speech.

      But Lee isn't satisfied with showing the entirety of the speech; he intercuts a collage of the faces of the audience as Carmichael (then known as Kwame Ture) glorifies the uniqueness of African Americans. Is he making a motion picture or an instructional documentary for an African-American studies class?

    The result for Stallworth is a spot on the undercover unit, which means he gets to sit around and do nothing. At least until he notices an advertisement in the paper seeking members for the KKK. He calls, spouting hatred for blacks, Jews and Mexicans and soon has a meeting with the local chapter president.

    But, of course, he can't go. That's when Flip becomes the white version of Ron Stallworth. They work in concert to determine what this small group of white supremacists are planning. As Ron sarcastically tells his chief, "With the right white man, we can do anything."

     Eventually, a few rogue members of the group plan to bomb a meeting of the Black Student Union, where a civil rights veteran (played by 91-year-old actor-singer-activist Harry Belafonte) is speaking.

     This all happens during a visit  from the Klan's Grand Wizard David Duke (Topher Grace), who has developed a friendship with Ron through their phone conversations in which they share stories about the horrors of dealing with minorities. Yes, there is plenty of sarcastic humor, especially in depicting Duke.

  The once KKK leader is now an outspoken supporter of President Trump and in the film Duke is given plenty of lines that make him sound like the godfather of Trump's "Make America Great" strategy. (I don't believe they will be screening this at the White House any time soon.)

    The best performance in the film is delivered by Driver, who keeps showing up in interesting films such as Martin Scorsese's "Silence" and  Jim Jarmusch's "Paterson" and of course is a key figure in the recent "Star Wars" trilogy. Here, his character tries to minimize his Jewish background and maintain his professionalism, as he faces the rabid hatred of the Klan members.

    Washington is fine, but doesn't display the acting chops to really dig into the complex situation Stallworth faces. I hate to label it nepotism--Denzel was the star of two of Lee's best films, "Malcolm X" and "Mo' Better Blues"--but I would have liked to have seen Michael B. Jordan or Chadwick Boseman in the role.

    Bringing some humanity to the white supremacist is Ryan Eggold as the Colorado Springs leader who knows he's losing control of his group. Unlike most of these KKK stooges, his character shows some sense of intelligence, which makes his racism that much more frightening.

    Overall, though, neither side is presented with much complexity. The Black Student Union doesn't seem to have any plans other than to meet and reaffirm each other's opinions, while the KKK members seem to exist only to hate minorities. And Lee keeps throwing ideas on the screen that again seem like history lessons rather than filmmaking (like flashing on screen the posters of blaxploitation films as Ron and his girlfriend walk in a park.)

     The end of the movie feels disconnect, almost improvised in the offhanded, confusing manner it was shot. And I really didn't buy a scene in which the Klan and their wives hoot and holler as they watch "The Birth of a Nation" to celebrate the visit by Duke.

      I really have a hard time believing that a bunch of semi-literate men in white hoods sat in a room and watched a three-hour silent movie, even if it does glorify the Klan. It's used as contrast to Belafonte's talk about a lynching in the aftermath of the 1915 film's success, but, like so much of what fills the corners of this movie, it undercuts the seriousness of the story.

     And just in case the audience didn't catch on to the connection between 1972 and 2018, Lee ends the film with extended clips of last year's Virginia clashes between neo-Nazis and protesters that ended with the death of a young woman.

    There is so much to appreciate about this film that it's a shame Lee failed to turn it into a proper bookend to "Do the Right Thing," amazingly, released almost 30 years ago. The director was aiming for greatness, but he got in his own way.

    He can't help but become Professor Spike, determined to win our hearts and minds while connecting all the dots. It's not necessary. Anyone who goes to this film is already in the choir and knows the songs. Treat us like adults and maybe a great film will emerge.   

CRAZY RICH ASIANS (2018)

    If an ethnic group's idea of advancement involves appearing in its own poorly acted, over-produced, cliché-riddled and laughably shallow romantic comedy then congratulations. As long as it makes lots of money, right?

    Based on Kevin Kwan's bestselling novel, the story is as ancient as the city of Singapore: a woman of humble upbringing unknowingly stumbles into her boyfriend's world of unhinged wealth and disapproving mother (it's always the mother...), all of which she will overcome by closing credits. Just in case that wasn't obvious enough, the film also provides a wacky best friend and her loopy family, an amusing gay man to upgrade her look and wardrobe and a crushing downturn at the moment she seems to have triumphed against the harsh judgment of old money.

