In our contemporary life, watching films is as close as we get to the deep-seated need for huddling around the fire and listening to our Story Tellers. This is when and where we express our fears of the unknown, debate the mystical, and support our assumptions about the sunlit world.

Ronn.

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(CODES: "again" = I've seen it before,
"WOTO" = We Own This One,
“IMDB" = my opinions also found on the Internet Movie Data Base site)

The following are some of the films I have seen so far this year. Within each category, the film most recently viewed is placed at the top of the list.
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2006 MOVING PICTURES NEVER enough time, SO many films
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"ABSOLUTE MUST-SEE LIFE-CHANGERS!":
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"It's a Wonderful Life" (again and again, 1946): It's a wonderful film, and story, with wonderful acting, gorgeous black & white photography, important philosophies... it has everything. Jimmy Stewart was at his best. Donna Reed? What a girl-next-door-babe! Clarence the Angel? Perfectly innocent and effective. Bert & Ernie? I suppose they are a major realization for Sesame Street fans!! The children - fragile and pure. Sam Wainwright - the goofy, life-time friend, no matter how rich he became. Evil Mister Potter? The man we love to hate (hissss!), played by Lionel Barrymore (Drew's grandfather). The rejected kid at the dance, who opens the dance floor for George & Mary to fall in? Remember "Alfalfa" in "The Little Rascals"/"Our Gang"? That's him. You KNOW what "Potter's Field" is slang for, right? It's the generic name given to graveyards for people who died alone, broke, and unclaimed. Uncle Billy? His memory problem is easy for me to relate to, and I've always wished I had a CROW as a bird-pal. Violet? We ALL knew (or know) a Violet...the good hearted gal who relied too heavily on appearances. One of the prettiest photographic scenes is early in the film, when George and Mary are just leaving town in the taxi after their wedding - it's raining, and they stop to look back at what appears to be a "run" on the Savings and Loan. As they peer out the back window of the taxi, THAT is pure beauty. Do I still get misty with a film that I've easily seen 50 times? Yes. When Mr. Gower realizes that young George caught his prescription mistake. When adult George comes home that night shattered, and SNAPS. This film’s heart is in the RIGHT place SO often for SO many reasons. I've always shaken my head in amazement at people who saw it as schmaltzy. Yes, it has those moments, but they're at a minimum (and are needed as RELIEF!) compared to the overwhelming amount of loss, frustration, fragility, anger, near & true violence, nasty characters, and shocking realizations. I see it as a TRUE spiritual journey along a suddenly frightening road. It STILL nearly brings me to tears at points, along with amazement at the story, and how it was done. This, and "Wings of Desire" are my Top Two Films of All Time. WOTO IMDB

“Pather Panchali” (Hindi, 1955): Poetic depictions of humans in all their pettiness, silliness, honor, and beauty. We “live” with a typical family over the years, as they struggle, love, fight, laugh, cry, and die. Shot beautifully, the moments are shown in lingering, thoughtful ways, whether as direct observations, or symbols. WOTO

“Anne Frank Remembered” (again, 1995): This is THE definition of what quality documentaries are to be. It uses facts, first hand accounts, archival film footage, respectful narration, and quality scoring. Those who played major roles in Anne and her family’s lives – and survived – are interviewed extensively, providing honesty, credibility, detail, heart, and inspiration. Kept is a fine balance between the specifics of a young girl’s life and death, and the larger meanings derived from these horrors. It simply gets no better than this. WOTO

“Amelie” (again, French, 2001): You know, I hesitated to put “Amelie” in this category, and then I tried deciphering why I shouldn’t. It has everything I look for in a profound film, yet, even after multiple viewings, I was in doubt. Here’s why (and it’s embarrassing for me to admit I caught this in myself): 1) Audrey Tautou is incredibly cute, 2) much of this film comes off as a comedy, 3) a variety of photographic techniques are used which are often reserved for comedy or suspense, 4) the scoring seems light, 5) the characters are VERY quirky, 6) the scenarios are laugh out loud strange. Not enough? 7) the sets are fascinating expressions of the characters, 8) they each have truly interesting but bizarre hobbies, and 9) Audrey Tautou is incredibly cute. ALL OF THAT aside, what we have here is a serious film about Life’s Choices - Our Options, Opportunities to Share or Retreat, Our Leading a Creative Life, Camouflaging the Flaws, and Our Potential Growth. This is a very wise film, made in a wonder-full manner, and should be seen by ALL. WOTO IMDB

A Trio of Documentaries:

“9/11” (2002): This is the French documentary that followed a few rookie fire fighters through training and their early weeks on the job in New York City. It was THIS camera duo who, by pure ugly “luck”, filmed the planes hitting the World Trade Center buildings (which you have probably seen). It was also these two men, the Naudet brothers, especially the one assigned to follow the departmental Chief, who entered the Center and kept filming, while the top floors burned. They would capture the last images of many frightened, doomed, brave fire fighters. My heart aches when I see these shots, my anger reminds me it does not dissipate, and I, again – with a renewed sense of awe – keep these people in mind as THE DEFINITION OF HEROISM. These men KNEW there was little chance they’d return once they began climbing up those stairwells – in full gear and an extra 60 pounds each on their backs – with thousands of people rushing down the stairs in a panic, none of the 80 elevators working (in fact, those shafts became the conduit for explosive, ignited fuel to shoot all the way to the basements, making each floor explode from the pressure) – they KNEW. You can see it on their faces. It would take them a full minute per floor to go up, and they had 78 floors to climb before they hit full fire and complete devastation… or at least that’s how it looked at the moment. It didn’t go that “well”, as we know. Meanwhile, paper, glass, metal, fire, and body parts rained over the streets and rooftops of N.Y.C. for blocks. People were suffocating in the smoke. With the camera crew in the lobby of one building, there was a slow, constant rhythm of HUGE, explosive bangs that could be heard just outside… people jumping to their deaths, having chosen this over burning. In fact, the bodies were falling at such a fast rate soon, that firefighters and others who were now told to “MAY DAY MAY DAY!! EVACUATE!!!!” had to wait for police, who were standing on the outside, to signal WHEN they could run out of the building, so no one was killed by those hitting the ground from 80 or more stories up. This is 120 minutes of inspiring behaviors and personal sadness brought about by the Evil of those killers. WE Shall Never Forget. WOTO IMDB

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“In Memoriam (9-11-01)” (2002): This document is quite different than the one above. “In Memoriam” is composed of the film shot by hundreds of people with video cameras, still cameras, phone cameras… And because it was shot from so many locations, with so many points of view, you are privy to most terrible, the most horrific last moments of many lives, and the enduring pain of those left to live. There are very touching interviews with extremely thoughtful people, along with those who were angry, confused, frightened, hurt, AND brought together through tragedy. Mayor Guiliani did an exceptional job during this time, and I have now learned that when he finally went home that first night to rest, he picked up a book on Winston Churchill, finding help and inspiration from someone who had been down a very similar road already.

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“America Remembers 9-11-01” (2002): This document, assembled by CNN, is different than the other two. Its focus is on the events, but as they channeled through the newsroom and its reporters. In this sense, it is a tad excessive in its self-centeredness, but there exists plenty of valuable information, and gives more attention to Washington D.C. than does the other two.

“Stroszek” (again, 1977): One of Werner Herzog’s more accessible masterpieces. As in “The Mystery of Kaspar Hauser”, Herzog uses his non-actor friend Bruno S. as the star in this story of misguided dreams and marketed myths. Bruno, released from prison after having caused problems from his drinking, reunites with acquaintances, both good and bad. The old life in Berlin, Germany, isn’t working, so he, with two friends, set out for a new life in Wisconsin, U.S.A.. Herzog’s production values are much higher in this work, but sacrifices nothing of his unique vision(s) about Life, and Death, in society, and in this case, especially in America. Leave it to a German artist to show us a fresh view of our culture. Watch for visually symbolic themes, such as repetitive, circular movements. This is a powerful, sometimes funny, often uncomfortable, quirky, tacky, and doomed fable – with too much direct Truth to be sloughed off as fantasy. WOTO IMDB

“Lessons of Darkness” (1992): Never call Werner Herzog a dilettante. When he sets out to make a film, he’s willing to die for it. Although this film could have easily been adjusted to a pure documentary of the oil fires in Kuwait after the Iraq invasion, Herzog takes it to much higher levels. War. Apocalypse. Mythical Disaster. The End of Life as we knew it. THE Struggle (and, since this is made by a dark-visioned German, we do NOT win the struggle. At best, we earn a temporary truce with the Devil.) This is perhaps the MOST BEAUTIFULLY PHOTOGRAPHED COLOR film I’ve EVER seen. Bar none. The scoring, as usual, is unique and perfect. “Lessons of Darkness” is atypically vague for a film in my category “Life Changers”, yet I am left extremely moved by the powerful effects of an exquisite visual and audio work of Art. WOTO IMDB

“Little Dieter Needs to Fly” (1998): Another Werner Herzog documentary. How he manages to find these TRUE stories, I do not know, but it must consume him. His film “Aguirre, the Wrath of God” was created from the diary of the Spanish Priest who accompanied Coronado’s search for the City of Gold, Eldorado. His film “The Mystery of Kaspar Hauser” (also known as “The Enigma of Kaspar Hauser” or “All for One, and God Against All”) was created from a centuries-old file (1828) found in the “city” hall of small German village. “Little Dieter Needs to Fly” is the ASTOUNDING life story of a German boy who, during the deadly bombings of Germany in the last years of WWII, decided he wanted to fly aeroplanes, and to accomplish this he must move to America. Although thrown off the path for a few years (but learning skills he never expected to NEED), he eventually found himself flying in 1966 – for America – over Viet Nam. This is the story of a man who was shot down, deprived, beaten, tortured, and left for dead more than once, until he didn’t know what was real and what was his imagination. At all. How he survived, what he remembers, and what life was like for him over the next 30 years is the stuff of breath-taking pain and awe. TRUST Herzog. See ALL his films. WOTO IMDB

“The Color Purple” (1985): Always a joyous pleasure and deeply painful, this is the Film that took Spielberg into broader respect. Be prepared for very young, now famous actors. They’re all 21 years younger here… the superb premier of Whoopi Goldberg, Oprah Winfrey (I long for her to go back to acting), Danny Glover (doing an admirable job in a very ugly role), “Larry” Fishburn, Margaret Avery, Adolph Caesar, Rae Dawn Chong, Akosua Busia… You can FEEL it in this film – EVERYONE was there because they felt they were doing something of importance… which they were. Taken from the Pulitzer prize-winning novel, and keeping its epic, ironic, twists of Karma sensibility, we live and breathe the pains, degradation, and joys of very difficult lives. Towards the end, the film takes on less of a literary, and more of a theatrical nature – which I question – but this is a small point compared to the film craft, acting, and heart of very emotional story. Full of lessons in life, I watch it in awe – KNOWING that people HAVE faced these issues – some succumbing, some rising above – and I am both embarrassed and proud to be a part of this Human Race. WOTO IMDB

“1984” (again, 1984): This is a BRILLIANT rendering of George Orwell’s 1948 book. Starring the superb John Hurt as a “mental deviant” who holds still some doubts about The System, Richard Burton (as the chillingly calm Overseer), and Suzanna Hamilton (as the pretty comrade … or is she?), we immediately enter the world of the future (1984) - where technology and politics have gained absolute control over the population through the use of lies, fear, and the elimination of protest. (Closest literary/film relatives: “Fahrenheit 451”, “Metropolis”, and “Brazil”.) Not only are the characters and scenarios incredibly gritty and believable, but the story is set as one would see 1984 IN 1948, i.e., the look of the costuming, machines, buildings, logos, etc. has strong links to the then-defeated NAZIS, who, in 1948, were STILL being investigated, and the revelations still spewing forth. In this time of our privacy being secretly and increasingly violated by our own government in the name of National Security, and seeking NO approval from us, the book and the film “1984” are in NO WAY dated or quaint. Rent it tonight. Watch it closely. This is no fantasy. I’d seen it before, and I watched it again – twice more in two nights. “1984” was made visual by the intelligent photography of Roger Deakins. WOTO? IMDB

“Into the Arms of Strangers” (2000): This is a documentary about parents who try to get their children OUT of the reach of Nazis (focusing on the “Kindertransport” system). Once in awhile a documentary comes along that is SO full of information you did not have, SO mesmerizing, and SO important to your understanding of the World, it is a must-see - for EVERYONE. Can you imagine what it is to send your children away…to…somewhere, not knowing what will become of them, and wondering if you shall EVER see one another again? Can you imagine being a young child, and as you’re being put on a train for the escape, you scream to your parents (who are not going with you) that you must be adopted and they never did love you? Can you imagine being the child whose father, out of pure, illogical, last-second panic LOVE, pulled you back out of the moving train through the window, nearly killing you from the fall, and whose fates would then send you both to concentration camps? How would YOU and YOUR father DEAL with this, if you both “survived”? It uses excellent archival film (appears restored), beautiful scoring, artful editing, and lots of interviews (with surviving children and a few of their “foster parents”), make this an incredibly moving, horrific, inspiring experience. Really, you NEED to see “Into the Arms of Strangers”. WOTO IMDB

