Last night, Pat and I watched Wim Wender's 1983 documentary "Tokyo-Ga". It is a loving tribute to the film maker HE most admires and respects, Yasujiro Ozu. Wenders and his film maker pal, Werner Herzog (WHAT a pairing!!!), travel to Tokyo, in search of the Tokyo Ozu depicted.

Like Woody Allen with New York, or John Waters with Baltimore, from the 1920's to 1960's, Ozu gave his full attention to the stage of Tokyo. Only a few days ago did I see Ozu's 1953 film "Tokyo Story" (if you get my monthly movie list, you know I LOVED it), plus, Pat and I just saw the recent film "Lost in Translation", which is also set in Tokyo. It's been a VERY Tokyo-esque week. (Interesting place, but I don't want to live there.) Like these other directors (but before them), Ozu used many of the same actors. I TOTALLY get that.

WARNING: SOME might find the next few paragraphs confusing and/or boring:

Yasujiro Ozu died in 1963.

As Wenders interviews the main people who worked "with" Ozu, I wasn't surprised to hear that he ran the show. Directors with a clear, strong vision and goal MUST be in control. As his actors and crew retold their favorite stories, there was a deep sense of respect, awe, fear, and gratitude for his no-nonsense, few-words, no-debate approach. What Ozu said, went. If you worked for him for 30 years, as did his cameraman, you came to terms with that attitude - being creative was NOT your job - and you appreciated Ozu's results.

As Ozu's career progressed, he put more "limits" on what was used to get films done. For example, he used only ONE lens! (50 mm) and, designed a tripod with only two height settings: lens/eye level sitting on floor and lens/eye level standing, and, always matching the position of the actor.

One city, same actors, just one lens, two camera heights, the theme of people in a changing world.

I'm catching on as "Tokyo-Ga" progresses. One city - the one in greatest transition. Same actors - reliable, steady, good symbol. One lens - 50 mm - no wide angle, no telephoto, close, intimate, no distortion, the glass lens equal to the human lens. Two camera heights - never looking up at or down upon the characters. Equality of the viewer with the character.

I realized that if I'd been older, spoken Japanese, and met Ozu, we could have had a decent conversation about such aesthetic considerations, since I had based my Thesis on very similar ideas. This didn't happen, obviously, and although I am sure there would've been much I could've learned from this man, I had my own great mentors (and don't feel I shortchanged at all, as you all know).

Stories that appear common. Everyday. You, your family, your neighbors, your city, your era...NONE TRULY stable despite our constant efforts to create tradition, stability, peace of mind, and rationalization.

EACH of us has a story that APPEARS common and unworthy of a closer look.

We often NEED that illusion...but it's a lie.

The closer we look at a small thing, the bigger the entire picture becomes.

Posted by Ronn Ives at 01:51 PM | Link

There ARE moments of GLORY.

Our watching the famous film 'The Passion of Joan of Arc', French, silent, and made in 1928 by Carl Dreyer, became one of those moments a few nights ago.

I'd often read about this one, finding it on many critics 'TOP TEN OF ALL TIME' lists, and seeing the still shots...but never the REAL thing. And, let's face it, your typical movie rental place does NOT stock such works.

Fortunately, in our region, two friends of mine own and run THE movie lover's rental store, and offer the non-standard fare. Instead of walking down aisles of Hillary Duff, and The Whozit Twins adventures, you're offered zones and rooms divided into 'DIRECTORS', 'COUNTRIES OF ORIGIN', 'TEEN ANGST', etc. .............. I am home........
.....and I almost always first visit the GERMAN section.

While in Germany, I remembered 'Joan...', so I went to France. There she was. The entire SUBJECT is a good one. First, that ERA - certainly a Dark Age. Then, the PERSON, Joan of Arc, and, her beliefs. Already VERY interesting. Then, the fact France CENSORED the film when it premiered in 1928. (Ironies abound...the film, at it's most basic, is about CENSORSHIP hundreds of years back...THEN the film ABOUT censorship gets censored. Makes you wonder if France ever learns anything....) Then, just as JOAN was burned at the stake, the only two known surviving copies of the FILM went up in flames (decades ago). THEN, a lost copy was discovered in 1981 (!) in the closet of a Scandinavian insane asylum!! Very poetic. It was in very poor condition, of course, but at least it existed. (THIS is like discovering a major, lost Picasso.) The background story of film lovers setting out to digitally restore it, FRAME BY FRAME, is in itself epic. (You mean France 'let it alone' this time? I'm not sure, but I AM glad it was found in ANOTHER country.)