     Most disappointing in director Jon M. Chu's shiny object of a movie (like the "Sex and the City" movies, "Crazy Rich Asians" never stops admiring the bounty of wealth) is its leading man Henry Golding. Though saddled with a character, Nick, whose only attribute is his looks, Golding, whose previous "acting" experience was hosting TV shows, doesn't even try to bring this man to life.

      He cluelessly smiles through every scene. I was baffling why Rachel (Constance Wu of "Fresh Off the Boat"), a New York economics professor, had any interest in him at all, let alone be willing to face insults and humiliation from his family to keep his love. If this is such an important breakthrough for Asian actors, why couldn't the producers find an experienced actor for the lead?

     Though Wu doesn't have the screen charisma to carry a big-budget romcom either, her deer-in-the-headlights acting style works as her naive character struggles through hell week in Singapore.   

     Like so many American films filled with non-English speakers, it can be painful to watch fine performers (like Michelle Yeoh) look stiff and uncomfortable speaking English. (But, according to my wife, some of attempts to speak Mandarin were also pretty bad.)

    The only reason to see this oppressive picture is for the high-wire performance of hip-hop musician Awkwafina, who plays Rachel's college pal Peik Lin Goh. With a gravelly voice and an off-the-wall attitude that reminded me of Joan Blondell, Awkwafina provides the only real humor to the movie and steals every scene she's in. 

HOUSE OF FRANKENSTEIN (1944)

    Not having seen this all-star schlocky horror film since I was a kid, I was more than a bit surprised how entertaining this goofball picture remains.

      As the great-grandfather of the Marvel films that bring all the superheroes together, "House of Frankenstein" collects Frankenstein's monster, Dracula, the Wolf Man, a mad scientist (played by Boris Karloff, the original Frankenstein's monster in the 1931 horror masterpiece) and his loyal, murderous hunchback assistant.  

    The thread that pulls it all together is Karloff's Dr. Niemann, who escape from prison with his sidekick Dennis (who in their right mind names a horror film hunchback Dennis?) after an earthquake destroys the ancient prison.

    Neimann and Dennis (J. Carrol Naish, bringing some dignity to the role) hitch a ride with a travelling sideshow that claims to have the skeleton remains of Dracula and then, after dispatching the owner and his driver, take over the carney attraction.

      Neimann scheme is to travel to the village of Frankenstein and discover the legendary doctor's secret formula for creating life. Along the way, he sends out a now human Dracula (a dashing John Carradine, replacing Bela Lugosi) to do some revenge killing and picks up a gypsy girl who dazzles Dennis and prompts his dreams of having his brain transferred to a more attractive body (there's something very 21st Century about that concept).

      Anyway, they finally arrive back at Doctor F's destroyed castle and proceed to unfreeze (don't even ask...) the monster (Glenn Strange, who played the same role four years later in another childhood fav, "Abbott and Costello Meet Frankenstein") and the Wolf Man (Lon Chaney Jr. repeating his role from the original).

   All heck breaks loose, especially when the locals get their torches lit and head for the castle.

    As harebrained as all this is, the actors take it very seriously, led by Karloff, who could be an extraordinary actor in the right role and Naish, one of the era's top supporting players. The cast also includes Lionel Atwill, Sig Ruman, George Zucco and Elena Verdugo as the alluring gypsy. A few decades later she played Robert Young's assistant on the TV hit "Marcus Welby M.D."

    Erle C. Kenton, a director of little note who had been cranking them out since the silent era--probably his best work was "Island of Lost Souls" (1932)--does a first-rate job of keeping things moving and, with some inventive camera placement, adds some stylish touches.

     One of the problems with many of these old horror films is the lumbering pacing, but in "House of Frankenstein," the mayhem and crazed science stuff keep coming nonstop, creating a high-energy Universal classic clocking in at a tidy 71 minutes.

SORRY TO BOTHER YOU (2018)

    There's a movement afoot, the natural follow-up to the #OscarsSoWhite revolution, to integrate the community of film reviewers. Of course, I wholeheartedly support working toward adding minority voices to movie reviewing and the media in general. (Newspaper, if not all media, have made concerted efforts for decades to attract minorities and women.)

     Yet there are two points that must be made clear in the rush to democratize the profession:

    1) Despite what many readers believe, writing a positive review of a film isn't about supporting the product or the actors or the director or for the purpose of offering alternative viewpoints into the market. Good intentions are a great place to start, but it always comes down to execution.