“Sansho the Bailiff” (Japanese, 1954): Kenji Mizoguchi made an epic film from what was (apparently) a centuries-old Japanese morality tale. We watch a well-to-do family slowly disintegrate - not from events they cause, but those out of their control. How they each react, how they deal with the passing years and events, and how they find solutions (if any) are powerful, emotional, lessons in life. Can a half-century old Japanese film be useful to a contemporary American audience? Of course it can. Human issues of love, devotion, honor, greed, lust, hate, violence, sadness, and revenge are, if anything, in further need of consideration and dealing. To enhance these thoughts, the musical scoring is superb (I love classical Japanese music), the photography is in gorgeous black/gray/white with artful composing, the pacing is patient and more explanatory than many Japanese films (perhaps Mizoguchi had foreign audiences in mind – which I appreciate!), and I often felt like I was watching delicate woodcut prints come to life. WOTO IMDB

“The Burmese Harp” (“Biruma No Tategoto”) (Japanese, 1956): What a powerful film. Directed by Kon Ichikawa (“Fires on the Plain”), this story is set during the last days of WWII, in Burma, with a troop of Japanese soldiers. They are weary, confused, but very bonded. When they learn their country has surrendered, with mixed emotions they submit and head to a P.O.W. camp to be detained until arrangements for their fates are made. One of them volunteers to go find a die-hard troop still “dug in” and unwilling to surrender, and ask them to give up, lest they be destroyed by who are now the victors. Thus begins his journey of spiritual awakening. Think of this as the story of Siddhartha, but on a clear, human level. It is gorgeous in its black & white compositions and lighting, slightly theatrical in its scenarios, and quite emotional. “The Burmese Harp” is a unique use of WWII as the stage for larger issues. Superb. WOTO IMDB

“Grizzly Man” (2005): Werner Herzog is one of the world’s best film makers. I’ve followed his career for 30+ years. One of the many interesting things about him is he sees little and no need for fiction. Reality is more accurate & much stranger for his dark, accurate, Germanic opinion of Life. When not reenacting real events for many of his films, Herzog is making documentaries. “Grizzly Man” is a documentary. His three main jobs were to edit & arrange film (which was shot by a man, “Timothy”, who decided he should “protect” the Grizzly Bears in an Alaskan National Preserve), interview people involved in the killing investigation and/or who knew him, and work with brilliant musicians to create one of his typically unique, haunting scores. You are put in the position of knowing up front what happened to the man: he was torn apart and eaten by a Grizzly. We then “backtrack” to look closely not at the bears but this man. Like peeling away layers of onion skin, we learn that Timothy was a loser, and in deep denial about it. You will NOT like this guy. He was a liar, a self-appointed expert know-nothing, an alcoholic & drug addict, a dilettante, an empty charmer who convinced a few people he was the Second Coming for them and the bears, an emotional Jekyll/Hyde, a rejected actor-wannabee who found his only “venue” in his self-made video tapes, a deluded fool who related to Grizzly bears as though they were people hiding in bear costumes, a paranoid who needed to create enemies in order to prop up his imagined value, a gay man clearly refusing to acknowledge his own orientation…and that’s only the beginning. Herzog makes a layered, insightful documentary from the rough footage of Timothy’s footage. It is Unforgettable. Almost everything Herzog has done IS unforgettable. WOTO IMDB

“Tae Guk Gi” (Korean, 2005): Set in 1950 South Korea, as the war begins between their North and the South, we follow two brothers – and best friends – who are “drafted” into the Army, and forced into lives they never expected or wanted. This is a dense, draining, monumental Epic of a story about love, hate, honor, violence, context, and forgiveness. GREAT War films are never about war… they are about humans facing extraordinary circumstances, and having to deal with them one split second at a time. The acting, lead by Jang Doug-Gun and Won Bin, is superb. The photography reminded me of the gritty hyper-reality of “Black Hawk Down”. The scoring sweeps over some scenes - sometimes like an immense Vulture, sometimes like an Angel. This is a very violent film, but never gratuitous. 148 minutes. In Korea, “Tae Guk Gi” (“The Brotherhood of War”) won Best Picture, Best Cinematography, Best Art Design, and Best Sound Effects. WOTO IMDB

“Anchoress” (again, English/Dutch, 1993): I would be SO proud to say I’d had a part in the creation of this work of Art. I've watched repeatedly. It is fascinating, beautiful, strange, and insightful. "Anchoress" takes place during the European Medieval period, when humans survived at the mud level. This is the story of one young woman who tries to find comfort and beauty inside the church, with 'Mother Mary'...or at least a poorly made icon. She isn't capable of deciphering her motives, and soon offers herself to the church as an "Anchoress" - a person devoted to God, relinquishing all worldly connections, and being voluntarily cemented into a small crawl space of her church's wall for the rest of her life. Strange times, those... EXCEPT we see that the priest considers this a good marketing tool for the church (as an "attraction"), and a perk for his resume with the Big Boys back in Rome. But, things don't go as anyone predicted... "Anchoress" is shot in some of the most powerful black & white film I've ever seen (equal to Bergman or Lynch), has an incredibly sensitive, ambient sound track (not score) attuned to the daily life of Earth, and, a camera that loves to be thoughtful and intimate. Each shot is a composed, artful image. (I've said this before, and I'll say it again: If Rembrandt had used a movie camera, and b/w film, this could've been his.) Despite, or because of, the near total lack of dialog, there are scenes you will never forget. Watch for the shots of “earth” as symbols for the human body, the Anchoress’ exploration of herself through the touching of weeds and dirt, her literal entry into the earth, as a means of escape and happiness, etc. You’ll also see a strong indictment of the era’s patriarchal system – I’m sure depicted due to feelings that much of it still exists. This is a very grounded film, while being mystical at the same time. Perhaps that's part of the attraction. It deals with the dual urges to deny & rise above our daily life on & of the earth, yet revel in it at the same time. This is one smart, interesting, complex, visual and audio masterpiece. IMDB WOTO

"House of Sand and Fog" (again, 2003): Jennifer Connelly (Mm mm) and Ben Kingsley lead a talented group of actors in this subdued but powerful story of bureaucracies, egos, and psyches slowly making mountains of molehills. Ownership of a piece of property comes up for debate. Who owns it? Who has the RIGHT to own it? What price is each person willing to pay for it? Connelly is amazing as a misguided, semi-reckless, semi-sober woman whose own fate she casts to the winds. Kingsley is the model of a proper Iranian military man with a new American family - taking charge, and standing by what he thinks is right. As other characters enter the story, small moments and ideas escalate the situation. Watch for wonderful little symbols of psychological changes, like Connelly's reckless walk through a construction site, her sudden lighting of a cigarette, filling of a gasoline container, swig of a drink, or removal of a shoe; Kingley's observation of a moving shadow... This is Art with one goal in mind - and the film takes us patiently and methodically towards it. It does not veer, no matter how much we'd rather it did so. This is what it’s all about. WOTO IMBD

"Crimes and Misdemeanors" (again, 1989): This is, without a doubt, one of Woody Allen's most significant films. If you are NOT a Woody Allen fan AND you think of him only as a comedian, SEE THIS FILM. It is not a comedy, nor what you expect. You WILL be impressed. THEN go back and see some of the others you’ve ignored, such as “Deconstructing Harry", “Husbands and Wives” and “Interiors”. “Crimes and Misdemeanors” has a great, flip-flop structure that bounces between the humorous and the humorless, the silly and the pathetic, the shallow and the profound. Acting by all is wonderful, the photography (Sven Nykvist) is innovative, interesting, and voyeuristic. This is a film about Choices, and living with them. It is a mature, wise, insightful work of Art. WOTO IMDB

"Eraserhead" (again x 40?, 1977): This is David Lynch's first full length film, and debatably, his most powerful. All stories aside of his behind-the-scenes efforts to MAKE “Eraserhead”, it was this film that brought him international recognition, and remains well worth the time to re/visit. The first time I experienced it, I “hated” my friend who brought me (with no advance warning except that it was “amazing”). What I saw on the screen frightened me at the deepest levels of my being, and I didn't know why. As the years and viewings pass (both in the theater, and on video or dvd), I lose none of my emotional response, but gain further intellectual and formal appreciation for the artfulness of it, and lots of thoughts about the meaning. Lynch himself will NOT discuss Eraserhead’s meaning, and perhaps wisely so. None the less, I believe he sees it in somewhat surreal terms (clarification being left to the individual), but was guided by the deep seated fears, confusions, and attractions that fill the Freudian world of the child, and which continue into adulthood. Most of his films since have been eerie and unsettling, but based more in realities we can recognize in the waking, every day sense. Here, the photography is gorgeous and mysterious, the SOUNDscape is perhaps the most subliminally powerful of all time, the dialog perfectly uncomfortable, and the situations right at the edge of possible. Your experience - the sort from which you desperately want to WAKE (but then return to repeatedly, as I have, perhaps 40 times now) - is never comfortable. This film takes emotional and intellectual work. The new restoration for dvd – LONG OVERDUE - is of high quality. Do not let the packaging “Eraserhead dvd 2000” throw you. It’s only stupid, confusing layout. And, since I have you here, let me make a short pitch for AVOIDING “extras” – commentary, deleted scenes, interviews, bloopers, factoids… all the CRAP with NO value to the original work of Art. It’s filler, and can do nothing but harm the purity of the REAL WORK. If it was important, it would be IN the film. WOTO IMDB

"Crash (2005): (Viewed two nights in a row): First night: With a sophisticated, complex, woven plot (which reminded me most of the simpler yet elegant film “Grand Canyon”), strong scoring, good photography, solid acting (including from those I’d come to expect little, such as Sandra Bullock), and a thread of gritty truth running through this hive of experiences, I was fascinated by it from start to finish. Using racism as a theme, it explores all the variations of who, when, where, and why, but with zero pandering to the audience, a sly use of stereotypes, and truth-seeking avoidance of PC-ness. On occasion, situations may seem a little too poetic for their own good, but this is a minor point, and in fact, I’m willing to call this film an EPIC Poem about Racism and Redemption (This is how I see 1998's "The Thin Red Line" - an epic Poem to War).
Second night: Now I’ve seen it twice. This time was equally good, with the opportunity to focus on a few specific aspects (of the many here). There are many stories in “Crash” that could each be an entire novel, or at least a major short story. In this day of sampling every thing - the aesthetic of using smaller pieces for a reassembled larger result - seems to fit. Taking strong aspects of each story, weaving them into a new rhythm, tying them together with a consistent tone, and constructing a highly complex yet focused new work is artistically done, and rises above the Fashion of the Day. This is not a unique structure, but is a further exploration of “Grand Canyon” - a solid source for its inspiration. (I’ve now seen it a third time this year.) WOTO IMDB

“An Angel at My Table” (again, New Zealand, 1990): It’s been three years since I’ve watched this film. There is NO further reason to wonder if it should be in my top category. It is created by Jane Campion from the writer Janet Frame’s autobiographies of her harrowing life. We join Janet during childhood, move through the teenage years and into adulthood, as she struggles for a place - ANY place - in the world...but deep down, writing is her one reliable love. Three actresses were needed for the role of Janet, and all do wonderful jobs, especially depicting someone who always feels on the outside, and longs to be included. Jane Campion, one of my favorite film makers, presents a powerful, subdued, and melancholy work of Art. It is not an amazing film due to every camera shot or the quality of sound recording… THIS work is great for its acting, and its story telling. It has as much emotion as one heart can hold for 157 minutes. WOTO IMDB

“Schindler’s List” (again, 1993): I see this Monument repeatedly. It's brilliant and powerful, from start to finish. YOU should see it first, in its entirety, if you're contemplating your children being exposed. Spielberg made his own "parental warning" introduction, when it aired – unedited - on t.v. (a gutsy and triumphant moment for television). I would WANT my children to see it, as long as we had some preparation first, and PLENTY of discussion afterwards. Of course, this is an emotional and horrific story, scene after scene, full of dark insights at every turn, but it is the spiritual growth of Oskar Schindler – NOT an admirable man when we first meet him – that becomes one of the inspiring forces. Liam Neesom was great in this role, which helped make “Schindler’s List” one of my Top Five for supreme character studies. You will also see a typically subdued Ben Kingsley, and a brilliant, frighteningly evil yet torn, Ralph Fiennes. The music is not overwhelming, but present and effective. The camera work and lighting for this black & white work of Art are flawless. The use of a few tiny moments of color (aside from the start and finish), aren’t really necessary, and a little overly poetic, but are still a nice touch. During the film, I often want to vomit, or cry, or scream. I’m glad I feel these things. Steven Spielberg never has to prove anything to anyone ever again…even if he makes another “E.T.”. WOTO IMDB

“Ugetsu” (Japanese, 1953): This is going to sound weird, but much of this film, by Kenji Mizoguchi, reminded me of “The Wizard of Oz”. No, there is no Dorothy, Toto, winged monkeys, or a tornado, and yet, there IS a round-trip journey in search of Home, with related characters, incidents, and lessons along the way. ”Ugetsu” is what I think of as a Classic Japanese story loaded with dense cultural references, symbolism, high stylization, mysticism, legends, violence, greed, and morals to the story. It also contains an often seen ambivalence, if not distrust and fear, of Japanese women by Japanese men; the clash of traditions with a changing world; and a certain expected doom. Wizard of Oz? Well, do the characters find their Heart, Wisdom, and Courage by the time its over? Yes, along with other insights for which the price was very high. Ugetsu is a GREAT, theatrical, Japanese film...one that is easier to grasp (as an American) than many others. If you see it, and if you like it, I'd suggest the next one be the fascinating "Woman in the Dunes", which focuses more on the issue of fear and claustrophobia in relationships. I've never seen films come from a single culture that so completely ignore attempts to be understood by the outside world, as the Japanese (at least until the contemporary work, which is more a commercial product than a work of Art). They are very interested in communicating to their own people, especially the educated, but seem to be extremely satisfied with their isolation. Maybe that comes from living on an island. If there is someone out there in the Universe who reviews movies made on all the different planets, s/he/it probably says the same thing about us, the Earthenese. WOTO IMDB