As for the film, it IS a GREAT work of Art. Having been trained in the 'static' visual arts, I can see that the director and photographer were also trained in 2-D static imagery...which is almost unavoidable in 1928. There was little scholarly training in 'moving' pictures at that time (plus, sound was not yet a serious factor). Each frame of each human pose and room setting is composed like a painting or etching. The shots are incredibly STARK, with NOTHING BUT what NEEDS to be seen for THAT shot. The bleakness of the shots was somewhat fashionable in Germany by that time, but NOT IN FRANCE! The French have ALWAYS been about the 'frou frou'. Even compared to German films of the time ('The Cabinet of Dr. Caligari', 'Metropolis', etc.), 'Joan...' is STARK... Waaay STARK.

The costumes, the sets, the lighting, the camera movements...AND the acting...are no-nonsense, no frills, no apologies formal, expressive Art. The acting is a tad melodramatic once in awhile, but barely (compared to an equivalent contemporary silent film). It is SO gritty, so intense, you'd think these people had traveled 60 years to the future, checked out 'Taxi Driver', and rushed back to 1928. Of course, the reverse is true. It was 'Joan...' (actress Maria Falconetti) that set the pace. Richard Einhorn, alive and composing, wrote the music inspired by and used in 'Joan...'. He saw the film, and was moved to attempt making the expressive sound for it. The famous female Gregorian Chant group, 4 virtuoso women who call themselves 'The Anonymous Four' (they are wonderful), play a large role in the singing parts of this album. Also involved was the Netherlands Radio Choir, and Philharmonic Orchestra. Completed in 1995, I found the cd last night with my 'detective work' at the confused 'Planet Music'. The music is so rich, so sad, so FULL of DOOM, so PERFECT for 'The Passion of Joan of Arc', I love it. It washes over you like a fog coming in from the North Sea. Thick...all-encompassing...and feeling permanent.

My ONLY 'complaint' is about the TIMING used by some actors as they REACT in some scenes. For me, they cross over from a long, powerful stare (for example) into a shot that steps into 'a little too long' - almost tedious. I understand that timing was different then, (partly to allow for the audience to read the dialog, partly due to theatrical roots), and this story focusses upon real people going through real events (taken from the REAL TRIAL TRANSCRIPTS OF Joan of Arc), and, each frame of this film NOW is considered very valuable (so WHO would DARE cut one frame?). But, I still hold that a few closeups could be shortened by split seconds, thereby removing a small distraction.

I know I'm picky, and nearly sacrilegious. I may have pulled a 'Ted Turner': 'Let's smear color all over it for the impatient and uneducated out there'. As IF anyone would listen to me. So, let's move on. I'm done.

It is great Art, not good entertainment.

Posted by Ronn Ives at 02:10 PM | Link

December 2003:

I'm again watching the newer version of 'Diabolique'. It's a decent suspense drama...fun twists and turns that keep you wondering. But, there's only one reason I watch this film repeatedly: plain jane Sharon Stone is paired with the most beautiful woman on the planet - the one, the only, the Oh My God - Isabelle Adjani.

I first saw her in Werner Herzog's version of 'Nosferatu'. Not only was that film a revelation of story telling that finally explained to me the sense of doom, sadness, and sexuality of the Vampire legends (none of that Bela Lugosi/Hollywood junk), and, it added to my admiration of Herzog as a film maker, and solidified my interest in the acting of Natassia's crazy father - Klaus Kinski - but introduced me to, well, like I said: Oh My God, Issy.

How can one human be so gorgeous? I suppose it had to happen once, with all of the eventual genetic possibilities here on Earth. And to think I was alive when it happened... I believe in Santa.