    A bad film is a bad film, whether it's about rich white people's romantic entanglements or a poor Latino's struggle to put food on the table. The reviewer's job is to evaluate the film's message and aesthetics, but one can't cancel out the other.

    2) My race or ethnicity does not disqualify me from evaluate a film about Koreans or African-Americans in the same way that a black critic can judge a Martin Scorsese film about Italian mobsters or a Chinese critic can rate an Iranian drama. That I'm an old, straight white man who may not be as open to a film about a gay, African American drug dealer or a transsexual with identity questions doesn't make my opinion any less valuable.

    As long as I go into every film with no expectations, open to all worlds, all lifestyles, all stories, then I am doing my job. What the reviewing community really  needs are more writers who have seen thousands of films from all eras and understand the ebb and flow of cinematic history.

    In today's world, created by the internet, in which expertise has lost its cache and all opinions are just numbers on a board (the abominable Rotten Tomatoes), it's more important than ever to make it clear that just because everyone has an opinion doesn't mean every opinion should hold equal weight.

     But I understand what's going on: If I had spent most of my film-going life watching film after film of another race or ethnicity depicting its highs and lows, its laughs and tears, its story, I would be chomping at the bit to promote a movie that shows my people living their lives.

       In fact, I seriously doubt that I would have devoted so much of my life watching, reading and writing about motion pictures if I wasn't a white male. It's sad to say, but 120 years into the art form and you can count on one hand the number of great films made by African-American or women filmmakers. They just haven't had the opportunities.

    So here's the thing: the more people who write about films the better, whether it's for the Los Angeles Times, the New Yorker or a little-seen blog (thank you for reading), but being a critic isn't about promotion or representing; it's about judging art and guiding your readers to films that stand out among the nonstop mediocrity Hollywood spews out each week.

      By now you're wondering why I attached this rant to my review of "Sorry to Bother You." Not because I'm unqualified to critique this satire centering around a poor young black man, but because this poorly made and acted film with a script that resembles a college student's first effort, played nationwide after overwhelmingly positive reviews from a collection of reviewers apparently in need of diversity.

    Just as #OscarSoWhite conveniently ignored "12 Years a Slave," 2013 best picture winner, those looking for more attention for non-mainstream pictures haven't been paying attention. The current gatekeepers are doing a fine job of making sure indie films telling stories about underrepresented lives are given props--sometimes even when they don't deserve it.

    "Sorry" starts off with Cassius Green (Lakeith Stanfield of "Get Out" and "Crown Heights") landing a call-center job by lying about his previous work and accomplishments (he makes his own employee of the month plaque). After advice from a fellow caller (Danny Glover, of all people) he starts using his "white voice" when he makes his "cold" calls.

    But instead of having the actor imitate a "white voice," which would have been amusing, the filmmakers dub in as high-pitched nerdy white voice (David Cross). The film lost me at that point and only got worse. Cassius does so well that he's promoted to the "Power Caller" sales floor at the same time that his fellow workers are pushing for higher wages.

    What he finds upstairs is institutionalized corporate slavery being sold as a comfortable, stable life--all run by a fast-talking B.S. artist (Armie Hammer). The message seems to be that working in white, corporate America is like selling your soul to the devil and that only among the working class can you retain your integrity. Yet at every point, the film pushes the satire into absurdity, requiring a deft touch that director doesn't deliver.

    It's an admirable effort and Stanfield displays a winning personality, but like an amateur effort, it moves from one awkward scene to another.

THE HUMAN FACTOR (1979)

    Usually, the reason moviegoers lament that "it wasn't as good as the book" is that the film doesn't follow the exact plot points of the novel. But, as anyone who cares about literature knows, the source of a book's greatness is only marginally connected to the plot.

    This lifeless adaptation of Graham Greene's brilliantly written story of British intelligence and double agents covers the plot as if it was brought down from the mountain etched in stone. What veteran director Otto Preminger ("Laura," "Anatomy of a Murder")--in his final film--and esteemed screenwriter Tom Stoppard ("Brazil," "Shakespeare in Love") fail to communicate is the psychological angst and unrelenting paranoia that those in the service live with every hour of the day.

     No writer was ever better in exploring the wounds left by class, work status and lifestyle choices of mid-century Englishmen. Greene's ability to search a character's heart and mind to show how that translates into the choices that determine fate has rarely been matched.

   The film's primary deficit is lead actor Nicol Williamson, one of Britain's top stage performers of the 1960s and '70s who never seemed to grasp acting for the camera (his best film role was as Merlin in "Excalibur").