"Mystic River" (again, 2003): Talent all around. Directed, produced, and scored (!) by Clint Eastwood, with many of the actors I admire most: Sean Penn, Laura Linney, Marcia Gay Harden, Kevin Bacon, Laurence Fishburn, & Tim Robbins. Add a strong suspense/crime story (with a few plot line “holes” that were probably explained in the original novel) composed from the history and psyches of three childhood friends, use great photography, supportive music...and you have one serious, high quality drama. It is not a pretty sight, and there are no winners or heroes to be found, but it rings of truth - lives that circle and circle around shared and private histories, that never get clarified, that never utter what needs to be spoken. The meanings and characters of this story are larger than the little lives depicted. This is the stuff of epics. Eastwood created a film equal to his superb film “Unforgiven”, with its use of gritty realism set in a specific time, place, and people, which rises above them to present our largest concerns as humans. WOTO IMDB

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2.
"TOTALLY WORTH TWO HOURS OF YOUR LIFE":
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“The Prize Winner of Defiance, Ohio” (viewed twice this year, 2005): Julianne Moore (one of my favorites), Woody Harrelson (also great), Laura Dern (never disappoints), and a TALENTED cast of kids, make this true story come to life – Life- in all it’s funny, sad, pathetic, silly, frightening, and proud aspects. Set in the 1950’s – 60’s, we follow a family - centered on a Mother with a knack for writing advertising jingles and winning little prizes for them, a Father who is an insecure, neurotic, drunkard with an occasional warm side, and a house full of children who grow up walking on emotional eggshells – who do their flawed best under extremely trying circumstances. This is not a dark or light film - it stays in twilight – where so much of Life lingers, where Truth shifts and slides, where luck and prayer mix and mingle, where love and stubbornness hold the other together. This film will probably end up in the category above. I will be seeing it again, and again. IMDB WOTO

"A Christmas Story" (again, 1983): We watch this one every single year. We know it by heart, and still continue to love it. (Let’s see - I think this means I’ve seen it about 22 times!) It's unavoidable for me, since it tells the story of MY childhood EXACTLY! No, REALLY! From the coat Slick wears, to the coal furnace, the school design, the heavy winter, the coon skin cap, the toys, to the tongue on the flag pole… except I never got the chance to shoot my eye out with a BB gun, which I’ve always regretted. It’s set exactly 10 years earlier than my experiences, but in Indiana THAT means little. The period sets, costumes, cars, etc. are flawless (even if there IS some of that “Clean Car Syndrome”). Believe me, I've studied it... but, there is ONE LINE of dialog precisely BACKWARDS, a real mistake. One day you might catch it. Might not. Good luck! While you're at it, try to determine in EXACTLY what year "A Christmas Story" is set! It CAN be deciphered. FYI: the original family home has been restored and made to look EXACTLY like it did in the film! You can take tours. Also, the “leg lamp” is being reproduced. You can now have your very own. WOTO IMDB

"National Lampoon's Christmas Vacation" (again, 1991): This is one of three Xmas movies we watch EVERY year within two weeks of the holiday. It's nothing but stupid, dry, hilarious fun...or...we be real dum maybe. Chevy Chase created a niche with the character Clark Griswold, a highly mediocre, frustrated but well-intentioned suburban man, married to his lovely & loving wife (Beverly D'Angelo – with the only sexy overbite in movie history). This film is FULL of people who would soon become stars: Randy Quaid, Juliette Lewis, Brian Doyle Murray, etc. Expect nothing but laughs, and roll with it. It's a no-brainer night. Who would've ever thought that Juliette Lewis would start here? WOTO

“Twenty One Grams” (2004): This is one HEAVY WEIGHT film. Expect to need a clear head as you enter and follow a highly complex plot, made of individual stories and time-lines slowly woven together to reveal larger concepts. Yes, the twisted time-line has become almost a fashion-must anymore, but THIS time it’s artful, and meaningful. Sean Penn, Naomi Watts, and Benicio Del Toro are astounding. The supporting cast is also great. The scoring is perfect. The photography is strong without becoming self-indulgent. The story itself, for better and worse, is loaded with the sort of incidents in life we all fear, yet for which we feel the need to be prepared. This is a VERY emotional film, with very FEW glimmers of light that you must find by paying attention. This is a film lover’s film. WOTO

“The Aviator” (again, 2004): I don’t know a lot about Howard Hughes, and I truly hope this film played it straight with history, because it is a fascinating story, and I’d rather it accurate. Martin Scorsese directed it – not Oliver Stone - so there IS a better chance it honors the truth! We’ve ALL heard about Hughes’ final, reclusive, CRAZY years, but “The Aviator” covers the years before he became lost in what I’m sure would now be labeled Obsessive/Compulsive Disorder. The story immediately peeks into his childhood, where an important issue is clarified. We then dive into his start with aviation as a young man. We see his mind working 1,000 miles per hour, flying in 4 directions at a time, and NEVER shooting down ideas. He gambles everything, often, and fights for what he gets. He’s no namby-pamby rich boy. You have to admire him, even if you DON’T want to be in his hire. Leonardo DiCaprio does a wonderful job, as does Cate Blanchett, Kate Beckinsale, Alan Alda, Ian Holm, Gwen Stefani, and Alec Baldwin. The dirty business of politics & payoffs is covered, as are the glorious, imaginative efforts of Hughes and his engineers. Special effects are excellent, photography is exciting, dialog interesting, sets & costumes rich with era, scoring great… it’s an all-around solid character study and recreation of an era worth another look. If you liked the film “Tucker”, I can assure you “The Aviator” will do nothing but better it - which is quite a compliment. IMDB WOTO

“Capote” (2005): Sometimes you can sense the quality of a film within the first minute. This one had it, and never let it go. From scoring to photography, palette to sets, and dialog to acting - everyone and everything came together. Hoffman NAILED Capote. Having never seen Harper Lee, I don’t know if Keener succeeded, but I like what she presented. This one’s all about Capote, anyhow. Phillip Seymor Hoffman has created lots of great roles, but this is the one that brought him to a larger audience. The story is not about the murders he studied. The story is about Capote – the egocentric, manipulative, self-deluding character who uses others and lies as long as he needs. It’s a very dark story in the first place, and to then focus on someone who can only be considered a vulture who knows how to write, makes it all the more uncomfortable. You end up feeling grateful you weren’t acquainted with the killers OR Capote. Top notch character study. We saw it twice this year. WOTO IMDB

“Terminator II – Judgment Day” (again, 1991): Seven years earlier, the first “Terminator” came out… and for its time… it wowed the audience with the story, touches of humor, high pitched action & violence, and special effects. Looking back, it’s one funky movie, full of VERY period stuff. By “II ”, computer power increased dramatically, allowing artists more and better control. But, a good movie is never about equipment… it’s about story, details, pacing, scoring, acting, dialog, on, and on, and on. Whereas the first of this series is down in my “Guilty Pleasures” category (and you SHOULD see it first), THIS is the real thing. It’s still full of tongue in cheek wit, insider jokes, and hyper-violent action, but it’s also a “mature” sci-fi, with strong comic book heart. WOTO

“Miyamoto Musashi” (1955): by Hiroshi Inagaki, starring Torshiro Mifune. This is an EPIC story of one man who sets out to travel far and wide throughout the land and himself in search of his identity and purpose. It has something of the feel of Herman Hesse’s book “Siddhartha”, but with Samurai battle scenes… (no, it is NOT a silly martial arts film). Having won the Academy Award for Best Foreign Film of 1955, this is 97 minutes of serious life dramas, with the priorities being Japanese, of course. One must think that with less than a decade having passed since Japan’s defeat in WWII, this film’s considerations (set in the 16th century) - about identity, goals, love, war, status, and true purpose - were nearly unavoidable. Beautiful photography, good color (considering the era), music that occasionally over-swelled the scene, believable sets, and again, a serious story line, make this one worth seeing. This will sound odd, but I found lots of parallels to the early Marlon Brando film, “The Wild One’”. Feel free to disagree. WOTO IMDB

“Sophie Scholl – The Final Days” (German, 2005): Julia Jentsch stars in this true story of a small group of young German underground organizers who tried to fight Hitler with leaflets and graffiti in Munich. Their group was named “White Rose”. This is a history lesson for all who see it. Not everyone clicked their heels to Hitler, including some Germans. Ask yourself what YOU would do for your beliefs, and what risks YOU would take to defend them.

“Pinocchio” (again, 1940): For me, this is about the last of the first Golden Era of Disney animation. You don’t have to agree – but I prefer the 1930-1950 era. After this, there’s a HUGE gap until “The Lion King” comes along, and reestablishes high level, non-CGI imagery. “Pinocchio” is a dark story when you get down to the nitty gritty. A lonely old man, who talks to himself, makes toys but has no children, and lives with a cat and a fish, wishes for a real son. The All-American/Northern European Fairy makes a visit (she’s HOT!), and gives life to the little wooden puppet. Jiminy Cricket, our tour guide, is given the duty of being P’s conscience. Then it all hits the fan. In Pinocchio’s life there is but one parent who loves him, and he finds a world FULL of skulking, ravenous, vulturous adults (all male), who lie and steal him away (from his parent) to places of seduction and Hell. The Fairy’s promise that IF he is good, honest, and brave, he will be made into a REAL BOY, seems like awfully slim odds. Then things get worse. The world is a huge, threatening, dangerous, confusing, slimy place… and kids do NOT belong. This story is full of predators, kidnapping, cages, abuse, crime, vice, broken promises, monsters, liars, and the most evil of ALL sneaky, lazy creatures: The Actor. After rewatching “Pinocchio” (and it’s been decades seen I’ve seen it), I have to say that between “Bambi” and this one, my childhood was a series of animated psychic scars. Yikes!! WOTO

“Red” (again, French, 1994): Exquisite, thoughtful drama about living isolated and interconnected, destiny vs choice, the difference between internal and external life, private and social life, life and death. Quiet thoughts, lots of observing, lots of dialog, lots of undefined moments add up to a powerful feeling. We are not alone any longer than we are supposed to be. We are not with anyone any longer than we are supposed to be. No one said it was easy or fun, but it’s the price of admission. You’ll find beautiful photography, understated acting (Irene Jacob, Jean Louis Trintignant), elegant scoring, and interesting pacing. Directed by Krzysztof Kieslowski (“White”, and “Blue” the other parts of his trilogy). This one may have to go up to the top category... I’ve only seen it twice to date. WOTO IMDB

“Kagemusha” (1980): Directed by Akira Kurosawa. This is a SWEEPING Historical Epic about warlords of Japan in the 16th century. It has all the glamour and hugeness of a Hollywood production, but with goals of a more serious nature. A petty thief is found, just prior to execution, so identical in appearance to the Clan ruler, his life is “spared” in the name of “service” to them. Look-alikes were used as protection (“targets”) and double-duty (“stand-ins”) - as they have been ever since. Things go wrong, and many adjustments are suddenly necessary within the Clan, the family, and even the enemy camps. All the lessons are monumental, archetypal, Shakespearian, Greek. Perhaps occasionally long (at least for an American with little knowledge of ancient Japanese history), many of the scenes are powerful, beautiful, and horrific. I am NOT a fan of split-tinted filters for special sky effects, and at times the classic acting style of Japan is stylized beyond character credibility, but overall, this is a BIG film, and worth the 160 minute viewing. WOTO IMDB

“The Odessa File” (again, 1974): Based on the facts. It was 1963, nearly twenty years had passed since Germany was defeated in WWII, John F. Kennedy had just been assassinated, and Egypt was working on a biological weapon of mass destruction. Due to almost random circumstances, a series of events is set into motion… and former Nazis – still in hiding with new identities – must be found. They are designing the delivery system that will take the bombs to Israel. Simon Wiesenthal was the advisor for the book and this film. Starring Jon Voight and Maximilian Schell (with scoring by Andrew Lloyd Weber!), this is a detailed, tense, interesting detective/suspense drama. WOTO

“Vincent” (again, 1989): Narrated by John Hurt, all the information presented in this documentary is taken from Van Gogh’s letters, mainly written to his brother Theo. He wrote Theo more than any other person for two main reasons: no one else would tolerate Vincent’s obnoxious behaviors for any real period of time, and, Theo funded Vincent’s life of self-righteous fantasies and efforts. DON’T get me wrong. Vincent van Gogh is one of my favorite painters, especially the last few years of his life… but, it doesn’t change the fact he was a whiney, angry, manipulative man his entire life. He had three obsessions: women, religion, and art. They were completely interchangeable, and he was seldom grounded in his ideas about any of them. This attitude worked for the intense, defensive creation of his art. It was a disaster for women and religion. None the less, his behaviors insured a life of misery – which he felt he deserved – and concluded with his eventual suicide. WOTO