So, I'm no teenage girl sitting in the audience at the Ed Sullivan theater, crying my eyes out for John Lennon in 1964, but I've had the adult male version of a goofball crush on Isabelle, for a quarter century now.

Maybe we each have a crush on some Cloudlike Someone, and it cannot be hidden...and, we do not feel the need to do so.

Posted by Ronn Ives at 12:34 PM | Link

In another 4 weeks, my yearly "Some of the Movies I Have Seen" compilation/review list will drop back to zero, only to rebuild throughout the next year.

Sometimes I think that if I were to suddenly wake up and find it to be 1968 again - but I retained what I know now - I would choose to reincarnate as a film making student. Yes, another difficult choice. So what's new?

My only serious doubt is with the complexity & quantity of PEOPLE needed to make most films. I am NOT a team player, nor much of a shmoozer. Keeping "delicate" personalities happy, and raising funds for film projects, would NOT be my forte. I would need someone - someone very good at those things - out in front of me.

I admire people who can create under such conditions. Speilberg, Altman, Lucas, Scorcese, Bogdanovich, Mamet, Branagh, Kubrick, or Burton...they understand things about how to deal with humans that I will NEVER grasp. I've never met a major film maker, but I suspect I would feel more akin to artists like Herzog, Wenders, Egoyan, Lynch, Bergman, Guest, Bertolucci, Malle, Waters, Lee, Clark, Campion, Peckinpah, Allen, Boorman, and Cassevettes.

Smaller projects, singular goals, no blockbusters released just before Xmess, no action figures.

Fortunately, I DO believe in the continuation of spirit, so it's not out of the question. Good thing for me, I guess.

Posted by Ronn Ives at 12:34 PM | Link

I've always made a point to follow artists and actors who have amazed me at least once. When he or she ASTOUNDS me, I want to be ASTOUNDED AGAIN, so I hunt down as much of their work as I can.

"Once" CAN mean he or she was just "lucky". With actors, I believe it can also mean they have a good agent that properly directs careers, a good support system that helps prepare them for a role, a good director who knows how to bring out the best in them, a good editor who can turn a 1,000 hours of mediocre film footage into 2 hours of Art, a project with a decent budget (which allows the actor time to experiment or screw up), etc., etc..

It's MORE than luck that someone like Meryl Streep, Julianne Moore, or Robert DeNiro has always found quality work. You KNOW that if you pick up a film with their name on it, it can't be all bad. If it's music, and you find Brian Eno's name somewhere on it, it will be the BEST it can be. THAT is saying something!

The last few years, I've been following the work of younger actors Dominique Swain, Joachim Phoenix, Lili Taylor, Clare Danes, Juliet Lewis, Jennifer Jason Leigh, Robin Wright Penn, Jack Black, Robin Tunney, Taylor Pruitt Vince, Laura Dern, Tom Hulce, Angelina Jolie, Ashley Judd, Edward Norton, Gary Oldman, Anna Paquin, Natalie Portman, Giovanni Ribisi, Christina Ricci, Elisabeth Shue, Ben Stiller, Tilda Swinton, Liv Tyler, Emily Watson, Kate Winslet, Sean Penn, and I don't give a crap about their politics. If anything, I wish some of them would just shut up and go about doing what they do best...give THAT which they love, EVERYTHING - ALL THEIR ATTENTION - and let the other things be handled by pros in THOSE fields. (It's just SAD to see a typical actor thrown into a singing role, or musician allowed to illustrate their own album cover, etc.) I'm SURE it's a real temptation, considering the spotlight never seems to go dark, to express themselves in/on many mediums. They've ALWAYS got someone who claims to be interested - if not "amazed" - with what they have to say. There's no reason to think WE would be immune to that hype either. The Industry is in constant need of gossip snax - calorically empty, and vitamin free - to feed a shallow, hungry public. They've got publicists telling them their faces need to be seen all the time, no matter what the venue. "It's better to have something BAD written about you, than nothing at all!"

The implication is, of course, that the public has no memory, and is easily swayed from one frill to the next. Well, it's true. So what do "you" do about it? If you give the public what they want - which is usually the lowest common denominator available - they'll "love" you for a week, and tire of you anyhow. ("The Four F's" - for those of you who remember THAT phrase.)