    Here he plays Maurice Castle, a middle-age, rather bland desk worker in London whose previous undercover work in South Africa makes him valuable as Britain and other Western powers are working with the white Afrikaners to stop the black anti-apartheid movement.

     At the height of the Cold War, the cause was seen as being too closely connected to communism and the Soviet Union. It wasn't until Nelson Mandela became a worldwide hero that the West woke up and recognized the brutal racism of the regime.

    When a leak in the spy network is discovered, new security chief (Richard Attenborough) suspects Castle's office mate Davis (Derek Jacobi), a younger, unmarried man who drinks too much. Before the issue is settled, a rather treacherous company doctor (Robert Morley) takes matters into his own hands and poisons the suspected traitor.

    That's when the real intrigue begins, complicated by the presence of Castle's black South African wife, played by Iman, a famous model of the era (and David Bowie's longtime wife) whose acting skills are almost non-existent.

     The film--and more so the book--is a powerful reminder that the West's self-styled reputation as supporters of freedom is a lie perpetuated to cover less-than-admirable maneuvering behind the scenes. Across Africa, Britain and other European powers could have cared less about the fate of the natives, just as we ignored the will of the people in Latin America. More important was stopping any hint of Communist influence.

     While Greene expresses so much through his few characters and simple plot, Preminger, in his final film, tells us little beyond the characters' tragic fate.

     Attenborough and Morley bring some intrigue in their supporting roles, as does Jacobi as an innocent victim, but Williamson never comes close to capturing Castle's internal struggles as he makes life-altering decisions in the blink of an eye.

THE VIETNAM WAR (2017, TV)

      After experiencing Ken Burns' examinations of "Baseball," "Jazz" and "The Civil War," it is very easy to tire of his style: the repetitive, power point-like stills, the over-dramatic narrative, interviews with the same historical experts and sentimental use of pop music. Not that I didn't enjoy them, but I always felt like I was watching a compilation about a subject, rather than a thorough documentary.

   But "The Vietnam War" is something very different. Making use of the hundreds of hours of video filmed by television networks during the war and interviewing dozens of veterans of the war on both sides of the conflict, Burns and co-director Lynn Novick have created one of the most complete, compelling and emotionally powerful documentaries ever made on an important event.

      Over 10 episodes and 16 hours, this massive, PBS-produced undertaking brilliantly dissects the most divisive American conflict since the Civil War, offering plenty of evidence that the fault lines formed during the war have never really healed. The divide that is being played out in full-force in 2018 started when young people first hit the streets in protest against the Vietnam War.

        The most eye-opening aspect of "The Vietnam War" is the historical video of the North Vietnamese during the war and the contemporary interviews with those who fought for 10 long years against the United States. The viewpoint of America's enemy, offering a perspective rarely seen in war documentary, not only helps explain the thinking behind strategies and counter-attacks, but makes the enemy real.

      Burns and his longtime writing partner Geoffrey C. Ward do a thorough job of explaining the involvement of the French, the weak and corrupt leadership of South Vietnam and the inner workings of the Communist North, under the revered rule of Ho Chi Minh and Le Duan, who essential ran the North's war effort during American involvement.

      And then there are the interviews with U.S. veterans. Offering the narration and emotions to the gunfire of the black-and-white newsreels, the doc presents the stories of individuals who survive and those who didn't; those who remain true believers and those who despise our government for lying to them; even those who returned to America and turned into protesters. It's damned complicated.

     There wasn't an episode that I didn't tear up multiple times, moved by both the tragedy and the heroics of our involvement as seamlessly narrated by Peter Coyote. I was very lucky to have avoided the draft, missing it by just a few years, but that doesn't mean the war isn't part of my DNA; living through it on television every night as a teen; hearing of local kids killed; arguing with my parents over the rights of protesters; questioning the decisions of Washington; revolted by the revelations of the Pentagon Papers, it was the defining event of my youth. And it continues to influence my politics, my trust in government, my feelings toward warfare.

    One thing I had forgotten--because it seems almost surreal--was that even into the 1970s, after Richard Nixon had taken office, most Americas still supported the war. To hear, 40 years later, the anger of working-class America toward young protesters they saw as unpatriotic, makes today's politics more understandable. It never stops amazing me how much the status quo hates the basic America right to protest.

     Equally sad, is hearing the conversations of President Johnson with Defense Secretary Robert McNamara and Secretary of State Dean Rusk, in which the hopelessness of the war is acknowledge and that saving face is reason enough to keep sending more young men to die.