“Osaka Elegy” (Japanese, 1936): Directed by Kenji Mizoguchi. This is one of his earliest films. Japan was in the throes of a cultural turmoil. They were busy invading China, and feeling the schizophrenia of traditional vs modern society. This story is about a decent young woman, who, when familial pressure is applied, does anything necessary to pay the bills of a pathetic father, a self-centered brother, and a confused, naïve sister, and, a keep an abusive boss “happy”. As we might expect (now), her road darkens as everyone demands more and more, gives back less and less, and shuns her for doing what they suggested and made their advantage. Expect a noir-ish look to the film, with spare traditional home sets and costuming, contrasted with high style business/commercial sets and costuming. WOTO IMDB

"The Cell" (again, 2000): Mixing some of "Don't Say a Word" with "Eraserhead", “Brazil", and "Silence of the Lambs", we get “The Cell”, which is still unique enough to be very interesting… as long as you like Sci Fi, and serial killers. What makes it really worth your time are the sets, costumes, and scoring - intensely creative, yet heavily influenced by the Japanese culture. A beautiful, frightening, and, as long as you pay attention, generally interesting, symbolic story worth following. Starring Jennifer Lopez, Vince Vaughn, and Vincent D’Onofrio. WOTO

“Women vs Men” (again, 2002): Focused on two couples (with a third couple as support), this is a rapid fire, extremely witty, relentlessly insightful dialog film about men, women, and their confusing relationships. Paul Reiser, Joe Montegna, Vincent Pastorelli, Christina Lahti, Glenne Heady, and Jennifer Coolidge star. I think of this as a funny version of "Who's Afraid of Virginia Wolf?" It is structured identically (was this too a stage play?), and has similar interactions - but never loses its sense of humor (until the last few minutes), and carries you through an entire evening of mini-situations. There’s some solid thought about the sexes here, and no one gets off the hook. WOTO

“Punch Drunk Love” (again, 2002): Starring Adam Sandler and Emily Watson. Do NOT think this is a “comedy” because you’re read “Sandler”. It’s not a comedy, nor is it a crime drama. I’ve never thought of Sandler as a comedian anyhow. I think of him as someone who portrays Neurosis… from little to huge, gaping, psychic wounds. And Emily Watson? See “Breaking the Waves”, “Angela’s Ashes”, “The Boxer”, “Hilary & Jackie”, or “The Luzhin Defence”. She does NOT do “comedy” either. So what IS this movie? It’s about social unease, disconnected people in modern life, trying to control one’s darker urges, the build up of stress, and finding someone – anyone – who can accept even some of you at some level for any amount of time. Connection. Seeking connection with no map. The extremely common Surreal day. Try and make sense. It’s a full time job. WOTO IMDB

“October Sky” (again, 1999): Based on the autobiography of N.A.S.A. scientist Homer Hickam, this is “can-do/make-it” entertainment of the highest order. Starring Jake Gyllenhaal, Laura Dern, Chris Cooper, and other talented actors, the setting is in a small West Virginia coal mining town, where everyone expects to bear children, grow, and die early in the service of the mines. Think “Coal Miner’s Daughter” mixed with “Hoosiers” mixed with “Stand by Me”. You can’t go wrong. WOTO

“Jurassic Park” (again, 1993): Is there anyone who HASNT seen this one? It’s a wonderful, almost believable sci-fi, which quickly pulls you to the top and then lets go, like an out of control roller coaster. Sure, Stephen Spielberg is formulaic in his devices, pacing, back lighting, music, story lines, etc., but it sure is fun to go for the ride, AND, it funds his serious work like “Schindlers List” and “Empire of the Sun”. So, LET there be “Jaws” and “Jurassic Park”… lawdy, even that dopey “E.T.” – there’s room enough for both types, and these crowd pleasers are what pay for his other efforts. THIS is the reality of big budget efforts. There’s LOTS of sweeping music, girl screams, almost-disasters, big chases, the tinting of reptiles with human characteristics, easy tugs of emotion, etc., etc.. Sam Neill and Laura Dern perform solidly, Jeff Goldblum always does his ONE character, plus there’s Richard Attenborough, and the yet to be knowns: Samuel L. Jackson and Wayne Knight (Newman on Seinfeld), who make significant appearances. The young girl does a better than average job too. (Sorry, I don’t have her name.) WOTO

“Notorious” (again, 1946): Directed by Alfred Hitchcock, starring Cary Grant, and Ingrid Bergman. I am NOT a fan of Hitchcock, and this is NOT like a typical Hitchcock film, so I liked it much better. It’s without all the last minute twist gimmicks and typical A.H. signature devices so many people seem to appreciate. This is a straight ahead crime-suspense-drama, set in current time (1946), at the end of WWII, reflecting real concerns and events. In THIS case it means hunting down Nazis who escaped to South America. Grant is a government Agent, Bergman is a somewhat unwilling part-time Agent – the daughter of a treasonous father. Together, they are assigned the infiltration of a group of Germans down in Rio. This is strong, steamy, tense, reality based stuff, with, as you might expect, some sort of push/pull between our two leads… and WHO could resist Bergman (or Grant)? There are very few cheezie special effects (such as in “Vertigo” – one I especially dislike), and forget trying to spot Hitchcock hiding somewhere – he’s not there. Maybe he respected this story or his actors enough to avoid such distractions? IMDB

“Summer” (French, 1986): From Eric Rohmer’s series of “Comedies & Proverbs”. Prepare for a typically dialog-intense subtitle session with this Rohmer film… and to then feel it was totally worth the effort. A Parisian secretary, who was recently dumped by her fiancée, attempts a vacation from her troubles. Little does she understand she takes her troubles everywhere with her. This is a well done role by Marie Riviere, whose character seldom sees her own forest through the trees, and when she does, she runs back to the city. She has excuses for everything. She makes herself and everyone around her uncomfortable and tense. “Summer” is a focused film – it sets out to depict – in painful repetition – the traps we can create for ourselves in the name of comfort, safety, anxiety, defensiveness, and fear. The production values are mediocre at best, and some of the “extras” are too rough around the edges to ignore the film camera rolling a few feet away, but the central characters, and the purity of this story, make up for any smaller flaws. It's not the look of the film, nor most of the acting, that attracts me (although the lead character is done VERY well) - it's the purity of looking at one idea from various angles, exploring it further than we normally do in daily life (unless we are in an intimate relationship with another person), and having the courage to depict it with no sideline curiosities, diversions, or compromising entertainment. It's dubbed, and a script full to the brim with dialog. Translation: LOTS of subtitle reading. This IS a "discussion" film, and the exchanges are important - however, much of their meaning is hidden in the juxtaposition of words vs actions, facial expressions, body language, etc.. so it's equally visual. I do wish Roehmer used better production qualities. The look of his film takes on something of a rough documentary appearance - which has great potential - but his are without the total spontaneity of a real document or the total control of all those seen within the frame. I.e., "extras" are not controlled well enough to appear unaware of the camera, nor trained enough to act their way through a scene. He needs professional extras. Okay, THAT aside, the CONTENT of the MAIN POINT is so interesting, sad, maddening, and insightful, THIS is why you stick with it. This woman lives in a huge forest of her own, and can't seem to spot a single tree. Everyone can relate to this idea through life's observations - AND direct experience. Face it. NONE of us manage to know the entire forest by our solo strolls along paths of least resistance. This is a very smart film. WOTO IMDB

“Blue” (again, Polish/French, 1993): Starring Juliette Binoche, and created by Krzysztof Kieslowski. It is the first in a trilogy of films (“Blue”, “White”, "Red"). Worthy of your time...they are wonderfully complex psychological dramas, I will see them over and over. Aside from the obvious use of colors within each film, and some of the symbolism (which I suspect the European art crowd finds nicely elitist in that secret-society way, no one will absorb the full depth of these characters after one viewing. I also suspect that the issues portrayed in “Blue” are related to European politics and issues of solidarity, represented by various characters and circumstances. You'll continue thinking about them, and, fortunately, they are open enough to use as comparisons (symbols) within your own life. That begins to reach Art. The color photography is superb, the scoring, although perhaps over-extended, is also superb. WOTO IMDB

“Thirteen Conversations about One Thing” (again, 2001): Like many films of the last few years, this one has a complex, multi-layered story structure, but it's worth the effort to follow. It IS a film in which you literally listen to "13 conversations about one thing" – which is both linear, and non-linear at the same time. It is definitely worth your viewing. Expect a film that is moody, downbeat, and thoughtful, yet tinted with optimism that ALL of the characters seem only begin glimpsing. You’ll want to SLAP them sometimes! The acting is good (many stars), the scoring very supportive, the photography rich, and the lessons to be learned: very useful. WOTO

“Early Summer” (Japanese, 1950): I always seem to use the words “quiet” and “elegant” with Yasujiro Ozu’s films. They are not for the action-hungry movie fan. His films are for the very patient viewer, who may not need what one would typically think of as a plot line… perhaps “mood line”, or “slice of life line”, is more like it. Ozu uses the same actors, same low camera angles, and same meditative pacing in all of his films – which no one can match. “Early Summer” is in black and white like most, with gentle scoring, and subjects one finds in any home, country, and era throughout the history of humans. Think of the title as symbolic of a phase of life. Watch for the shots of birds singing in cages, a loose balloon in the sky, the ebb and flow of the ocean surf, the invisible wind over a field of wheat. The family struggles to keep itself together, while sometimes pushing the young towards the edge of the nest, and other times reeling them back in when it looks like they COULD fly. The children want to go, and don’t want to go. People want to move – explore – but want familiar surroundings at the same time. Children grow too fast, and not fast enough. One day you’re comfortable, the next day “it” is gone. Parents guide their children every day, and then can’t figure out when to give up the control. There is the constant push and pull of individuals within a home. Everyone keeps changing, or is forced to change. The Dance never stops. It has its own quiet, common elegance. WOTO IMBD

“Requiem for a Heavyweight” (1956): Starring Jack Palance, Keenan Wynn, Kim Hunter, and Ed Wynn, and, written by Rod Serling, for Playhouse 90. Ninety minutes of nothing but LIVE television. The actors had to move in a constant flow from set to set, with all their lines and moves hidden in their heads. This was a serious play about a recently has-beened Boxer who knows no other life than that of fighting. His family is a manager and doctor. Now he’s cut loose, and needs work. It’s an emotional story about dreams, nightmares, and the real world. It has something of the feel of “On the Waterfront”. Why it never made it also to the silver screen, I don’t know. It DID win the Golden Globe Award for the year, and put Rod Serling (pre-“Twilight Zone”) on top. All the actors were marvelous. The sets were admirable for the conditions under which they had to work. A “Kinescope” of the broadcast (filming the t.v. monitor screen) was the only documentation. It is well worth your view. WOTO IMDB

“The Baker’s Wife” (French, 1938): Directed by Marcel Pagnol, starring Raimu, and Ginette Leclerc. This is a witty, funny, sarcastic, and tender look at humans & their investments in “status” and “image” – set in a small French village. When the village finally gets a new, desperately needed Baker, all is well. Bread, and wine, are everything to them. Without warning, the Baker’s wife takes off with a man of no consequence, the Baker slips from denial to depression, and stops creating bread as he comes to realize she is GONE. The town, MOST concerned with its love for his bread, MUST find her or a solution of some kind! Although some scenes struck me as unnecessarily stretched, the dialog is often fast, and it is subtitled, so come prepared. It is well worth the effort. There are some memorable, unique moments. WOTO

“Appointment in Tokyo” (WWII): An hour of American and captured Japanese film footage of the War in the Pacific, from island to island, wave to wave, beach to beach. Sometimes overly dramatic scoring gets in the way, but ALL footage helps add understanding to this important time.