"Flavo Flave of the Week: Millie Vanilli!"

They were here, eaten, digested, and, uh... passed down the Sewer Pipe Dream of Yesterday.

Posted by Ronn Ives at 03:36 PM | Link

March 31, 2003:

ON THE CUTTING ROOM FLOOR

(If talking about The Film bores you, skip reading me now, because that's all I'm going to do. Movie chat. Snippet thoughts. At least that's my plan...)

- I was disappointed in "Harry Potter and the Sorcerer's Stone". I haven't read the books, but I will assume they are written for children only. If adults read them with enjoyment, well, fine, but that wasn't the plan. If anything, the bean counters in the FILM industry would more likely try to influence a movie to "capture" the broadest range of audience, so Harry Potter (the film) probably contains more "adult bits" than the book.

I enjoyed the heck out of the first "Lord of the Rings" film, and I love the original books.

BOTH films center on young, naive characters being suddenly thrown into roles with huge & dangerous responsibilities, while still being surrounded by wise adults, powerful monsters, evil spirits, and very complex environments. Why does one disappoint me, and one excite?

Special effects were better in Rings, but I dismiss that angle. "The Blair Witch Project" was a very smart film, and had NONE of that techno-stuff. "Chuck & Buck" had low production values, yet was a moving, interesting story. The acting was weak in Harry Potter. The kids were flat, the adults cartoon-like. I was given no "real" reason to like or dislike any of the characters. TELLING me someone is a "bad guy" just ain't gonna make it. The story seemed like a clothes line full of separate action/FX bits. A party mix. Short, easy-to-read chapters.

Okay, so I rented a weak movie. No biggie. I try to avoid it, but when renting 300+ films a year, it's going to happen. We watched "One Hour Photo" (congratulations to Robin Williams for using all of his strength to NOT overact), which was an eerie, admirable, visually intelligent story about one man lost in his own tiny world shared by no one. For that reason, story-wise it reminded me of "Taxi Driver". This is a movie that should be studied by art students, and anyone else wanting to begin learning what goes into making right visual choices...which is much - not all - of what makes up a film.

We watched "White Oleander" this week, as well. Are there REALLY kids faced with such lives? Of course there are, and since it was hopefully NOT YOUR experience, THIS is one of the strongest films to take you inside...show you around...teach you a few things...and then - WHEW - let you go. Acting was superb, situations intense and sad, complex motivations made clear and full of insight. Even if the story doesn't seem of direct interest to you, the deeper question - how DO WE react through the random kicks of our lifetimes? - IS useful.

Every tribe has Story Tellers. The Stories are intended for use. As individuals, and as a group, we sit towards the firey bright light, listen to the story, think it over, and find our Reasons.

Posted by Ronn Ives at 10:43 AM | Link

=====================================================

In our contemporary life, movie watching is as close as we get to the deep-
seated need for gathering 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.

____________________________________________________________
____________________________________________________________

Films yet to view and review:

==============================================================

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.

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

(There is more to read (below the reviews), if you have lots of time...)

=====================================================

===================== ============================
2005 MOVING PICTURES NEVER enough time, SO many films
===================== ============================

1.
"ABSOLUTE MUST-SEE LIFE-CHANGERS!":
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"Hart's War" (again, 2002): This is a film about perceptions and honor. It's written as a WWII/P.O.W. story, set in Germany, during the winter of 1944-45. You'll be struck first by the great photography and scoring, then by the memorable scenes taking place within them. Although headed by talented actors, most are wonderfully submerged in their characters. This is a complex work, with a plot that reveals itself cautiously, which is entirely necessary to make its' points. The truth must arrive slowly. Much of it takes place in P.O.W. huts, and a makeshift "court room". At some point during the film, you'll think "Hogan's Heroes" - but lose that dumb thought. It has no place here. If anything, think "Bridge on the River Kwai", with a 2005 sensibility. This is a serious and very admirable film at all levels, discussing humankind’s most cherished, most defended beliefs. WOTO IMDB