   Eventually, even 18-year-old draftees began questioning why dozens of their friends had to die to take a hill that the U.S. retreated from the next day.

    And then there's the great pop-rock score, music from the 1960s and early '70s that has become intertwined with the war and the times, superbly programmed into the clips by rockers Trent Rezner and Atticus Ross. Each episode ends on a cathartic note, whether it's Crosby, Stills, Nash and Young's "Ohio' after the Kent State shootings are recounted or The Beatles' "Let It Be" after the final American evacuation.

      I know not many of you are going to watch a 16-hour documentary about a event that began over a half-century ago, but, especially for a generation that lived through it--either there or here--it's worth every minute. Stop binging another paranoia-filled government conspiracy series and re-experience the real thing. It should not be missed.

June-July 2018

CONFLICT (1945) and PITFALL (1948)

    I don't believe I've ever written about Turner Classic Movies, but it remains the best channel on television for anyone who loves motion pictures. Though I've seen 80 percent of its collection, each month there at least a few pictures I want to see that aren't among its Top 100 rotation.

    But even when they are showing "Gunga Din" or "Double Indemnity" for the thousandth time, the hosts (and unsung writers) bring something interesting to the show.

    Robert Osborne, who died last year, was an engaging host who brought a personal touch to the station's classic movie library. And his sit-downs with celebrities co-hosts on "The Essentials," especially the insightful and knowledgeable Alec Baldwin, were thoroughly entertaining.

      Ben Mankiewicz, grandson of screenwriting legend Herman Mankiewicz, has turned out to be the perfect heir to Osborne's throne.

      But the segment that has become must-see TV for movie fans is the Saturday night segment, "Noir Alley," featuring Eddie Muller, the charismatic film historian of 1940s and '50s crime films, who introduces an offbeat noir, often featuring a recently restored print.

     Muller goes beyond the usual pre-movie chatter and digs deep into the production, director and actors involved in the film. And, unlike most TCM hosts, he offers strong opinions, promoting unsung filmmakers and giving spot-on appraisals of performances.

        Not that all his opinions line up with mine. Thought I've recently become an admirer of director Andre de Toth, I was disappointed with "Pitfall," despite Muller's high praise. The stoic Dick Powell plays Forbes, an insurance investigator who is bored with his family, his job, his future. And then he meets Mona (the sultry Lizabeth Scott) whose boyfriend sits in jail for robbery and the insurance company wants the fruits of the crime (her furs, her jewelry, their boat).

    Forbes quickly falls into an affair with Mona, but not before a creepier investigator, played by the always menacing Raymond Burr (at least until he became Perry Mason).

    The film plays out at a snail's pace and isn't helped by Powell's lethargic performance. (Though when he hauls off and punches Burr it's a helluva shock.) Powell isn't up to the task of depicting depression, without being dull.

    Typical of de Toth films, "Pitfall" doesn't shy away from adult issues minus the usual Hollywood candy coating, but that doesn't make it a good movie. I kept imagining Humphrey Bogart or Robert Ryan or Sterling Hayden in the lead.

     "Conflict," that actually does star Bogart, was the rare film by the legendary actor that had somehow eluded me for the past 40 years. Though it wasn't released until 1945, it was the first film he made after "Casablanca."

    He plays an unhappy married man who is in love with his wife's sister (Alexis Smith). No, this isn't a heartbreaking story of unrequited love; it's about a psychopathic stalker--a bit of a change from the noble Rick from "Casablanca."

    But putting bad casting aside, Bogie never finds the right tone for this snide, slippery character who plots the murder of his wife and then pretends to investigate her disappearance while pursing the object of his desire.

     Nothing is the film is very believable, especially the philosophical discussions between Bogart's Mason and Sidney Greenstreet's psychologist, who is mixed up in the case because he's a family friend. But even with its rather ludicrous plot, it's pretty entertaining; that's the greatness of Bogart.

    Afterwards, Muller educated the viewers on the film's director, Curtis Bernhard; its similarity to "The Two Mrs. Carrolls" (1947), also starring Bogart and Smith; and how much Bogie hated during the film.

    I have no idea what movie is scheduled for Saturday on Noir Alley, but that hardly matters--I'm watching.

AMERICAN ANIMALS (2018)

     Remember those laughable scandal recreation shows that were popular in the 1990s, when reality TV was just emerging? They were car-accident bad, with soap-opera style acting dramatizing the worst moments in the lives of famous people.  

        Writer-director Bart Layton, a British documentarian who mostly works in television, has taken that idea to a new level, combining a documentary on the 2004 attempted theft of Audubon's "Birds of America" from a college library with a fictional telling of the shaggy-dog story.

