stanistreet

IMDb member since January 2005
    Lifetime Total
    10+
    IMDb Member
    19 years

Reviews

Clochemerle
(2004)

A welcome new version of a classic from France.
I read "Clochmerle", Gabriel Chevalier's classic novel, more than forty years ago & loved it. It was achingly funny in a very French way - irreverent; very political - and I wondered how it might translate to the screen. Apart from Macha Meril, the cast is wholly unknown to me, but the acting is universally of a high standard & the absurdity of a Government almost crashing - because of the building of a Vespasienne in the Beaujolais & siting it beside the local church - is well paced, never descending into "Carry On" farce. It keeps to the original in a scrupulous fashion & retains the wonderful sense of period - 1923. I would award it a 9.

L'amour de la vie - Artur Rubinstein
(1969)

I can only reiterate the plea for the reissue - on DVD - of this programme.
Artur Rubinstein has that knack of connecting immediately with his audience. The twinkling eyes & the mischievous comments, not always what one expects. When he went to Moscow, in 1964, there was an expectancy, which permeated the hall. When he finished the first of many Chopin pieces, the hall erupted & it was difficult to hold back the emotional reaction one felt, as a mere TV spectator. I am unsure how the grapevine works if one wants to set up a plea for the reissue of this classic film. It was made in France, so perhaps that should be the starting point? RCA produced an LP of the music. Whatever, one might ask IMDb to lend a bit of weight to those of us who would pay serious money to obtain a copy? Is there a Post Box somewhere - or an amateur who has a copy & might weigh in? I tried eBay, but, so far, no response. I would like to open a dialogue here.

Bad Day at Black Rock
(1955)

This is a film to which I keep returning; one of Tracy's best, with great support from Robert Ryan.
In this film, nothing is quite what it seems. The story unfolds in layers. There is nothing complicated about Tracy's motives for visiting Black Rock, yet his presence unnerves the townspeople; they become shifty; their curiosity is not the normal variety that accompanies a stranger in a small hick town, in the outback. As it becomes clear that they are hiding a secret & fearful that Tracy may uncover it, the tension rises. I would have given 10+ marks, but I found the music intrusive, a fault common to American films. The car chase required no augmentation; the scene has sufficient tension & uncertainty to use the sound of the cars to heighten the drama. I might add that this is also a fault in too many British films. So I will award it 9, which is 10 for everything else in this taut, exciting and understated film. Spenser Tracy had that special star quality in that you can't take your eyes off him. In every scene, he exudes this. Robert Ryan, probably the greatest screen villain of all time, is, as always, outstanding. Again, the menace is understated, although you are in no doubt that this is an evil, ruthless man, totally without any redeeming feature. He is a bigot & a bully & you, as an audience want to see him brought down. And John Sturges does not disappoint. The climax is also understated, but wholly satisfying. And there is even humour, when the conductor on the train says "This is the first time this train has stopped at Black Rock". And Tracy corrects him with a great one-liner "The second time".

Hannah and Her Sisters
(1986)

This is one of the finest ensemble works that Allen has directed.
Woody Allen has this rare ability to get the people he wants to star in his films. One constantly hears this " I want, more than anything else , to work with Woody Allen". Hannah is one of his best, seamless continuity; clever flashbacks & great performances. As always, the music separates and binds. It was a device I particularly noticed in "Casablanca"- that clever use of music to separate the scenes. The casting is flawless, even Michael Caine, the personification of one dimensionality, here, cleverly (and one wonders whether Caine realised this)used by Allen to portray a crashing bore. Caine is at his best as an East End London thug (brilliant & menacing in Mona Lisa). But Allen uses that dead pan voice, like Harold Steptoe from Steptoe & Son, the British comedy serial,to great effect. The problem, of course, is that his scenes slow down a film that thrives on its clever editing. But there is always the fast-forward button! Max von Sydow, as always turns in a riveting cameo performance. Here is the antithesis of Caine - a multi-faceted actor, who can act. (See him as the menacing, efficient contract hit man in Three days of the Condor & flash back to the idealist knight in The Seventh Seal). The casting of the women is uniformly brilliant, conveying the whole range of anxieties; love; pain; loss etc. There is no one who can portray a hypochondriac like Allen and here is the core of the film; the centre around which the lives of the sisters revolve. And the music. the collaboration between Dick Hyman & Woody Allen is one of the most felicitous on screen. Too often, especially in American films, music is overused, often drowning the dialogue & distorting the story - invariably far too loud. This is wonderful cinema.