“Umberto D.” (Italian, 1952): Considered one of Vittorio De Sica’s masterpieces, and HIS personal favorite, “Umberto D.” is the story of an old man in contemporary Italy, trying to survive on a meager pension. Renting a room from a nasty landlady, and having a young, pregnant maid as his only real friend, the lack of income slowly closes in on him and his little dog, “Flag”. This is NOT a film for the easily depressed, but IS a quiet, powerful, evenly paced, emotionally wise, good looking work of Art. WOTO

”The Deer Hunter” (again, 1978): Although “only” three hours in length, The Deer Hunter feels like thirty. This is a brilliant, high stress film that takes you through the daily lives of a group of adult friends in the urban decay of a dying, blue collar industrial revolution, as they kill time in massive, insignificant ways - only to be further decimated in the jungles of Viet Nam, and their own psyches afterwards. This is a very patient film. It’s goal isn’t to look at war, but to give insight into these few people, who are not unlike others we all know…people who are not special to anyone but one another, do their best with what they know, and try to deal with a highly complex world. All the acting is powerful, the camera work and music tracks barely excessive for my taste, but the script, detailing, roles, and story are awesome. Each character is given the depth and attention to become someone significant to you. This entire work is significant. It is a huge, complex look at, and inside, a few “average” people. Everyone is average until we begin to understand them…and then there’s no such creature. WOTO IMDB

“The Pawnbroker” (again, 1964): Directed by Sidney Lumet, scored by Quincy Jones, and starring Rod Steiger. This is one of the most powerful character studies in all of film history. It’s up there with “Lawrence of Arabia” and “Taxi Driver”. Shot in some of the most beautiful, gritty, black and white photography, set in Harlem, often using the real environment and passersby, this work has the feel of anti-Hollywood, which is completely appropriate for the story of a Jew tortured by the memories of the Holocaust, and the environment of pawn brokering. There’s not a single moment of comedy, and many moments that feel like Diane Arbus could be seen lingering nearby. Steiger’s ability to express withheld expression – anger and pain trying to burst from his impenetrable shell - is awe inspiring. When I first saw this film in the 60’s, I knew I wanted to see everything this man did. WOTO IMDB

“Devi” (Hindi, 1960): Directed by Satyajit Ray, and banned in India until the intercession of Nehru, this is the story of a lovely 17 year old wife, who is suddenly labeled as a “Goddess” (while her husband is absent to complete his final exams in college), due to a dream (“vision”) by her father-in-law. What follows is a fascinating, multi-angled look at the transitional Indian culture (and MOST cultures, frankly). Is this any different, any worse, or any more desperate than seeing the face of Jesus in a grilled cheese sandwich or the grain of a wooden door? Is her overnight change in status unique? Are the people who have confused motives, hopelessness, or malleable minds any less vulnerable here and now? The quality of the video copy I viewed was rough – a copy of a copy of a copy – yet even then, the power of Ray’s vision shines through. This is a serious, beautiful, insightful, tragic film. (It has something of a “cousins” relationship to the film “Anchoress”. WOTO IMDB

“My Left Foot” (again, 1989): Although Daniel Day-Lewis’ acting is blindingly brilliant in this amazing, TRUE story, the entire cast did nothing less than a fabulous job of helping us understand and empathize with this era, neighborhood, family, and malady. Lewis plays Christy Brown, an Irish lad born with Cerebral Palsy, in a time when the ignorant labeled them as “half wits”. He FORCED people to see the real person STUCK inside an uncooperative body. Brown was luckier than some, however. His family did not shun him or pander to any feelings of “poor me”. “My Left Foot” is an inspiring story, a great film, and one for the collection. WOTO

“The Shop on Main Street” (again, Czech, 1965): Wonderful acting and beautiful b/w photography make what first appears to be a breezy story into an increasingly frightening experience. Set in 1942, the main character, a care-free man who enjoys life and does not sweat the small things, is “awarded” the status of “Aryan Controller” along with a small business taken from an old Jewish woman. Everyone’s reactions to the shifts in status of everyday citizens – higher or lower than they’ve had all their lives – are the dynamic force within the story. The transition from light to dark mood is smooth, and done in small, hardly noticeable ways…like what the characters themselves experience. Similar films (I’m going with my gut, here) would be “Life is Beautiful” and, believe it or not, “Eraserhead”.) WOTO IMDB

