Having beenreleased in 1982, an interesting aspect of it is to look at where the actors are now. Diane Keaton and Albert Finney are, of course, very successful and renown actors. The girls who played the daughters: Dana Hill, who played the oldest, Sherry, died of diabetes complications at age 32; Viveka Davis, who played Jill, the very cute next oldest, best I can determine was about 10, 11, when she made the film, and has had a lot of work across the years (apparently, though, having made nothing since 2001); Tracey Gold, who played Marianne, already had a number of credits and went on to have many more, including playing on the series "Growing Pains"; and Tina Yothers, who played the youngest daughter, Molly, had a few more roles, and wound up playing Jennifer Keaton in the series "Family Ties" for 7 years.
Saturday, December 27, 2008
Shoot the Moon
What a depressing movie. Good acting, about human beings at some of their worst. Enough to turn me, were I younger and more naive, against marriage, and men.
Having beenreleased in 1982, an interesting aspect of it is to look at where the actors are now. Diane Keaton and Albert Finney are, of course, very successful and renown actors. The girls who played the daughters: Dana Hill, who played the oldest, Sherry, died of diabetes complications at age 32; Viveka Davis, who played Jill, the very cute next oldest, best I can determine was about 10, 11, when she made the film, and has had a lot of work across the years (apparently, though, having made nothing since 2001); Tracey Gold, who played Marianne, already had a number of credits and went on to have many more, including playing on the series "Growing Pains"; and Tina Yothers, who played the youngest daughter, Molly, had a few more roles, and wound up playing Jennifer Keaton in the series "Family Ties" for 7 years.
Having beenreleased in 1982, an interesting aspect of it is to look at where the actors are now. Diane Keaton and Albert Finney are, of course, very successful and renown actors. The girls who played the daughters: Dana Hill, who played the oldest, Sherry, died of diabetes complications at age 32; Viveka Davis, who played Jill, the very cute next oldest, best I can determine was about 10, 11, when she made the film, and has had a lot of work across the years (apparently, though, having made nothing since 2001); Tracey Gold, who played Marianne, already had a number of credits and went on to have many more, including playing on the series "Growing Pains"; and Tina Yothers, who played the youngest daughter, Molly, had a few more roles, and wound up playing Jennifer Keaton in the series "Family Ties" for 7 years.
Sherlock Holmes
Sketchy recollections of having seen this movie ages ago. Amazed that Billy Wilder made it; think of him more making movies with Jack Lemmon (although he did make Stalag 17 and Sabrina, among others). Here Robert Stephens plays Holmes, and Colin Blakely does Holmes. The film has not aged well; the actors seem to be overplaying the characters, and if there is one thing that typifies Holmes it is subtlety. Perhaps for being a Hollywood film, it seems silly. Still, Holmes is always fun to watch.
Sunday, December 21, 2008
Monday, December 15, 2008
Metropolitan
Watched this film (on DVD) yesterday; found it enjoyable. An independently-made film (1990), it shows lack of polish, somewhat stilted acting, and limited range. Yet it works. Its very lack of gloss and narrow range of shooting makes for an effective study of characters and development of story line.
Four debutantes and three escorts are friends. They emerge from a debutante ball at the Plaza Hotel (a motif recurring through the film), and look for a cab. Hailing one, as three of them approach the Checker cab the male sees another male nearby, expresses reservation at taking his cab, and winds up inviting him to an after-ball get-together. The seven, a self-styled Rat Pack, hang out, smoke, drink, flirt, play bridge, go to other balls and parties. The eighth, brought in to make for an even number and to relieve "an escort shortage," is not as rich as the others, lives on the West Side (which was then not as classy a neighborhood), and espouses contempt for the cycle of parties and debutante balls. Calling himself a Fourierist (Fourier, Charles French social theorist who advocated a reconstruction of society based on communal associations of producers known as phalanges), he denigrates Jane Austen, elevates Lionel Trilling's criticism, and, despite professed objections to the empty-headedness of snobby trust-funders (his parents divorce has landed him and his mother on the West Side, exiling him from the East Side and his inheritance), becomes one of the group.
It is a really good film. Its simplicity, its low budget, make for good cinema: the film can not hide behind special effects, an expensive budget, or pyrotechnics; it has to deliver, or it would simply implode.
This review is on the mark: Video Librarian Reviews Along with Steven Soderbergh's sex, lies, and videotape, writer-director Whit Stillman's 1990 Metropolitan was one of the most acclaimed breakthrough hits in the burgeoning American independent film scene of the late '80s and early '90s. Stillman's original screenplay earned an Oscar nomination, and deservedly so, since his one-of-a-kind study of young, upper-class Manhattan socialites is simultaneously funny, ruthless, and keenly observant about class distinctions that are rarely acknowledged in popular entertainment. Metropolitan serves up a portrait of jaded, over-privileged denizens of New York City's upper-crust society, viewed from the outsider's perspective of Tom (Edward Clements), a middle-class loner who is unexpectedly welcomed into the inner sanctum of preppies, trust-fund brats, and eager-to-marry debutantes during a Christmas break full of gatherings in posh hotels, restaurants, and ballrooms. The film?s strength lies in its combination of scathing wit, literate sophistication, and refreshing lack of judgment against its characters, many of whom could charitably be described as insufferable snobs. Part of the Criterion Collection, this release features a decent transfer and DVD extras that include Stillman's audio commentary (along with editor Christopher Tellefsen and co-stars Chris Eigeman and Taylor Nichols), which serves as a valuable primer on low-budget filmmaking; outtakes with commentary by Stillman; and an essay by New York historian Luc Sante (placing the film in its proper social context). Highly recommended. (J. Shannon) Copyright Video Librarian Reviews 2006.
I also found an interview with the director.