Le feu follet
(1963)

There is not much I can add to what most commentators regard as an outstanding film. I wonder why it is not available in DVD format.
This film hits a raw chord - in the context of present day worldwide increases in suicides. Louis Malle could have tried a Hollywood makeover, but there is a total lack of sentimentality in his observation of the last two days in the life of the central character, Alain. One might think that the concern of his friends could persuade him to pull back from the brink, but Malle presses on, relentlessly, to the unsensational final pages. Although this is based on a famous novel, it is not unknown for directors to pander to popular sensibilities and cop out. I was particularly taken by Ronet's disciplined attention to his toilet; packing the mementos & leaving his affairs in order.

The supporting players are brilliantly characterized, particularly Jeanne Moreau & Alexandra Stewart. Interesting, also, to see the young Henri Serre (Jules et Jim) in a minor role.

The Lion in Winter
(1968)

Perhaps it is time to re-visit Becket, long missing from the catalogs.
I cannot but agree with the complimentary remarks of all the contributors. in almost every scene there are felicities of language, beautifully delivered by Peter O'Toole and Katherine Hepburn.

This is why I would enter an earnest plea for the re-issue of Becket - a piece that has much in common with "The Lion In Winter" - medieval period lending itself to brilliant interpretations - or as we like them to be. Becket has the added lustre of Richard Burton in one of his finest roles.

I am unsure where one goes to find support for the re-release of such gems into DVD format, but, if there is anyone out there reading this, who has such influence, please use your influence to get it restored to its rightful place in the Pantheon of great films - available to a larger audience.

Screenplay: Amongst Barbarians
(1990)
Episode 1, Season 5

A boy faces a death sentence without knowing where he is or how got there. This is a very well acted film & worth a look.
An uncouth youth is arrested in Singapore on drugs charges. He has no idea where he is, how he got there and why he is in jail. It would appear that he went on a package holiday,on a whim, uncaring of his destination. There is a likelihood that another English youth may have given him drugs. No matter; both have been sentenced to death.

Meanwhile, in England, his parents, a not overly intelligent pair, are trying to come to terms with the news they receive from the Foreign Office.

The parents together with their uncouth daughter travel to Malaya. When they arrive they find that their son is being represented by an Indain barrister. The father, David Jason, playing against type, is outraged and his latent racism sets up a barrier immediately. Meanwhile his sluttish wife starts a liaison with an Indian waiter and the daughter seems totally unmoved by the dilemma, constantly complaining about the climate and the awful food. What is particularly arresting about this film, is its normality. An ignorant family confronted by a situation over which they have neither control nor resources to influence the situation. Their son keeps screaming for them to "do something". He is scared and one can only watch, in horror as his fate is sealed. David Jason plays the stupid, pathetic, weak father to perfection. There is a futility about every action of this dysfunctional family and it reflects situations which one can realise will happen again. This is a brilliant piece of docudrama & worth releasing in DVD format.

Three Days of the Condor
(1975)

The theme of Three Days of the Condor is as relevant today as it was in 1975. As a conspiracy film, it is almost flawless and the acting is uniformly convincing.
Some of the most entertaining films are directed around a conspiracy. Three Days of the Condor is one of the best, for several reasons. The opening is so ordinary, so well paced; normal people going about their business. Into this scene assassins descend to murder the entire staff. It is quick & efficient. Robert Redford, breaks protocol & uses a rear exit to fetch lunch and survives the slaughter. The film follows his horror, his girl friend is one of the victims; his confusion; why has this happened? We discover he works for an obscure section of the CIA and the film moves into a new gear as Condor (Redford) tries to survive in a world where life is cheap & a contract assassin (Max von Sydow - at his grim best) is hired to eliminate him. Redford's evasive action - he kidnaps Faye Dunaway - is clever & believable. She is brilliant - conveying the fear & vulnerability of a woman confronted by a gun & brutally tied up in her own apartment. The use of her bleak photography is a brilliant counterpoint in the development of her character and Redford's reaction to them is telling. I have never seen Redford act as well. It is not a glamorous part. He is cruel in his treatment of Dunaway and her fear and sense of being abused is conveyed in a simple understated way. This is acting of a very high quality and the use of the various technical skills in tracing the telephone connections - properly signalled by an earlier overview by his superiors - is gripping in its authenticity. John Houseman provides a stunning cameo role as Mr. Wabash, the CIA professional. When he says of The Great War, that there was a clarity then, we can understand that open warfare was a different scenario to the games being played between the CIA and their perceived enemies. This is, in many ways, the raison d'etre of this story. The Games played to gain advantage. In this film, the game is Oil. We are made aware that some time, in the future, it could be water.

Some of the other commentators found this a dated story, lacking weight & credibility. I found it scary. In the very ordinariness of the people, the conflicts, just getting on with their lives - and the spooks - also ordinary, in their suits, creating artificial mayhem.

Three Days of the Condor ranks with North By Northwest; The Spy Who Came in from The Cold; All the President's Men.

it is one of the best and I rate it 10 out of ten.