“Forbidden Games” (French, 1952): Set in the French countryside in the early years of WWII, this is the story of one little girl, “Paulette”, who is forced to try and understand what is happening around her (which IS how children define themselves). She sees German planes, bombings, death, selfishness, pettiness, panic…and occasional acts of kindness. Without damaging the plot, I’ll say it has a relationship to “Ponette” (1997) mixed with “Angela” (2002) – both very fine films. I do fault “Forbidden Games” with weak artificial lighting effects and a rough edit-blend of war footage with story footage. I can also fault the occasional overacted moment (although “Paulette” has some AMAZING moments of emotion). NONE THE LESS, this is a film about Meaning, not Art, and so intensely and thoroughly explored, I see no need to pick at the formal side. This is a very strong STORY, made soon after the end of WWII, when such memories were still VERY fresh in everyone’s minds. Be grateful you are not in that position. WOTO IMDB

“Au Revoir les Enfants” (again, French, 1987): Some say this is Louis Malle’s masterpiece. Fair enough. Although set in the last years of WWII, at a Catholic boys school in France, this is not a “last gasp fight to the death against the Germans” action film with gun toting youngsters. It is a story about BOYS, and it simply happens to be 1944. They’re children of rich parents – boys who’ve been shuffled out of Paris (etc.) to the safer countryside. They’re silly, awkward, conniving, antsy, and typical. Yes, they can sometimes hear fighting in the distance (but they’re too busy with their own tiny squabbles), they are required to respond to air raids (but consider it a game), and they do see Nazis on occasion…but mainly, they’re just typical, dopey boys. Slowly - very slowly - one of the brighter boys suspects that not is all what it seems there at his school, and, with time on his hands, begins searching for secrets and answers. What he finds will change his life and lives of many others. Few films have looked at real war through the eyes of children, and this is possibly the best. WOTO IMDB

“Germinal” (French, 1993): This EPIC story, adapted from Emile Zola’s novel and put to film by Claude Berri (director of “Jean de Florette” and “Manon of the Spring”), is the gritty depiction of hard working coal miners in 1800’s France, trying to eek out a living and better their lives by forming a labor union. Loaded with issues rising through the Industrial Age, Gerard Depardieu, Miou-Miou, Judith Henry, and Jean-Roger Milo deservedly star in a frighteningly bleak setting, with ominous musical scoring, and the relentless, black dust of coal. Comparisons to the wealthy mine owners lives, opulent and very isolated from their industry’s realities, are blatant and clear. Zola wanted some economic and moral balance – just a little – and set about depicting a situation that could not be denied. WOTO IMDB

"A Tree Grows in Brooklyn" (again, 1945): Elia Kazan's directorial debut, which garnered two Oscars. I think of this film as in the same category as "It's a Wonderful Life", although “A Tree…” has a slight stage play feel to it. Neither the stories nor the characters are the same, but they ARE "cousins" to one another, and BOTH are worth multiple viewings as a way to get your dose of reminders about what is most important in life. We have our duties and our jobs, no one has the same set, and we signed on for them. We have people and places we love, and it's too easy to take them for granted or focus on "blemishes". "A Tree Grows in Brooklyn" is as emotionally powerful, funny, tender, and sad as "It's a Wonderful Life". If you like/love one, you WILL like/love the other, and never fear: one will NOT REPLACE the other. You'll be very glad BOTH exist. WOTO IMDB

“Shame” (“Skammen”) (Swedish, 1968): Definitely one of Ingmar Bergman’s masterworks, with cinematography by Sven Nyquist (who did most of Bergman’s, and some of Woody Allen’s films). “Shame” is less symbolic than some of Bergman’s works, and, an intense, psychological study of a married couple, Jan and Eva, (Max von Sydow & Liv Ullmann) have their personal problems like anyone else, but suddenly find their otherwise quiet Swedish island life completely upset by a civil war. Faced with increasing losses and degradations, we watch them struggle not only against circumstances, but their own psyches. The number of “shames” depicted is huge. This story may have influenced Lina Wertmuller’s film “Swept Away”. “Shame” is an ULTIMATE in gorgeous b/w photography, and psychological horror. WOTO IMDB