     Barry Keoghan plays Spencer, a bored college freshman at Transylvania University in Kentucky, who seeks tragedy (or some kind of pain) in his life as a means to become a great painter. Who hasn't felt, especially in early adulthood, the stifling reality of an easy or boring life? Yet committing a crime just might be taking it a bit too far.

    After seeing the infamous "Birds of America" under glass in the library's special volumes room--the 1838 collection of watercolors that has long been among the world's most valuable books--he imagines, with the help of his nihilistic buddy Warren (Evan Peters), snatching it and selling it for millions.

    When Chas and Eric join the team, plans for the amateurish heist begin in earnest.

    Layton plays with the slippery idea of truth by offering alternative versions of what actually happened, while focusing on the darkly comic screwball aspects of the events. Even with the often self-serving interviews of the real guys intercut with the drama, you never feel these are anything other than self-centered idiots who deserve their inevitable downfall.

   Though at first I was resistant to the meshing of fact and fiction (remember New Journalism?) but "American Animals" works as an interesting hybrid, propelling by the performances of Peters (Quicksilver in the "X-Men" series) and Keoghan (who played the boat pilot's son in "Dunkirk") along with their real-life counterparts, who can't help "acting" for the camera.

    I'm not sure Layton had this in mind, but, for me, the film begs the question of what constitutes reality in a world where millions obsess over staged reality and perform for the camera (the curse of social media) every chance they get. Everyone wants to be a star in their own little world.

WON'T YOU BE MY NEIGHBOR? (2018)

        As a kid growing up in Western Pennsylvania, I was a bit frightened by the puppet King Friday and his kingdom and never really appreciated "Mr. Rogers' Neighborhood." In fact, it wasn't until Eddie Murphy offered up his perfectly executed satire on "Saturday Night Live" in the early 1980s of the sweater-wearing children's show host that I recognized that Fred was more than a Pittsburgh celebrity.

   What this documentary does best is reveal what an island of calm, love and thoughtfulness Fred Rogers and his landmark show provided as the coarsening of TV programming, even for children, took place in the 1970s. The film shows Rogers as both innovator and traditionalist in a time when the educational values of television were being drained.

  Filled with clips of the show and interviews with those who worked on the show along with Rogers' widow and sons, the documentary, directed by Morgan Neville, Oscar winner for "20 Feet From Stardom," makes the point that gentle friendship and a kind word goes a long way to making children feel safe and special.

    What the film can't deliver, despite extensive interviews, is an real insight into Rogers beyond his career arc. His dedication to the show and bringing a sense of self-worth to children was obviously central to his being, but Neville never finds the man beneath the saint. Rogers died in 2003. 

     Yet even as someone who grew up near Pittsburgh, where Fred is revered on the same level as sports heroes like Roberto Clemente, Joe Greene and Mario Lemieux, this film gave me a greater appreciation of how special this seemingly simple, kids-show host was.

AND SO IT GOES (2014) and BOOK CLUB (2018)

    Diane Keaton, an actress who made the most of her quirky, stumbling mannerisms and eccentric fashion sense, seemed destined to fade with her youthful exuberance. Even for a major star, hitting 50, let alone 70, usually signals the slow career fade-out for actresses. Yet she's outlasted nearly everyone.

     While she's not getting Oscar-bait Meryl Streep roles, she has cornered the market on the few films where the role of wife (or widow) is equal to the male role.

    The turning point for Keaton came with her Oscar-nominated performance as the repressed writer who inexplicably falls for a lifelong playboy (Jack Nicholson) in "Something's Gotta Give" (2003). But more recently, she's played wife to  Kevin Kline ("Darling Compansion") and Morgan Freeman ("5 Flights Up") and romantic interest to Brendan Gleeson ("Hampstead"), Michael Douglas ("And So It Goes") and Andy Garcia ("Book Club").

  "And So It Goes," plays like a follow-up to "Something's Gotta Give"--minus the retired Nicholson-- with Douglas as Orin, the grumpy, ridiculously wealthy widower, who rents a summer cabin next door to Keaton's Leah.

     Orin, who conveniently owns the complex, gripes about the tenants, their children, their dogs and just about everything else in his sightline. Then, like a plot turn out of a Lifetime movie, his son, on his way to prison, drops off his young daughter.

    Meanwhile, Leah, also widowed, is trying to carve out a career as a lounge singer (a nod to her "Annie Hall" role?) with the film's director Rob Reiner, sporting a hilarious hairpiece, as her pianist-manager. Together, Leah and Orin care for the little girl and, of course, romance blooms.   