“The Road to Perdition” (again, 2002): Starring Tom Hanks, Paul Newman, Jude Law, Stanley Tucci, Jennifer Jason Leigh, Tyler Hoechin. I liked this film even more than last time. It’s tender, and dark; evenly paced, and full of explosive moments; beautifully photographed, with subtle scoring; Epic, yet deeply personal. The story, seen through both the eyes of the Father, and the Son, shows the horror and the glory of their discovering the Truth about each other. It is a mature film that looks with sympathy and insight upon the inner lives of the Male. WOTO

“Oh Brother, Where Art Thou?” (again, 2000): This is my second viewing, and I enjoyed it even more. Talk about your quirky, funny, deep-South, Depression Era tales… and based on Homer’s “The Odyssey”????? Holy Moley Jesus, we’s in it deep now! I am especially impressed with the seeming ease in which George Clooney moves from comedy to drama, with John Turturro coming in a close second. Tim Blake Nelson is wonderful, John Goodman does what he knows best, as does Charles Durning. I have NOT read Homer, but I caught some of the references. I think next time I might make an attempt to read Homer before viewing the Coen Brothers. Hey, it couldn’t hurt. WOTO

“World War II – The Great War” (10 tapes, 1993): I watch a lot of documentary film about WWII, and I think I’ve said all I can about it. ALL of us reading THIS right now are capable of doing so because of the efforts, pains, and deaths of millions before us. Had Germany (and to a lesser degree, Japan) prevailed, YOUR life, NOW, would in no way resemble what you have been allowed to make it. Plain and simple. Had it not been for OUR country’s involvement, and that of the smallest countries such as Holland, along with the largest countries, such as Russia – had it not been a WORLD EFFORT to stop an Evil – nothing as we know it would now exist. To remain ignorant of this most important era is to have NO living perspective. WOTO

“Pearl Harbor Dec.7, 1941” (2001): Ditto. WOTO

“Paradise Now” (Arabian, 2005): When you read the hype, it’s of the “riveting thriller” genre, but I didn’t find that to be its focus. Set in Palestine, two life long buddies are “called” to become suicide bomb killers and sneak into in Tel Aviv. Basically, they’re the one-way explosion mules. I appreciate the fact that the motivations and politics of their group are mixed, sometimes suspect, occasionally shady, and not altogether clear-headed. I also appreciate the internal and external debates with which these two men wrestle, once the original plan has to be altered, and “improvising” is required. I do not find it so much an interesting political debate, as I do a social/economic one, where those who see themselves as “victims” behave in ways that confirm their beliefs, and those who “rule” will make all the necessary efforts to maintain that role as well. I would be shocked if many people in the Middle East were all that pleased with this open look at a sad, often deluded, and certainly desperate way of thinking, living, and dying. IMDB

“The Weather Man” (2005): This is one low key, cold, silvery-blue, frozen story of a man who wants some rational, foreseeable aspects to his life. He can’t seem to find or create them. In his eyes, his life’s a mess, he screws everything up, and no one pauses to wait while he tries to pull things together. Life’s events just keep blowing this way, then that, with no real reasoning. Is everything REALLY as random and meaningless – even valueless – as they seem? He (Nicholas Cage) is an adult, his father (Michael Caine) is distant, his wife has left him, his kids are finding life messy with or without him… and he has some growing up to do. I liked the subdued roles of both these men, and the defensive role of his divorcing wife (Hope Davis). Watch for wonderful symbols of his state of mind, emotions, and relationships. Despite how it first feels, this is NOT a one-emotion movie. Ride with it. WOTO IMDB

“Napolean Dynamite” (again, 2004): A caveat: This is one uniquely funny movie, but only if you like dry, Dry, DRY humor. If, like me, you love Christopher Guest movies (This is Spinal Tap, Waiting for Guffman, A Mighty Wind, etc.), and stories like Welcome to the Doll House, Drop Dead Gorgeous, or even The Brady Bunch Movie, you should like this one too. It doesn’t have the dark edge of Dollhouse, or the intellectual references of Guffman, but this is the ULTIMATE dead pan, dry-as-a-bone, walking-in-your-sleep, never-cracks-a-smile, supremely LAME-O movie of all time. Everything you see and hear is in support of that one goal. Every stitch of clothing, shot of landscape, choice of song, piece of furniture, and stunted dialog exchange takes you deeper into the Land of Nowhere. And where do you end up? Nowhere but somewhere and it ain’t spectacular, but it is what it is, and that’s exactly what it should be. I watched it twice in the first week I rented it. Now we own this one! IMDB WOTO

"The Incredibles" (again, 2004): NO ONE ELSE gets close to what comes out of the Pixar Studios. It's ALL outstanding. Story, character development, dialog, wit, inventiveness, visuals, you name it, it's great. THIS one is aimed more at families than couples or individuals, and is loaded with all the issues of pride, love, dedication, right, wrong, good, bad, patience, honesty... packed into a "cartoon". The "retro" early 60's look was fun, but eventually I'd like to see more work set in the "present", like "Toy Story". Let them age on their own. They'll do just fine. WOTO

"Blow Up" (again, 1966, English): Michelangelo Antonioni's great film has stuck with me since I saw it (first run) 36 years ago. It's not just a period piece, with a great understanding of how to represent that time, nor a simple suspense/crime drama - it goes much deeper into the psyche - perhaps especially for that of "Baby Boomers" and up...where the world makes less and less sense the closer you investigate it, and, if there's no pay off, why worry about it at all? You may as well go with the pointless flow... This is certainly his most accessible, popular Existential film. It was originally one of my absolute Guiding Lights of Art, and Thought. Since the passing of many years, I’ve grown to experience and prefer other films of his that are also Existential, but purer, and less Pop. None the less, I’d hate to choose only one. Antonioni IS my favorite Italian director. WOTO IMDB
(The following are comments on other Antonioni films, for comparison:)
“LAvventura” (Italian/French, 1960): Michelangelo Antonioni’s first of a trilogy (followed by La Notte, and The Eclipse) taking a slow, thorough look at rudderless humans who have no focus, no goal, no internal guidelines, reason, or inspiration. Had Ingmar Bergman been Italian, he could’ve made this film. (I’m sure he admired it.) Exquisitely photographed, subtly scored, and with hints of his upcoming sensitivity to ambient sound, this film asks you to be patient, to expect few answers, and simply observe a few days with these people - all beautiful, all empty. The existential moments will only become more and more apparent in Antonioni’s films - with his later film “Blow Up” being a favorite example of mine. WOTO
“Red Desert” (Il Deserto rosso) (Italian, 1964): Michelangelo Antonioni made this film just prior to “Blow Up”, and you can see where he was headed. “Red Desert” is about a deeply troubled, beautiful woman who seems to have it… all including a stable, handsome husband, a precocious son, and fun, sexy friends. Yes, she DOES live in an industrial wasteland managed by her spouse. True, even the birds know better than to fly anywhere near this area of floating and flowing poisons, but she has larger concerns. “Red Desert” is wonderfully symbolic (the title will make sense later in the film), and illustrates confused, tortured states of mind with landscapes & sets, not to mention the utterings & behavior of this woman. But, IS she insane, or, like the birds, simply failing to accept this environment? Watch the fog, architecture, room colors, lack of dialog, physical disconnects, out of focus camera, illogical gestures… listen to her stories, the sound track (which is electronic, and unfortunately dated), and the random events heard that seem to have no resolution. “Red Desert” is a TRULY great film about alienation in the modern age. WOTO IMDB
“Zabriskie Point” (1970): This was especially interesting to me on a personal level, since it takes place under identical circumstances, with identical peers in my own life of the Counter Culture movement of the late 60’s/early 70’s, on and off campus. We follow two unrelated young people in separate stories, who are slowly woven together. One is a young man in Los Angeles, tired of the endless, pseudo-revolutionary jabber in the classrooms and lunchrooms of his campus, and, the other, a young woman driving to Phoenix to see her father & employer, and take on an establishment job. The film is FULL of our Italian director’s (Michelangelo Antonioni) visual notations of America, and, the confused, psychedelicrazies of the era’s self-righteous, “we know it all, we’ll change everything for the better” youth. Just who IS the revolutionary? What does that REALLY mean? Do you dress like one and march around chanting? Do you fly in under the radar but give advance notice of your arrival? Do you keep your plans to yourself, and go about the business of change with no need for group approval? Zabriskie Point is definitely a period piece - full of slang, uniforms, somewhat surreal film moments, and era artifacts (after all, this is a film by the man who gave us the amazing “Blow Up” of 1966), but it is more. It presents options for cultural revolution, and going by Antonioni (who DOES seem to be supportive of it), the youth are too self-involved to see what is needed for radical success. Because of this, it becomes a powerful, frightening film that applies to anyone, any time, any place. WOTO IMDB)

“The Princess Bride” (again, 1987): I SO enjoy this story. Peter Falk, as Grampa, comes to see his sick Grandson (Fred Savage, pre-Wonder Years fame), and read a classic tale to pass the down time. In her luminous first role, Robin Wright plays a young, pampered woman who ends up falling in love with a poor country fellow, but then things soon get VERY complicated. This is SUCH a funny, sweet, romantic, quirky tale of adventure, danger, revenge, and love! It’s full of memorable lines and innocent joy. Cary Elwes, Mandy Patinkin, Chris Sarandon, Christopher Guest, Wallace Shawn, Andre the Giant, Carol Kane, Billy Crystal… WONDERFUL. WOTO

“Glengarry GlenRoss” (again, 1992): Packed with the best, most intense male actors of our time: Jack Lemmon, Al Pacino, Alec Baldwin, Ed Harris, Alan Arkin, and Kevin Spacey. Both stage & screen plays were written by David Mamet. The set is in a nowhere real estate office during one very long, rainy night, somewhere in Florida. It’s like watching a train wreck – you can’t seem to look away from the disaster. Sales are down, everyone’s on edge, and then… things get worse. This is one of Mamet’s BEST. Loaded with rapid fire, relentless, angry, desperate, vulgar dialog from start to finish, if you’re willing to hang on, you’ll be drained by the end. White Collar Hell. That’s what we have. WOTO

“A Clockwork Orange” (again, 1971): Though not as focused at “Dr. Strangelove” (and perhaps as equally vague in focus as “2001: A Space Odyssey”), “A Clockwork Orange” is full of great indictments of where we were headed if not careful… and careful weren’t. This 35 year old film, depicting the near-future (ours), seems very contemporary and, dare I say, almost “commonplace” now, instead of what was then definitely on the edge of unbelievable and shocking in terms of violence, the media, governmental intrusion, political maneuvering, and collapsing urban environment. Recreational rape? Random ransacking? Prisoners as guinea pigs? The only large, visible aspect of this film that has dated itself is the costuming and décor, but let me tell you – it’s a WONDERFUL sampler of the late-Mod, Post-Moon-Landing Hi-Fashion expressions of a scientific future so opposite of the Hippie/commune prediction. My doubts about “Clockwork”: the film could’ve been pared down a little and not lost meaning, and, Kubrick could have taken on fewer story components. THAT said, this one is still nearly as brilliant as “Strangelove”, and equally interesting as “2001”. WOTO IMDB

"United 93" (2006): Let's get one thing out of the way: I take seriously the attacks on New York, Washington D.C., and the skies over America - and I have not forgotten or mellowed over the last five years. Nor do I have patience for any one, Oliver Stone included, "dramatizing" or "fictionalizing" the facts of a historic moment. For this reason first, but not solely, I support "United 93" and Paul Greengrass' super-effort to make the facts and emotions of that day as true as possible within the confines of film. Does this mean his film is without Art? Not at all, but it DOES mean the only artistic devices he used were to assist the sense of reality that existed for those people during that time. I've heard "complaints" about the use of a shaking camera, but that is ONLY done as the tension and violence occur. It was the RIGHT thing to do for the film at that time, and a viewer's inner ear problems are of no concern to me. I want an artist to take me a place I haven't been. If it's uncomfortable, so be it. I VERY MUCH appreciated the total lack of recognizable actors. It was a brave decision on the director's part. "Selling" the film would be much more difficult, I'm sure, in our market, if not the kiss of financial death. Greengrass was willing to stick by his artistic and story telling intentions. And, because he did, we are gifted with a powerful, accurate, straight ahead, non-gimmicky, emotional recreation of a terrible moment. This is a highly SPECIFIC film, not one loaded with parallels and symbols. If you are AVOIDING it because you've heard it's VERY bloody, etc., it's not. You've been ill-advised. It IS very tense. THAT it is. It is also very sad, and the unknown actors need to be given credit for that. If I remember correctly, Greengrass also used original participants, such as in the control towers, for the added accuracy and feel of time and place. It must've been difficult for those people. I doubt "United 93" was easy for anyone, and it remains a challenge for us. Thankfully. I'd hate to think someone DID find it easy. IMDB

“Black Robe” (again, 1998): Set in 1634, the Jesuits decide to send out one of their new Priests to help spread the word of Jesus to the “barbarian natives” in Canada. He is a fresh-from-seminary, wide eyed, starry-eyed man full of his religion, and ready to see the entire world through these eyes – and only these eyes. His journey into deep Canada – during the winter, with the guidance and protection of “barbarians”, is a lesson which will either help him grow, or kill him. Besides the powerful landscapes dwarfing all the petty concerns of humans, “Black Robe” is incredibly refreshing for its balanced and fair look at ALL people. This is NOT an indictment of religion, nor a pc glorification of the Proud Native. It is a gritty, open look at the flaws in each society, each leader, each member, each “shaman”. No one is idealized, and Hollywood is kept at bay. Scoring is equal to the landscapes and moments of realization or bravery. This is a quiet movie, set in a relentlessly cold world, full of interesting details – a place you’ll be very interested to visit, but not want to live there. WOTO IMDB

“Eye for an Eye” (again, 1996): Starring Sally Field, Ed Harris, Kiefer Sutherland, Beverly D’Angelo, and Joe Mantegna. Our stories tell us where we’ve been, where we are, and where we hope to go. THIS story is a Where We Are type. A family loses a loved one to violence. If that wasn’t enough, the perpetrator doesn’t see justice. Each deals with it in their own way, and everyone changes. Slowly we head towards an inevitable encounter. Sally Fields is great as a person torn over how to go on, Ed Harris does his classic stoic/occasionally almost emotional role, Joe Mantegna is very good as a hard working cop, and Kiefer Sutherland is great as a true sociopath. This is a tense drama that doesn’t jump over scenes for the sake of reaching a climax. It’s not that the characters are the most complex or unique in film history – but they ring true – and there in lies the strength of “Eye for an Eye”. It could have been ANY of us. WOTO IMDB

The Vanishing (Dutch/French, 1988): This film gets compared to Hitchcock. Well, I’m not much of a Hitchcock fan, and I think THIS one is much better! Talk about your slow-building, tension-filled, obsession-driven, suspense-dramas with a big dose of cat-n-mouse, and a finale that does NOT leave you guessing!! Whoa. “The Vanishing” is so nicely constructed – so complete – it’s a lesson in script writing that could teach others a few things. Film quality (on the copy I saw) was mediocre, and the project looks like it didn’t have a huge budget… so BOO HOO, it ain’t Hollywood? God bless it. I don’t want to say much about the story, because this IS a story-driven work, with character studies in a solid second place. DON’T read the rental box, don’t research it before hand! Just dive in IF you don’t mind subtitles, and you like a good mystery. WOTO