The Fortune
(1975)

I'm sorry gridoon didn't get the plot. I thought it was hilarious.
Stockhard Channing must be one of the most underrated comediennes about. This is an hilarious film. gridoon, who found it disappointing, seems to base his critique on the quality of the cast; Nicholson; Beatty & Channing. His expectations were probably pitched too high - and, sure, Five Easy Pieces is amazing, and Bonnie & Clyde is a classic. But The Fortune can stand on its own. It is very funny. The pace is hectic and the storyline has resonances of "It Happened One Night". The difference being that in the "The Fortune", the heroine is kidnapped - a botched attempt by two incompetents (Nicholson & Beatty). The so-called Swedish Syndrome seems to have rooted here, in that the captive falls for her captors & doesn't want to be saved.

This film is well worth putting into DVD format - all Regions, please.

Dirty Rotten Scoundrels
(1988)

Maybe I'M missing something, but when I read jhclues comments form Salem, I wondered whether we had been watching the same film.
Steve Martin is a good comedian, often funny and, when he is not overacting, as he does in this film, he can be entertaining. Michael Caine is the quintessential gangster; East End Alfie; the pimp in Mona Lisa: the crook in Shiner; all tailor made for his rough, one dimensional talent.He plays crude to perfection. Four-letter words trip from his mouth with ease.

But an English Prince in Beaumont-sur-Mer!!!

An aristocrat Caine could never be.

One has only to watch the original "Bedtime Story" (A confusing title), with David Niven playing Jamieson to perfection and the great Marlon Brando his rival.

Niven; Elegant; suave; funny; the epitome of civilised good manners. Brando, brash; coarse; very funny.

If "Bedtime Story" ever makes it to the Roxy in Salem, jhclues should treat himself to a night out & compare it with the rubbish called "Dirty Rotten Scoundrels"

Bedtime Story
(1964)

I think that catcha22 was a little kind in his comparison with the 1988 remake.
David Niven was the quintessential English gentleman. Dapper, suave, without ever being pushy. He glided through his many roles with consummate ease. I can understand Marlon Brando's reactions. The whole film depended on the viewer believing that Niven could get away with the confidence trickery. And, of course, he could, just as Brando as the brash American, was the perfect foil. In the 1988 travesty, the viewer could never believe in Michael Caine being an aristocrat. A barrow boy, yes; a gangster; yes - but a smooth confidence trickster, able to con his targets in the South of France - never. Sorry.

I would give "Bedtime Story" 9 +

I would give "Dirty Rotten Scoundrels" zero -.

Both titles are inept & the former is confusing. I wonder whose idea it was?

It was rather like renaming Les Valseuses ('Balls' in French argot) "Going Places".

Danton
(1983)

I wonder if Fiona Pymount was looking for a history lesson or a film
Cinema, at its best is entertainment. If one is to question every aspect with which one finds room for disagreement,and much of recorded history is based on contemporary opinions - often biased - then one should leave the cinema, because their prejudices will always spoil their enjoyment. When I spotted an airplane flying overhead in a film dated 33BC I was amused. The background scenery in "Casablanca" is absurdly fake. So, do I set up a moan & say that the film failed to convince? Fiona, relax and enjoy some excellent acting. Wajda's decision to cast the protagonists as French & Polish was inspired. one was immediately aware of which side each of the main characters was representing. No need to dwell on the authenticity of the wigs. This is powerful cinema. If there is a political message which is still relevant today - have a dinner party - a Château d'Yquem with the foie-gras; a Puligny Montrachet with the entree; some Polish Vodka sorbets and perhaps a 1961 Château Lafite-Rothschild with the beef - and discuss the political aspects of Danton until you drop with fatigue. Danton would surely have agreed?

Disclosure
(1994)

I wonder if Clifford 43, from Oz, may have missed the point.
This is a psychological thriller, which neatly plots a few days in the life of an technical executive in a computer company and his interaction with his colleagues, all as ambitious as he is himself. The film improves on Michael Crichton's novel by showing us how manipulative modern management is, when the bottom line is a big bonus to the bosses. Donald Sutherland, is excellent as the Boss who wants an important merger to work. And he thinks he has the person to make it do just that - the Demi Moore character, equallly excellent in a difficult role. Michael Douglas (excellent too)finds himself sidelined,being unaware of the bigger issues at stake. The plot becomes complicated by his being sexually harassed by Demi Moore's character - an issue which upset The Feminist Sisterhood - and possibly lost the film support from female viewers? But the plots and counter plots are clever. The end is not signalled in any obvious way and the use of the advanced computer system is absolutely central to the development of the story. The plot could be used as a blueprint for any story about corruption; backstabbing; corporate malpractice & legal manipulation. Cast your mind back to the Arbitration sessions - watch the by-play of the two attorneys. This is powerful cinema. I give it 9.5.