     Written by Marc Andrus, who mined this territory before in "As Good As It Gets," (even the titles all mesh together) and directed by romcom veteran Reiner, the picture does a good job of a creating a pair of interesting characters, but the plot development is as stale as a TV sitcom.

    "Book Club" is another set of wealthy Americans trying to find meaning in old age (has Hollywood lost interest in the working class?). Four women, played by Keaton, Jane Fonda, Mary Steenburgen and Candice Bergen, are spurred to reconnect with their sex lives when they read "50 Shades of Grey" (and its sequels) as part of their book club.

   Writer-producer Bill Holderman ("Walk in the Woods"), making his directing debut--how'd you like that cast for your first picture?--does his best to appeal to both the older crowd, with real senior issues, while offering a non-stop string of sex jokes required of contemporary comedies. While the film doesn't hold together, the actresses all get a chance to shine and, for those of us of a certain age, that's more than you expect from a 2018 comedy.   

     While I've seen Fonda, Keaton and Bergen in many films in the past 20 years, seeing them all together in "Book Club" was a bit startling. Where have the years gone? Is it really possible that these sex symbols from my youth are very senior citizens (Jane is 80!)? While they all look great for their age (though Fonda may have gone a bit far in trying to retain her youth), it's just not something I ever imagined back in the 1960s and 70s when they were the epitome of youth.  

    For Keaton, the last 15 years has been the best period of her career since her six-year peak in the late 70s and early 80s. Back then, she took home the best actress Oscar for "Annie Hall" (1977), the followed with "Looking for Mr. Goodbar," "Interiors," "Manhattan," "Reds" and "Shoot the Moon," each a brilliant and very different performance.

     As one of the industry's most notable bachelorettes, with high profile romances with Woody Allen, Warren Beatty and Al Pacino, and a fashion icon even at 70, Keaton doesn't rely on hit films to be a marquee name.

     But I think she's long been underrated as an actress; she's an American original who brings her distinctive screen personality to each role, making even mediocre films entertaining, almost always molding her character into someone seeking the truth about themselves. Keaton ranks with Myrna Loy, Carol Lombard and Jean Arthur as the great comic actresses of the American cinema and, 48 years after her film debut, she's still going strong.

SILVER LODE (1954)

   I had never heard of this low-budget Western until I recently read that it was an anti-McCarthyism picture. Adding to my interest, it was directed by Allan Dwan, a film industry legend who started his career in 1911.

     From his debut until he started making features in 1917, he directed literally hundreds of shorts, and famously aided D.W. Griffith on both "Birth of a Nation" and "Intolerance." Dwan was instrumental in the early careers of  Douglas Fairbanks and Gloria Swanson, directing many of their silents, but when sound arrived he was mostly relegated to B-movies. The exceptions were a few Shirley Temple vehicles and later, the 1949 John Wayne World War II epic, "Sands of Iwo Jima."

    But he clearly never lost his craftsmanship. "Silver Lode" is a brisk, tough-minded picture, more compelling than many films with larger budgets and bigger stars from the era.

     Rife with symbolism, the film opens with an obviously dangerous McCarty (Dan Duryea) riding into town with three gunmen in search of Dan Ballard (John Payne), just as the small town prepares for a Fourth of July celebration. Turns out that Ballard, a beloved citizen of Silver Lode, who's about to marry the daughter (Lizabeth Scott) of the town's richest rancher, is wanted for murder in California. Or is he?

     McCarty (the name says it all), claiming to be a federal marshal, is actually seeking revenge for his brother, who was shot and killed by Ballard in a poker game dispute. But Ballard realizes immediately that this shady group of "lawmen" are not going to take him back alive.

     When he plots to avoid being arrested by McCarty, the town turns against him, blaming him for the shooting of the local sheriff and generally questioning his honor--all based on the word of a man who just arrived into town.

    Payne, hardly anyone's idea of a good actor, offers a surprisingly grim, existential performance as the man who is falsely accused. From the moment he sees McCarty, he knows he's in a fight for his life.

  It's hard to miss the Red Scare connections as McCarty easily manipulates the town's citizens to assume the worst about Ballard.

   The key to the integrity and message of the film is that Ballard never pleads his case--he knows his not guilty and that should be enough for his friends.

     Old pro Dwan, then 70, and the great cameraman John Alton ("He Walked by Night," "The Big Combo"), a master of shadows and light, artfully move the camera along the streets, inside barns and houses to capture the cat-and-mouse chase between Payne and Duryea.