Four debutantes and three escorts are friends. They emerge from a debutante ball at the Plaza Hotel (a motif recurring through the film), and look for a cab. Hailing one, as three of them approach the Checker cab the male sees another male nearby, expresses reservation at taking his cab, and winds up inviting him to an after-ball get-together. The seven, a self-styled Rat Pack, hang out, smoke, drink, flirt, play bridge, go to other balls and parties. The eighth, brought in to make for an even number and to relieve "an escort shortage," is not as rich as the others, lives on the West Side (which was then not as classy a neighborhood), and espouses contempt for the cycle of parties and debutante balls. Calling himself a Fourierist (Fourier, Charles French social theorist who advocated a reconstruction of society based on communal associations of producers known as phalanges), he denigrates Jane Austen, elevates Lionel Trilling's criticism, and, despite professed objections to the empty-headedness of snobby trust-funders (his parents divorce has landed him and his mother on the West Side, exiling him from the East Side and his inheritance), becomes one of the group.
It is a really good film. Its simplicity, its low budget, make for good cinema: the film can not hide behind special effects, an expensive budget, or pyrotechnics; it has to deliver, or it would simply implode.
This review is on the mark: Video Librarian Reviews Along with Steven Soderbergh's sex, lies, and videotape, writer-director Whit Stillman's 1990 Metropolitan was one of the most acclaimed breakthrough hits in the burgeoning American independent film scene of the late '80s and early '90s. Stillman's original screenplay earned an Oscar nomination, and deservedly so, since his one-of-a-kind study of young, upper-class Manhattan socialites is simultaneously funny, ruthless, and keenly observant about class distinctions that are rarely acknowledged in popular entertainment. Metropolitan serves up a portrait of jaded, over-privileged denizens of New York City's upper-crust society, viewed from the outsider's perspective of Tom (Edward Clements), a middle-class loner who is unexpectedly welcomed into the inner sanctum of preppies, trust-fund brats, and eager-to-marry debutantes during a Christmas break full of gatherings in posh hotels, restaurants, and ballrooms. The film?s strength lies in its combination of scathing wit, literate sophistication, and refreshing lack of judgment against its characters, many of whom could charitably be described as insufferable snobs. Part of the Criterion Collection, this release features a decent transfer and DVD extras that include Stillman's audio commentary (along with editor Christopher Tellefsen and co-stars Chris Eigeman and Taylor Nichols), which serves as a valuable primer on low-budget filmmaking; outtakes with commentary by Stillman; and an essay by New York historian Luc Sante (placing the film in its proper social context). Highly recommended. (J. Shannon) Copyright Video Librarian Reviews 2006.
I also found an interview with the director.
Saturday, December 13, 2008
Gasping for airtime
Gasping for airtime: two years in the trenches of Saturday night live. (2004).
Mohr, Jay. New York : Hyperion.
791.572 M
Mohr, Jay. New York : Hyperion.
791.572 M
Blood Diamond
Excellent film. Serves as a metaphor for the ages-long tragedy of war in Africa; kudos to DiCaprio, a big Hollywood star, for making such a film. This film should be a wakeup call to white American and European audiences, especially, to the ravages of endless fighting, ceaseless killing, and perpetual damage to an entire continent and its peoples. I was moved to tears by the tragedy of a family torn asunder by violence they had nothing to do with. In Tim Butcher book, Blood River, I read about Belgian colonialists chopping off hands of Congolese as a means of exercising control and instilling terror; in this film that fact is spoken by a character, but one so minor that it could well get past most people. It is shown graphically.
DiCaprio are Djimon Hounsou are magnificent in their roles. Leo actually manages to pull off an accent quite well (his character calls it Rhodesian). Djimon is flawless in showing pathos, bravery, defiance, perseverance. Jennifer Connelly's performance is mediocre, and her character is a two-dimensional stereotype. Too bad; she can act well. Overall, a stirring, disturbing, excellent film.
DiCaprio are Djimon Hounsou are magnificent in their roles. Leo actually manages to pull off an accent quite well (his character calls it Rhodesian). Djimon is flawless in showing pathos, bravery, defiance, perseverance. Jennifer Connelly's performance is mediocre, and her character is a two-dimensional stereotype. Too bad; she can act well. Overall, a stirring, disturbing, excellent film.
Hype and Glory
Hype and glory. (1990). Goldman, William. New York: Villard Books, 1990. 791.602 G
Publishers Weekly Reviews Goldman, prolific novelist (Marathon Man) and screenwriter (The Princess Bride) was invited to be a judge at the Cannes Film Festival in May 1989, and then, to his surprise, to help choose Miss America the following September. With a witty storyteller's talents, he here describes these heady experiences. His ruthlessly candid, insider's report on the "hype and glory'' inherent in these tinselly events, is bound to incense the contestants and promoters. Goldman reveals the way movies are selected for competition at Cannes and how compromises determine the winners; his account of how the least likely Miss America was awarded the crown is a satiric blockbuster. Throughout, Goldman weaves reflections on his personal life, including his divorce after 27 years from his wife, Ilene.
Publishers Weekly Reviews Goldman, prolific novelist (Marathon Man) and screenwriter (The Princess Bride) was invited to be a judge at the Cannes Film Festival in May 1989, and then, to his surprise, to help choose Miss America the following September. With a witty storyteller's talents, he here describes these heady experiences. His ruthlessly candid, insider's report on the "hype and glory'' inherent in these tinselly events, is bound to incense the contestants and promoters. Goldman reveals the way movies are selected for competition at Cannes and how compromises determine the winners; his account of how the least likely Miss America was awarded the crown is a satiric blockbuster. Throughout, Goldman weaves reflections on his personal life, including his divorce after 27 years from his wife, Ilene.
Thursday, December 11, 2008
Wednesday, December 10, 2008
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