“The Chronicles of Narnia – The Lion, the Witch, and the Wardrobe” ( ): I’ve been spoiled. I’ve seen “Lord of the Rings”, and you, Narnia, aren’t a Lord of the Rings. However, I WILL say it’s WAY better than those flat “Harry Potter” things, and has a made-for-kids fantasy akin to the for-adults grandeur of “Excalibur”. The special effects are pretty darned good here, and the story is… well, VERY reflective of a number of things: 1) World War II in Europe, 2) the biblical story of Jesus, and, yes, 3) Lord of the Rings. C. S. Lewis, who wrote this story, went to school with J. R. Tolkien, who wrote “…Rings”. In fact, they shared ideas, and it shows. Good guys, bad guys (and gals – played by Tilda Swinton), twisted biological creatures who serve as the Righteous or Evil masses, sweeping landscapes, and in THIS case, a huge battle scene without one drop of blood (again, this one IS for kids). My wife and I enjoyed this one very much, and you will too, as long as you allow for it to be less than a fully adult story. Older kids would ADORE this. It gives kids all the power and glory they dream of having. IMDB

“The Man Who Wasn’t There” (2001): Written and directed by the Coen brothers. Billy Bob Thornton, Scarlett Johansson, Frances McDormand, James Gandolfini, Michael Badalucco, Tony Shalhoub… and the superb, perfect, artful, intelligent photography of Roger Deakins. As always, we find interesting characters and a story that takes awhile to unfold and explain itself – or appears to explain itself. This would be enough for me with the Coen brothers, but I must say, THIS time it’s the visuals. It is one of THE MOST beautifully crafted films in all of history. I mean it. I’m partial to b/w anyhow, but for all the “right” reasons, and this film is an Icon of The Right Reasons. It’s up there with “Anchoress”, “Manhattan”, “Sansho the Bailiff”, “The Burmese Harp”, “Eraserhead”, “Schindler’s List”, “Made for Each Other”, “Hud”, “Village of the Damned”, “Good Night and Good Luck”, “Stranger than Paradise”, “The Elephant Man”, “Casablanca”, and “Onibaba” in its visual artistry. WOTO IMDB

“Storytelling” (2002): Written and directed by Todd Solondz. His film “Welcome to the Doll House” sold me. “Happiness” is out there on the edge, but has lots of guts. I own them both. Todd Solondz is a force to be reckoned with. In THIS film, he sticks with his suburban landscapes that are peopled with angst-ridden characters. If there’s one thing Solondz seems to know, it’s how to depict emptiness. Yes, there ARE “humorous” moments, but they’re always of the sort that makes you wonder if you should be laughing, and even if so, is it because you recognize them too well? Does this film, or any of his films, “tell a story”? I don’t think so. They tell a mood, a state of existence, an atmosphere.

“The Machinist” (2005): Starring a gaunt Christian Bale, and a chubby Jennifer Jason Leigh. In the recent spirit of films such as “Memento”, “Pi”, “Clean, Shaven”, and “Fight Club”, we have another truly interesting psychological drama asking us to decipher reality right along with the lead character (Bale). In order to look the role, Bale lost A LOT of weight – until he looked tortured and ready to die. It worked. He is a machinist at a metal working factory. He claims to have not slept – AT ALL – in a year. It’s not a healthy state for him. Incidents keep stacking up on him, and he sees a pattern to them… maybe… and on he goes, trying to lead a normal life, trying to protect himself from perceived threats, trying to find the answers to the puzzles. He is successful with some of his goals. IMDB

“When Harry Met Sally” (again, 1989): Written by Nora Ephron, produced by Rob Reiner, starring Billy Crystal and Meg Ryan, with Bruno Kirby and Carrie Fisher. Is there ANYONE who hasn’t seen this hilarious and tender comedy about relationships? The chemistry between Crystal and Ryan is PERFECTION. Everything about this film is top notch. It owes a few big tips of the hat to “Annie Hall”, but stands on it’s own as less neurotic and intellectual, and perhaps more charming and accessible? I hate to think of neither having been made. WOTO

"Alien" (again, 1979): Direction by Ridley Scott, sets by the talented and very Freudian H. R. Giger, starring Sigourney Weaver, Harry Dean Stanton, John Hurt, Ian Holm, Tom Skerritt. It is one of the most stylish, moody, and scary sci-fi suspense films of ALL time. On occasion, you can spot its 1979 roots, but for the most part, this is a totally believable story, set in the future, about a cargo crew who seems to have haphazardly & mistakenly taken too much aboard. I tire of the strobe light effect and blasting steam effects for added tension, yet I can't deny it works. And, I am always disappointed in Weaver's inability to THINK when it comes to her concerns over a cat. But, all in all, this is a great, tense, exciting movie. It is true, edge-of-your-seat stuff. WOTO

“Intermezzo” (1939): Leslie Howard takes the role as a famous violinist, who travels the world and seldom sees his family. Ingrid Bergman performs as the very talented piano teacher of his daughter back home. Despite his having “everything” (and nothing), an attraction grows between the two, which causes cancerous harm to his family, and just as slowly eats away at the two of them, now off traveling the world, leading a high style, romantic life. Made in 1939, with world war growing on a daily basis, this film was NOT escapist, romantic clap-trap, but an earnest look at what being a responsible adult entails, no matter the sacrifices, pain, or responsibilities. Leslie Howard is perfectly suave. Ingrid Bergman is the epitome of clean, scrubbed, elegant, glowing beauty. Many films of this time look at the same issue from various angles and stages. “Casablanca” would be another fine example… and, just WHO takes the female lead THERE? Why it’s Ingrid again! WOTO

“Made for Each Other” (1939): The more Jimmy Stewart movies I see from the 30’s & 40’s, the more I realize that “It’s a Wonderful Life” was really the overall improved assemblage of the best parts of ideas in previous Stewart films, with the brilliant inclusion of Donna Reed. “Made for Each Other” has many of the same elements, and the script pieces are all there, along with the mannerisms and dialog, but they lack the chemistry – the Heart – that Stewart and Reed created. What IS superb about THIS film however, is the unbelievably sophisticated & artistic light, dark, and composition used for every single solitary shot. It’s beautiful, smart, and effective. It should be held up to film students for this perfection alone. WOTO

“The Double Life of Veronique” (again, Polish/French, 1991): Directed by Krzysztof Kieslowski – my favorite Polish director – and starring the lovely Irene Jacob. This is truly a haunting and beautiful film that supplies plenty of questions, lots of connections, and wonderful possibilities, but does NOT wrap it up into a neat little literary package for you. Taking the simple, old idea that everyone has a “double” somewhere in world, Kieslowski explores it via parallel stories, with rich, vague photography, lighting, and editing, creating out-of-body visuals and ideas, supported by a musical score that will get under your skin like the finest dose of heroin - taking you places you will not necessarily understand, but you won’t care. It’s such a lovely & interesting trip all along the way, the destination is moot. No matter what the outcome, you want to stay with it. In some ways, “Veronique” reminds me of “Wings of Desire”. There exists an aura of “Destiny” that is magical and fulfilling. WOTO IMDB

Record of a Tenement Gentleman (Japanese, 1947): A great film, simply not his greatest, by Yasujiro Ozu. Remember - this film was made in the REAL rubble of what was once a proud but aggressive Japan, recently defeated by the Allied nations and very big bombs. In fact, they were still “occupied” by the ruling victors. The tenements we see are the remnants of Tokyo. The adults AND children we see are SURVIVORS of the war. It is perhaps because of this situation, that Ozu, normally the most subtle of subtle, was driven to create a more direct statement to his own people. Everyone had lost someone. Everyone was on rations. If you had something, you protected it. The only glue remaining was old world ritual, held by the bitter and sad adults. Along comes an Innocent. What to do with someone who COULD be held blameless? This is a painful, brutally honest film. Its points were not lost on me, and this is why the conclusion seemed to be overstatement… but I believe Ozu wanted to make certain EVERY PERSON in his audience received them. WOTO

“Cool Hand Luke” (again, 1967): Starring Paul Newman, Arthur Kennedy, Strother Martin, Dennis Hopper, Wayne Rogers, Joe Don Baker, and other actors you will recognize. A minor offense lands a man in a Southern work prison. He has no ability to bide his time or follow rules. There is a price for the direction of his path, yet he becomes a symbol of rebellion and strength to the other inmates. Who will win? Who will THINK they won? Who will pay what price? Although “Cool Hand Luke” starts with a certain “lightness” to its drama, the light slowly fades. This is probably my second favorite film of Paul Newman’s (the first being “Hud”.) WOTO

“Equinox Flower” (Japanese, 1958): Although this is not my favorite film by Yasujiro Ozu, it’s NONE THE LESS a film by Yasujiro Ozu, and THAT means it’s good. Using his effective, tried and true style, plus his group of trusted actors and professionals behind the scenes, he’s made another quiet statement about Life. This one focuses on an aging father, caught between the world in which he grew, and the new world of Japan – with children who want to make their own decisions about jobs, dating, and marriage. This is a “Generation Gap” film of 1950’s post-war Japan. It is subtle and never angry or violent (no “Rebel Without a Cause” or “The Wild One”), but full of worry, sadness, stubbornness, and slow acceptance. WOTO

Fata Morgana (1969): Early in Werner Herzog’s career, he set out to make a sci-fi film as though a documentary by visiting aliens. He went to Africa, became fascinated by mirages, began photographing them, narrated the Mayan creation story over it, and what we were given is a very strange, surreal film which will encourage you to take LSD and not bother debating its meaning with friends. What is most interesting to me, as a fan of Herzog’s work, is to see how many “seeds” of ideas, techniques, and stylistic gestures are within this nearly 40 year old work. WOTO

"High Fidelity" (again, 2000): Adjusted writing from 2001: I could've done with less "talking to the lens/audience" shtick, but this is a witty, funny, insightful film about young men, how they think, their male relationships, and also those with women. If you are a music lover, a trivia freak, and a smart-ass, you'll enjoy it as much as I have. Repeatedly. WOTO

“Zelig” (again, 1983): This is one of Woody Allen’s lower profile but equally high quality films. It’s so full of interesting moments, witty lines, social criticisms, and psychological tongues-in-cheeks, you hardly want to laugh lest you miss something. Allen and Mia Farrow star in this film made by the same Team as always. (If it ain’t broke…) “Zelig” is a “documentary” about a troubled soul, Leonard Zelig, who, in the 1920’s, came to be known as the “Chameleon Man”. Through the use of black and white film footage and period recording techniques, a complete world exists here. Start to finish brilliance. WOTO

“Sling Blade” (again, 1996): The screenplay was written by Billy Bob Thornton, and he directed it, and he starred… it’s ALL VERY impressive. I don’t use this term ever, but I am today: “riveting”. Watching Thornton create the character of “Carl”, and the slow, patient empathy for him as his world is revealed, is as elegant a tension as I’ve ever seen. Will Carl EVER revert to his history, and if so, who will he take with him, and if not, where do we go from here? If you’re looking for action, this is the wrong film. It has the thoughtful pace of “The Straight Story” or “The Old Man and the Sea” or “The Mystery of Kaspar Hauser”. “Sling Blade” creates feelings in me that few films manage – that of a sense of sad love, a trust that is only justified by emotion, and an understanding of tragedy through someone else’s eyes. WOTO

“The Secret of Santa Vittoria” (again, 1969): Anthony Quinn is at his peak in this wonderful story of a small town in Italy during WWII. Mussolini was just removed as Il Duce, but the Nazis are on their way to this small, “backwoods” village to take any available booty. The villagers have but one source of pride and economy – vaults of wine they have created. It’s time to play “Hide the wine from the Germans”. This is an often, but not always, funny cat & mouse game. WOTO

“Where the Green Ants Dream” (Australian/German, 1985): by Werner Herzog, a favorite film maker of mine. The film opens with gorgeous, grainy shots of tornadoes moving over the earth. They’re frightening AND attractive in their power. The literal story is of a property dispute between a mining company, and the Australian Aborigines. The subtext is one of clashing cultures, and Herzog’s oft-debated issue over the modern world, and “progress”. His symbolism takes many forms – from the stories and facts behind Green Ants, to an Old World woman who has lost her dog, to the big transport plane the Aborigines seem to want for no understandable reason. The production values remain rough with Herzog, sometimes making scenes more beautiful, sometimes less so, but there is ALWAYS his unique brand of image and music combinations, a river of Germanic pessimism, and a patience in making his points that will test fans of Sylvester Stallone. WOTO

“Mulholland Falls” (again, 1995): There are THREE GREAT REASONS to see this film (and more than once, if you’re like me): 1) A nicely photographed, Noir-ish, moody post-WWII crime story well set in period Los Angeles, starring lots of talent, including Nick Nolte, Melanie Griffith, Chazz Palminteri, Michael Madsen, Chris Penn, Treat Williams, John Malkovich, Andrew McCarthy, and Jennifer Connelly; 2) The detectives drive around in a black 1949 Buick convertible. I had one. They’re gorgeous, in that aggressive, big front end, America #1 way; and 3) two words: Jennifer Connelly, in that gorgeous, aggressive, big front end, America #1 way. WOTO

“The Falcon and the Snowman” (again, 1984): Timothy Hutton, and especially Sean Penn, star in this true story of two best friends, who, as they headed into adulthood, were on very different paths… until an extraordinary circumstance presents itself. They were NOT prepared for the world they entered. As the pressure mounts, they begin to unravel. It’s a sad, fascinating, pathetic saga worth every moment of viewing. WOTO

“Cinderella Man” (2005): The true story of James Braddock, prize fighter, family man, out of work Depression victim, and the Comeback King. Russell Crowe and Rene Zellweger star in a richly textured, sometimes highly emotional film about an average New Jersey family “fighting” to stay together, get the bills paid, and keep the kids fed when everything seemed to be against them. It IS a “violent” film (for those of you who faint at blood), but this ISN’T a Boxing movie, it’s a movie about Heart, Determination, and Family. Directed by Ron Howard, you KNOW it’s going to have action, feeling, a decent centeredness, and lessons in life. He does it well.