       There's a very flashy (almost Wellesian) sequence in which Payne's Ballard runs from one side of the town to the other, exchanging gunfire with former friends, while the camera captures the action in long shot, a one-minute uncut take.

   This isn't a great Western, but it's an intense, energetic and extremely well made--jam packed with action and thoughtful commentary in just 80 minutes.

THE LOVE PARADE (1929)

    Ernst Lubitsch arrived in Hollywood in late 1922 as the most famous, and first, filmmaker to escape the emerging nationalism in postwar Germany.

    "Madame DuBarry" (1919) and "The Loves of Pharaoh" (1922), among many others, had established Lubitsch as a master director comparable to Americans Griffith and De Mille. He had learned his trade in the company of German theater impresario Max Reinhardt, quickly moving from acting to directing. His first American picture featured Hollywood's biggest star, Mary Pickford, in one of her first "adult" roles, in "Rosita" (1923).

    By the end of the 1920s, he was matching his German output with such hits as "The Student Prince in Old Heidelberg" (1927) and "The Patriot" (1928), a spectacular production about czarist Russia starring German acting legend Emil Jannings. At the time it was compared to "The Birth of a Nation," but no prints of the film have survived.

     At the end of the 1920s, unlike so many of the silent filmmakers, Lubitsch embraced the new world of sound cinema.

      Lubitsch's 1929 musical, "The Love Parade," stands up better than most early sound efforts because it successfully uses singing and production numbers to break up the static dialogue scenes. Those early sound scenes with the actors standing or sitting in the middle of a set, with no ambient sounds around them, usually come off like an over-rehearsed stage play.

    It doesn't hurt that Lubitsch tapped French vaudeville star Maurice Chevalier to play Count Renard, a military attaché stationed in Paris, who is asked to leave his post  because of the many scandals he's stirred up by his affairs with married women. Lubitsch seemed to understand that in sound films, personality counted for more than acting skills.

      The sly, subtle sexual humor the director brought to his silent pictures, known as the "Lubitsch touch," finds its way into the sound "Love Parade" through  screenwriters Ernest Vajda and Guy Bolton's script (from a Hungarian play) and Chevalier's winking performance.

    When Renard returns to his homeland, the fictional Sylvania, he meets with Queen Louise (the operatic singer and Broadway star Jeanette MacDonald,) who takes an instant interest in the dashing flirt.

    Lubitsch skills are best exemplified by the initial dinner between the queen and Renard, which the director never shows directly. Instead, three groups of observers--the ladies in waiting, watching through a keyhole; the royal advisers, spying from the across the courtyard; and Jacques (the amusing Lupino Lane) and Lulu (Broadway star Lillian Roth), personal servants of the stars, keep watch from the garden while carrying on their own flirtation--offer a play by play of the pair's romantic breakthrough.

    Chevalier is the romantic version of Groucho Marx; he's always playing himself and looking out to the audience for reaction, but he does it with such grace that it usually works. In most cases, his co-stars are just there for him to react to and MacDonald worked well in that role (they co-starred in three more films). But her operatic singing, more than any other aspect of the film, makes it feel dated. 

    But like so many of the pre-code Hollywood pictures (before about 1934), actual adult themes were addressed--even in a romantic musical. "The Love Parade" addresses the shifting place of women in society while reminding audiences that the only good marriage is one where the husband is clearly in charge (even if she's the country's queen). Setting the tone for Hollywood films over the next 30 years, the film presents a woman in power as a negative for both her and her partner.

     The film also was influential in its use of music (by Victor Schertzinger and Clifford Grey) that actually connects to the plot, a shift that was just taking place on Broadway. The picture is far superior to the lumbering "The Broadway Melody" that won the 1928-29 Oscar for best picture, but in the 1929-30 competition ("Love Parade" was a best picture nominee) it ran into the first great American sound film, "All Quiet on the Western Front."

       As Scott Eyman writes in "Ernst Lubitsch: Laughter in Paradise," "With one film, Lubitsch changed all that, lifting the musical to a much higher level...For one brief moment, it seemed that there would not have to be an impregnable, massive wall between the visual grace of silent films and an equivalent dynamism of sound."

      Lubitsch only got better, with "Trouble in Paradise" (1932), "Ninotchka" (1939), "The Shop Around the Corner" (1940) and "To Be or Not to Be" (1942), all among the best films of the era. But his career was cut short by a heart condition that killed him when he was just 55.