Mona Lisa
(1986)

I think that Michael Caine was perfectly cast.
The previous writer felt that Caine was slightly miscast as the thuggish pimp and was better suited to The Quiet American & Hannah & her Sisters.

I couldn't disagree more. Caine is a one dimensional actor. He has one voice - that of the East End of London - Alfie - Shiner - Get Carter.

Put him into the remake of Bedtime Story (David Niven & Marlon Brando) and you see his shortcomings immediately. He is no David Niven, but presumably the money was good & Steve Martin bailed him out.

Caine has menace. He tried to be smoothly menacing in Sleuth and failed miserably.

Horses for courses & Caine does not have Classic breeding.

I Believe in You
(1952)

I would love to see this again & wonder if any of these gems from that period will ever be transferred to DVD.
I agree with the other comments and would add that the players are outstanding, playing roles not usually associated with them. Cecil Parker and Celia Johnson have always portrayed toffs and to see them cast as Social workers is unusual. Almost like Peter Ustinov in "Hot Millions" - another gem. Harry Fowler is the quintessential wide boy and plays the part to perfection. He shares this talent with Micael Caine - who is often miscast - as a toff ("Dirty Rotten Scoundrels" - where he is completely out of his depth reprising the David Niven (the quintessential toff) role in "Bedtime Story" - with Marlon Brando. And the young Joan Collins is perfect as a working class girl - she too was regularly miscast as a society type. All in all, a wonderful piece of cinema & I hope it gets re-issued, along with "The Liile Farm" (Country Matters by H.E. Bates) and "The Happy Valley" - both brilliant films. I wonder if it would be possible, using the good offices of IMDb, to open a forum to petition for the re-issue of some of the classics of the 50's & 60's? I can think of Toi, le venin; A Cold Wind in August: Les Amants: Les Valseuses; Dimendicare Venetia Loulou & many others.

Country Matters: The Little Farm
(1973)
Episode 1, Season 2

A gem of a film, atmospheric and moving.
Like all H.E Bates stories of Country Matters, this one is deceptively simple and has, at its heart, a clever take on Shakespeare's Othello. A farmer, who is unable to read or write, works a smallholding in rural England. He has a farmhand who has been stealing the proceeds of the sale of eggs. When the farmer brings a woman into the farm, the farmhand begins to sew the seeds of distrust as he sees his power base being eroded. When the woman eventually goes away, she leaves a note for the farmer. The farm hand, realising his master's problems with reading, reads his own version of the letter in which the woman "confesses" to stealing the money and gives this as her reason for leaving. Like Othello, it is a tragedy and most beautifully acted. Ithink it would be well worth re-issuing on DVD, perhaps in a compilation of Bates' stories.

Sunday Premiere: The Happy Valley
(1986)

I think this film should be viewed on its overall merits, rather than incidents, which are central to Juanita Carberry's story.
It is difficult to disagree that the floggings of Juanita Carberry were, perhaps, excessive, but it was she who exposed Jock Delves- Broughton's confession. Compared with "White Mischief", this is a far superior film, better acted, particularly by Holly Aird & Michael Byrne who is wholly repellent as Jack Carberry - which may have provoked the disgust expressed in the other review. Denholm Elliot, an actor who has always managed to get into the essence of the characters he portrays, is outstanding as Broughton. The sense of period is imaginatively evoked, the settings realistic and one really feels that this is what was happening in Kenya during the war; bored people trying to justify their empty lives. It really deserves to be issued in DVD format

I vespri siciliani
(1986)

Is this opera available in DVD format - Region 2?
This is one of Verdi's late middle period operas, which he wrote for the Paris Oprea. It is a long opera & very uneven, with five acts and the obligatory ballet - for the demanding Paris audience of the late 19th Century. What makes this performance so special, is the singing of Susan Dunn as Elena. Her singing of the Act 4 aria "Arrigo, ah parle ad un core" is amazing -the purest lirico spinto I have heard in a long time - better than Callas - and that is not an exaggeration. The applause lasted more than five minutes in the recording - and this is a long time when one has come to listen to opera. I would recommend to anyone interested in great singing to listen to Susan Dunn's rendition of the Act 4 aria - it is spellbinding singing, the clarity of her voice and breath control is truly wondrous.

Toi... le venin
(1958)

If this film is available in DVD Format (Original French) - region 2 - Europe - I would love to acquire a copy..
WHEN I first saw this film, in London, in 1958, I was bowled over. I had never seen a film like this before. It had a strange, hypnotic effect, quite unlike the films that I had seen previously and it left a lasting impact.

I believe that Odile Versios & Marina Vlady are sisters, if not twins. Certainly the interaction is amazing in its power to influence the viewer.

If this has been converted to DVD - in Region 2 format - and in the original French language, I would love to hear about it & where it can be purchased.

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