“World War II – A World in Conflict” (2000): Although not much depth can be given in only 3 hours, this does the best job of summing it up as I’ve seen. It compares events that occurred at the same time in various Pacific, Atlantic, and European locations. The tactical immensity is perhaps made clearer this way. The devastation to the populace is shown in unflinching truthfulness. If it matters to you, there is more color footage in this compilation than in most. Bottom line: this dvd is a useful addition to your knowledge of REAL history.

“Frances” (again, 1982): Starring Jessica Lange in one of her best roles, and costarring Sam Shepard. This is the true story of Frances Farmer, an individual-minded girl from Seattle, who set out to become a star, and DID. However, she did not have the political/social savvy to wade through the Hollywood muck, and she did not play well with others. Her life’s ups and downs read like a cardiogram, much brought on by herself, much brought on by others, and few near her who really cared one way or the other – they were just there for the coat tail ride. This is a painful story. No way around it. Lange’s use of her face is superb (body language so-so), photography is good, sets perhaps a little too era-pristine, but all in all, this is a powerful film very much worth seeing. WOTO

“Sometimes a Great Notion” (1971): I’ve never liked Ken Kesey’s novels, but I DO like the films that came from them. This is an example. Starring Paul Newman (who also directed), Lee Remick, Henry Fonda, and Michael Sarrazin, it’s a story about a small lumber town under the thumb of a union. Everyone but one family (Fonda’s) agrees to strike. The pressure mounts. Since it was made in 1971, there are a few unnecessarily “dated” moments (the opening title graphics, comments about “long” hair, and a dopey score by Henry Mancini), it’s still a powerful film, full of interesting, obnoxious, and desperate characters. I will never forget a couple of the scenes. WOTO

"A Mighty Wind" (again, 2003): IF you loved "This is Spinal Tap", "Waiting for Guffman", and/or "Best in Show" (which I DO, especially Guffman), you'll also love this one - about "the" reunion of the best of the (worst of the self-deluded, cliché) folk groups of the early 1960's. (They are based on the "New Christy Minstrels", the "Kingston Trio", and "Ian & Sylvia".) As usual, Christopher Guest and Eugene Levy have assembled THE finest group of THE driest comedians of ALL time, and allowed them to brilliantly improvise their characters. Each actor had to LEARN to play an instrument for their role, and were given "perimeters" for their character...then set loose to create most of the dialog right on the spot. They also wrote the "folk" music you'll see and hear. Of course it's perfectly terrible, which means it's ACCURATE to the period. Guest's theme IS Self-delusion. All of his characters and groups, no matter what the setting in his films, truly believe they are talented, know what they're doing and saying yet see no irony or contradictions, and press on in the faith that others see them as they see themselves. It's a lovely, sad, hilarious, pathetic, mind-boggling, brilliant experience. As usual. We’ve watched it twice this year. WOTO IMDB

“Small Time Crooks” (again, 2000): This is about as “slap stick” as Woody Allen has gotten since “Annie Hall”. He continues to take shots at society and personal weaknesses, but this IS a silly story about some VERY stupid, VERY optimistic small time crooks, who, by their own random, undeserving luck, end up successful. Woody Allen wrote, directed, and stars, along with Hugh Grant, Tony Darrow, George Grizzard, Jon Lovitz, Elaine May, Michael Rappaport, Elaine Stritch, and the always interesting Tracey Ullman. WOTO

“Girl, Interrupted” (1999): It's no "One Flew Over the Cuckoo's Nest", but it IS good, with superb jobs done by Angelina Jolie, and Winona Ryder. It's also a true story, written by the woman who experienced it. It’s the late 1960’s, the world is already is turmoil, and it’s harder to determine who is crazy, and why. A young woman IS having problems, and IS committed. Susanna’s (Ryder) recovery is in doubt, and it is NOT helped by the presence of “lifer” Lisa (Jolie). The film is carried by these two women, with a great supporting cast of Whoopi Goldberg, Clea Duvall, Brittany Murphy, Elisabeth Moss, Jared Leto, Jeffrey Tambor, and Vanessa Redgrave. This is NOT one of those horror-chamber sadist psychiatric ward stories. This is a nice place, and only the wealthy can afford to be committed here. THIS story is about disturbed, flawed people who may or may not make it “out” into the world. The period locations and sets are very good, it’s visually put together, and in no way rings false. WOTO

“Closet Land” (again, 1991): Madeleine Stowe and Alan Rickman… these two people… in one room. Nothing more. Music is by Richard Einhorn (“The Passion of Joan of Arc”), and sets/costuming are by Eiko. Naturally, this is a dialog-heavy work – a drama – and a symbolic look at terrorism and torture. It is NOT a comedy. Though supported by Amnesty International, it manages to avoid becoming an “educational” film illustrating an agency. It IS a work that stands on its own. Acting, especially by Stowe, is wonderful, the sets are highly stylized and interesting by one of the few fashion designers working today who strikes me as innovative (Eiko), and the scoring by Einhorn is good. You must pay attention, even when you are uncomfortable. Also see the film “The Trial” (written by Kafka) starring Anthony Perkins. And if you STILL haven’t had enough, see the film “1984” (written by Orwell). That’s quite a ménage a trois. WOTO

“Village of the Damned” (again, British, 1960): I saw this one first run in 1960. I was 10. I remember the adults being very upset by this odd film. I didn’t understand why they were disturbed, but I KNEW I was seeing the first “adult” sci-fi. There were no monsters, no rockets, no buildings being smashed, no space suits… yet it was creepy and disturbing. I may have seen it again over the decades, but don’t remember doing so… until now. Would it be laughable, like so much of what we outgrow? Well, yes, and no. Special effects, although (gratefully) almost non-existent, are obvious. Dialog varies from brilliant to lame. The acting hovers above other sci-fi flix of the time, but nowhere near what I’ve come to demand from top films. The photography is BEAUTIFUL. It’s rich, well composed, black & white. The setting – a pastoral, Mayberryesque rural village in England, was perfect. The build up of tension is patient but steady. Slowly the pieces of the puzzle come together, and then we switch to issues of resolution. While this was happening, I began to see why it upset the adult population in 1960. By the end of the film, I totally got it. “Village of the Damned” reaches the level of societal insights comparable to “The Day the Earth Stood Still”, but less obviously. The Cold War was in full swing. Fear of the unknown – the Infiltrator – the Spy – the Double Agent – permeated life. Adults were sensing a huge generation gap stomping their way – one unlike the world had ever seen. The children were in the formative years of this revolution. No one knew what the next day would bring. Science was constantly offering up major alterations to life, and politicians were promising they’d be installed as daily reality. We were on ANOTHER PLANET within another 9 years! No one was joking anymore. Hey…if WE would be on other planets soon… maybe it’s possible someone can reach US too! The Age of Fantasy was fading – for REAL. Also threatening were the concepts of Brain Washing, Mind Control, and other invisible tools of warfare. Overall, this is a subtle film, which adds to its chilly creepiness. Forgive a few awkward scenes, and you’ll love the calm evil of this classic. It is a GREAT period piece. WOTO

“Big Battles of WWII” (2005): 5 dvd set, totaling more than 12 hours of WWII documentary footage. Insight is insight. We all need it, especially in areas where we THINK we don’t. We “know” war is ugly, and most of us know there are necessary and unnecessary wars. The difference, short of experiencing it in person, can only be reached through the real documents left us from the past. War is intellectually, financially, philosophically, materially, tactically, and emotionally complex. What those of us who haven’t faced such events DON’T realize is the scope of these aspects. It isn’t just ugly, it’s overwhelming in its intricacies, and offers glimmers of beauty & optimism in places you cannot anticipate. Do I wish I could experience all of that? No, no more than anyone who was forced into it wished it upon themselves… but, there it was, and the most one can do is first) survive it, and second) make some sense from it. WOTO

“Angels in America” (2003): This is six hours of film on 2 dvds. You might want to divide it into 2 evenings. It’s not just long, it’s demanding, witty, maddening, sad, ridiculous, surreal, VERY gay, and beautiful. Set it 1985, we follow a number of characters through their lives – dramatic and common – as A.I.D.S. becomes part of the language of the homosexual community…and soon for everyone else. The Plague. Dialog is very insightful and interesting, sets are everything from bleak to extravagant, scenarios are grounded in relatable circumstances, and the acting by all in superb. Al Pacino, Meryl Streep, Emma Thompson, Mary-Louise Parker, Justin Kirk, Jeffrey Wright, Patrick Wilson, Brian Markinson, James Cromwell, and many others made for an awe-inspiring work. I have but one complaint: some of the actors, including famous ones, were put in 2, 3, and 4 very diverse roles. This MAY have been fun for them, but it was not done to enhance or explain the story or characters, and became nothing more than an anti-artistic distraction. You either broke concentration to play the “I.D.” and makeup games, or, the characters lost substance and continuity as your “suspension of disbelief” was repeatedly pulled out from under you. THIS was a flaw. No doubt about it. You’ll have to be forgiving of this huge wart on the nose of Angels in America, to enjoy most of a very fine work.

“The Magdalene Sisters” (2003): Set in 1964 Ireland, this is the true story of four girls who are put into the "Magdalene" system of Catholic penitence homes for “wayward, problematic” girls. Their stories are, sadly, not unique, and represent approximately 30,000 young women who, whether they had an illicit child, were rebellious, or merely rumored to be flirtatious with boys, locked away in institutions for anywhere from a few years to life. They were run by the Catholic Magdalene Sisters of Ireland. It is a frightening, sad movie. The subject itself is bad enough to make this an effective, emotional film, but the acting, especially by all the leads, is ASTOUNDINGLY good. It is a must-see for adults. No doubts about it.

“Kinsey” (2004): Liam Neeson and Laura Linney star as the awkward, but intellectually curious couple who stumble into the idea of sex research, and begin an investigation which continues to this day. The process of their reaching the concept, beginning the surveys, expanding the research, gathering “followers”, and fighting for funding is an interesting story. Completely woven into this linear story is a second one: that of Professor Kinsey’s childhood and own sexual orientation. He was also obsessed and intense, seldom leaving the topic for the mundane niceties of dinner chat… which made him less and less someone to “invite”. Laura Linney is one of my favorite actresses, and she does not disappoint here either.

“Munich” (2005): Steven Spielberg dips back into unpleasant truths, like his film extraordinary "Schindler's List". "Based on real events", many of us remember the early 1970's Munich terrorists with their athlete hostages. Looking back 35 years, this now seems "small" compared to what our world has (sadly) become. None the
less, Spielberg created another large statement in two main ways: 1) it, like so much of world politics, was & is an unending maze of uncertainties & feigned resolutions, and, 2) people CANNOT act within their choices without being affected by their choices. These are not new ideas. What "Munich" offers, however, is a superbly drawn representation of those thoughts, with a complex, but coherent linear movement depicting those story goals. Expect no humor, and lots of necessary, graphic violence. The main character is created by Eric Bana, who does an AMAZING job as a man with vague but high ideals, and must slowly adapt to his new, increasingly vague challenges which hold increasingly blatant results.

“Capturing the Friedmans” (2003): This is an award-winning documentary about a Long Island family who suddenly found themselves under investigation, indictment, and being tried for pedophilia and sexual assault of minors. Due simply to their own long time habits of home movies, combined with the children’s intentional video documentation of this nightmare, and finally, with the interviews, investigations, and further insights by the people who made “Capturing…”, this is one serious, layered look at what happens to a person, family, neighborhood, city, system, and the Truth, once an event like this is set in motion. Unlike MOST dvds loaded with excess luggage (“special features”), this one offers additional information and follow-ups worth your time…IF this case and these people interest you.

“This is Spinal Tap” (again, 1984): Every time I see one of Christopher Guest’s films, I think “No, I’ve changed my mind. THIS is my favorite!” … and then I see another one. Check out “Waiting for Guffman”, “A Mighty Wind”, and “Best in Show”. His ability to not only come up with a scenario, but choose the other actors to create the roles with their improvised responses, amazes me. He does have one main theme: small, mediocre people with incredibly & irrepressibly deluded, optimistic views of themselves, their abilities, and their impact on the larger (but very small) world. If it wasn’t so funny, it would be depressing as hell. Sure, we all know someone like this, and chances are there was a month or two when WE were one of these characters. Come on. Admit it. WOTO

“Sunset Boulevard” (again, 1950): This is a classic drama of egos, pettiness, and the, ahem, “glamour” of Hollywood. “Sunset Boulevard” is witty, bitter, and hard-edged, starring William Holden, Gloria Swanson, Erich von Stroheim, and Nancy Olson. Much of the script is done in the Holden character narrative, as the down-and-out hopeful/hopeless screen writer, who, while escaping the repo man, lands in the surreal world of an aging, forgotten, deluded silent screen star. Sometimes funny (bizarre), often dark, always pathetic, this is a hard-boiled, hip-talking, pessimistic look at the desire for and effects of “Fame”. WOTO

“Raising Arizona” (again, 1987): Nicolas Cage, Holly Hunter, John Goodman, Frances McDormand star, and the Coen brothers write and direct. This is a weird and funny story about a VERY unlikely couple who, when finding themselves “barren”, kidnap a baby for themselves. Somehow this tale of criminals who kidnap has humor and heart. Every character is a mess of contradictions and quirky details. The entire experience is over the top, unbelievable, and surreal. A unique film. WOTO

"The Manchurian Candidate" (again, 1962): This is one of THE BEST paranoid, Cold War, political/espionage stories of the entire period - hardly dating itself, and not James Bond in flavor. This is one creepy, interesting, unique film...and you will NEVER think of Angela Lansbury the same way again. Yikes. Shot in a harsh black and white, with strong camera angles and edgy music, it is a patient but relentless story headed one direction only – a darkening direction – which gives you glimpses of truth it as it moves along at its own pace, not yours. The tension builds. You’ve come to like, sympathize, and hate characters… but “The Manchurian Candidate” never panders to your wants. You’ll also find it eerily predictive of the J.F.K. and R.F.K. assassinations – which had NOT yet occurred. It’s almost as though this fiction book-turned-film was the rough draft for our soon-to-be real political environment. Amazing.

“Heart of Glass” (again, German, 1974): I “discovered” Werner Herzog’s films soon after he began his career, thanks to a local Art Theater in Tucson, Arizona. If YOUR town has one, SUPPORT IT!! It didn’t take long before I knew this German artist was one of my favorite directors, who held a unique, dark, bitter, humorous view on humankind. “Heart of Glass” was not a film that dug straight into my soul and wouldn’t let go, as some have (“The Mystery of Kaspar Hauser”, “Stroszek”, “Aquirre, the Wrath of God”, “Even Dwarves Start Small”, “Nosferatu”…). Instead, this one enters and exits my intellect and emotions throughout the story (stories), with moments of pure artistic awe, and others of impatience. You KNOW you’re in for something special from the very opening landscape scenes & their Herzog-patented, unusual pairings with music you would NEVER have chosen, yet are absolutely, eerily perfect. You KNOW something’s going to happen, as you listen to an isolated man make a prediction of disaster, in the misty, dark mountains. Things are going to get bad… even if you never understand them… they’re going to be bad. VERY Germanic! I remain perplexed as to why the visual quality of films made in the 70’s often have a low-production look, when I’m sure it wasn’t necessary, and isn’t much of a “device” for a “new realism”. You’ll have to accept grainy film, accidental movements of the camera, and rough editing as a by-product of his film-making process, if you want to get to his bigger issues. It’s of interest that for “Heart of Glass”, the people in the film (most of whom are not actors) were HYPNOTIZED, given their lines, and deliver them in a zombie-like state. You’ll note blank stares, stiff walks, and monotone dialog… which is a fascinating method for creating the sense of doom, in a town whose residents are losing not only their careers, but their minds. This story is not as singularly focused as many of his other works, but remains a strong MOOD piece, none the less. There are many scenes you will NEVER, EVER forget. WOTO

“American Psycho” (again, 2000): Think of this as a very witty, dark, psychotic look at the 1980’s in New York City. We follow a group of young money makers, especially one individual (Christian Bale), through the daily, income creating, label wearing, name dropping, reservation making life of empty objects, hollow relationships, and rich mental lives. The story has some twists to it, so I want to be careful here, but prepare yourselves for a film that makes you want to laugh and vomit at nearly the same moment. You will definitely appreciate Bale’s acting, along with a nicely subdued Chloe Sevigny, a typical fritzy Reese Witherspoon, and a dogged Willem Defoe. This is a VERY black comedy thriller, with lots of sex and violence, and a cultural vision with a sharp eye on consumerism.

“Judgment at Nuremberg” (again, 1961): This epic courtroom drama was made only 13 years after the real war crime trials. Germany & Japan were defeated a mere 16 years before. This is equal to YOU remembering 1990 in 2006. The audience was packed with people who were “there”. Up for eleven Oscars, much of this film was scripted from the original records, and on occasion, real film footage is used to illustrate the horror of what went on. This is a LONG film, and brutally, relentlessly verbal, but NOT a simplistic, one-way, black-and-white assault of good upon bad. Many, many issues are shown to hold its “grayness”, which is the most interesting thing about this Stanley Kramer film. Acting ranges from way over the top (Richard Widmark, Maximilian Schell), to wonderfully understated (Montgomery Clift, Judy Garland). The film makes a of reasonable couple assumptions: that you know SOMETHING of history and come to it with more than an empty head, and, that you are willing to see more than one angle of the many issues presented. “The Enemy of my Enemy is my Friend”. WOTO

“Heroes of World War II” (2005): Seven hours of documentary footage, including “Tunisian Victory”, “The Great Battle of the Volga”, “Target for Tonight”, “Theirs is the Glory”, “Dropzone Normandy”, “Rear Gunner”, “Wings Up”, and “Wings for the Man” (all made between 1941 & 1945). Although some of this footage has a recruiting propaganda angle to it, I find it interesting, since it too was part of the war years experience. Most of the footage however is pre-battle and battle film in the subject locations. This is NOT reenactment. Those are real men dying, real men with their last thoughts, real men who would rather be Home… but knew it had to be done, and they were willing to take those risks. WOTO

“Trees Lounge” (again, 1996): Written, produced, and directed by Steve Buscemi – already a talented, neurotic actor – created a strong, quirky, downbeat, slice of life story set in a bar, and an ice cream truck. Yes, really. He’s a loser, everyone around him is a loser, and they all interact with varying degrees of loser success. If it wasn’t such a pathetic scenario, it might be a comedy. These are people caught in a pinball game of their own making. Joining Buscemi is a young Chloe Sevigny, Anthony Lapaglia, Elizabeth Bracco, Carol Kane, Mimi Rogers, Samuel Jackson, and a few of Steve’s family. WOTO

“Good Night, and Good Luck” (2005): This is the true story of Edward R. Murrow’s professional television commentator/news man career in the early 1950’s, and his battle with the fear mongering political bully Eugene McCarthy. Restrained acting, subtle period sets, low key costuming, the use of actual footage when possible, and the most beautiful, velvety blacks, grays, and whites of any film ever, made this an extremely high quality film experience. For those too young or uneducated to have knowledge of this period of history, it is a good start towards understanding what not only happened, but what can easily happen again, if we remain a society of passive consumers. David Strathairn, Patricia Clarkson, Jeff Daniels, George Clooney, Robert Downey Jr., Frank Langella star.

“Drugstore Cowboy” (again, 1989): Set in Portland Oregon in 1971, we follow a foursome of drug addicts through their daze of breaking & entering, using & abusing. It’s not a pretty sight, nor a comedy, but it makes its points, and only the most desperate would find this a romantic tale of freedom loving youth. Matt Dillon, Kelly Lynch, Heather Graham, James Remar, James LeGros, and William S. Burroughs star. I’m not a huge fan of some of the “altered consciousness” imagery in this Gus van Sant film, but it’s forgivable, since everything else about it rings true & interesting. WOTO

“Maria Full of Grace” (Columbian, 2004): Life is what life is in Columbia. People get by. Maria, a pretty 17 year old with a menial job and a slacker boyfriend, lives with her Grandmother and lazy Sister… then things get much more complicated. This is an elegant, intense look at Choices - the price we pay for any direction we choose, and the ripple effects it has on so many near us. It is during these tests we find out who everyone is, including ourselves – and THIS guides us towards a clearer future. “Maria” leads us through a very good meditation.

“Stranger than Paradise” (again, 1984): Jim Jarmusch’s first film. Often listed as a “comedy” – and yes, I suppose there ARE a few oddly funny moments – for the most part I find it an intensely bleak film, empty of almost all life but for a few lone cruiser characters who are detached from everyone else. The photography is astoundingly beautiful black & white. They are almost shot as individual stills with minor movements in them, and divided by blatant black divisions, which one can think of as the black pages of an old photo album. The velvety rich blacks, grays, and whites, plus the composed “still” scenes, cause me to think Jarmusch was trained as a static, 2-D artist first. Just a guess. This film is NOT about acting, which is limited at best, but doesn’t really need much. We observe an alienated set of scenarios which are only enhanced by the stiff, awkward exchanges and pauses of the characters, and the lack of movement in the camera work. Ambient sound adds to the gritty reality of emptiness. Funny or not, this is a low-key, lost-souls story of detachment and aimlessness. WOTO IMDB

“The Brandon Teena Story” (1998): This is the documentary which inspired the film “Boys Don’t Cry”, about the young woman who cross-dressed as a man, and was eventually beaten, raped, and later shot to death. No, it’s not a comedy. Nor will you want to live in a small town, the Midwest, on a farm, or near country-western music… but then you’ll come to your senses and realize that this sort of horror can, and does, happen anywhere. Was Brandon a good kid? Not really. She was a check forging thief. Were her friends any better? It’s hard to decide by the documentary, but I almost MUST believe SOMEONE was level headed and decent. Were the police effective and professional? I doubt you’ll want to rely on them when you’re traveling through Nebraska. Was the criminal justice system fair? Well, how do you feel about plea bargains, and rats who rat on other rats? Are there ANY people in this sad story you want to go line dancing with? I’ll leave that to you. (It would be a good idea to rent “Boys Don’t Cry” and watch it after “The Brandon Teena Story”. Hillary Swank stars, and has “Brandon” nailed. It’s a top notch film. WOTO IMDB

“Boys Don’t Cry” (again, 1999): I had expected good, and it was great. I LOVED that this true story was allowed to remain set in a rural, white trash environment. This added greatly to its uniqueness. It also made me want to follow Hillary Swank's career. This is a (basically) true recreation of "confused sexual identity" and the people that deal with it. The setting is Nebraska. Hilary Swank plays "Brandon", the out of town kid that stumbles into the world of pickup truck surfing, chasing bats, and getting drunk down at the quickie mart. No one is happy here, but no one wants their world upset either - and Brandon just ain't status quo, despite her desperately wanting to be accepted. Don’t confuse things here. Brandon Teena (Teena Brandon) was a thief, check forger, and liar. NO ONE is this film is a hero, and most everyone is a good example of a brain dead low life on a path to self destruction. Swank, Chloe Sevigny, Peter Sarsgaard, Brendan Sexton, Allison Folland, Alicia Goranson, Matt McGrath, Rob Campbell, and Jeanetta Arnette star in this sad, anxious, maddening, violent, and extremely ambivalent film – and are ALL SUPERB. Superb. I own the documentary, and the recreation film. The film takes a few liberties, leaves out a couple of people, and tosses us a couple of theories which cannot be substantiated. None the less, the majority is accurate, both in details, and certainly the spirit of this horrific situation. WOTO

“Mississippi Burning” (again, 1988): Willem DaFoe, Gene Hackman, Frances McDormand, Brad Dourif, R. Lee Ermey, Pruitt Taylor Vince. Good actors recreate the true story of the three civil rights workers murdered in 1964 Mississippi, and the FBI investigation that followed. This is a well photographed, tense drama that, on occasion, gets carried away with its own sense of mission. The characters are ALL a little too pumped up and simplified for my taste, but it remains a sad, terrifying, frustrating look at the old segregated South, in the throes of change. WOTO

“World War II – The War in Europe” (4 tapes, The History Channel) 1983: One thing you realize by watching so much documentary battle and civilian footage as I have, is a HUGE team of camera men, risked their lives in the midst of battle equal to that of the gun-toting soldiers. Cameras were everywhere, catching everything, from the mundane, to the most frightening, grotesque, and timely. Many, many men were being photographed (and you watch) when that final bullet came in and killed them. Many parents had their children dug out of rubble, with the cameras rolling…and you watch. You watch American men drop on Omaha Beach, Japanese men, on fire, run out of their underground tunnels. You watch everything. You are forced to repeatedly ask yourself “Was THIS WORTH IT?” It is easy for ME to say “yes”, but it was NOT easy for mothers to say the same – but, they did. They knew it then, and if you do your homework, you know it now. It HAD to be done. There was no other way to stop the maniacal slaughter being spread all directions by the Nazis. WOTO

“Kurosawa” (doc., 2000): If you love serious film making, you know of Akira Kurosawa, and if you know his work, you probably love (at least some of) his films. If so, this 215 minute documentary on his life and art will fly by for you. Full of interviews, history, film clips, and INSIGHTS, “Kurosawa” honors the man and the artist.

“The Stranger” (Hindi, 1991): Directed by Satyajit Ray. Think of a film that starts as a mild suspense/mystery, soon switches to “My Bengali Dinner with Andre”, and builds up intensity until you’re thinking “Who’s Afraid of Virginia Wolf in Calcutta?” We’re not done. The pacing then switches back to a mystery, only to be wrapped up in a version of “It’s a Wonderful Life”. Don’t believe me? See it. Have patience. It’s worth it. WOTO

“Padre Padrone” (Italian, 1977): Directed by Paolo and Vittoria Taviani. A Sardinian boy grows up