“Harakiri” (Japanese, 1962): It is the 17th century. A young Samurai warrior arrives at a mansion, asking to perform his ritual death there. In a series of flashbacks, we learn who he is, why he came, and what has occurred since. Although quietly told by another ex-warrior (about whom we also learn more), this is an interesting story that builds in complexity and tension. Debates about rituals and appearances may at first seem to hold more significance in old Japan than in the contemporary United States, but it is not difficult to translate and implement such thoughts. Love, honor, duty, family, children, saving “face”, determination, desperation…they all exist in OUR everyday lives. Dramatically photographed in beautiful black & white, given a strong Japanese score, and paced so that even the mildly patient will be glad they saw it, “Harakiri” is epically huge, and a must-see for story & film lovers. WOTO IMDB

"Tokyo Story" (“Tokyo monogatari”) (Japanese, 1953): Superbly understated, beautifully photographed & masterfully composed black and white images, "Tokyo Story" is profound and has the patience of water wearing away at the rock. An elderly couple make a trip from their country home to Tokyo, to visit their adult children. Met with varying degrees of enthusiasm, and shuttled around during their stay, they eventually seek out old friends their own age, with whom they can share feelings about the expectations they once had for their children. The movement of this story is slow and methodical. Look for no action. Look for ideas that all humans hold dear. It will NOT disappoint. WOTO IMDB

"Zorba the Greek" (U.S./Greek, again, 1964): Anthony Quinn and Alan Bates star in this beautiful black & white epic about Values in Life. It is masterpiece of film making, psychology, and philosophy. Scene after amazing scene, it is unforgettable, with some images returning to me at least once a month, year after year, usually as a spiritual reminder. It will speak for itself to you also. WOTO

"Anchoress" (again, 1993, English/Dutch): I've watched this one over and over. 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 the priest considers this a good marketing tool for the church (as an "attraction"). 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 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, with b/w film, this could've been one of his films.) Despite, or because of, the near total lack of dialog, there are scenes you will never forget. This is a very grounded film, while being mystical at the same time. Perhaps that's part of the attraction. It deals with our dual urges to rise above daily life, yet revel in them at the same time. IMDB WOTO

"Aguirre, the Wrath of God" (der Zorn Gottes) (again, 1972): Werner Herzog is one of my all-time favorite film makers, and this is one of my favorites by him. Actually taken from the diary of the priest who accompanied Pizarro's expedition in 1560, Herzog recreates the pretentious and self-deluded search for the "Lost City of Gold - Eldorado". Herzog likes true stories - ones that are bizarre in their own right – but, with his direction and personal vision, they become profound (and never optimistic). The camera work is always interesting (he single-handedly "patented" camera shots that don't sweep - they ("you") stare and stare - and stare - at a thing or person or place until it becomes abstract, intense, beautiful, threatening, profound), the scoring is always appropriate yet never expected, and his casting, often using the unique talents of the late Klaus Kinski, guarantee nothing less than an intense experience...even in a film like "Aguirre", which SLOWLY claws and slogs it's way along each and every slippery, dangerous, foreign mile of jungle. It is clear that Herzog 'focuses' on the ridiculously high beliefs humans create for and hold of themselves: that they could actually "own" anything, "conquer" anything, "outwit" that which they do not understand, and by sheer Will cause anything they deem important, to exist. Herzog is NOT a cheerleader for the history of humans, but he is a ponderer...and we are fortunate he does it on film. IMDB WOTO

"All the Real Girls" (again, 2002): An extremely elegant slice of life/coming of age story shown with the same lack of pretense as "Tender Mercies" and "The Straight Story". It is NOT an action-filled, sex-laden, violent, plot-heavy, computer effected film that will meet the demands of the average movie goer. It is SO subtle, SO understated, and SO down to earth, it hardly seems the stuff of scripts and cameras. Give it time. Be patient with it, as you would a Japanese film. It is well worth what appears to be a meandering stroll. Aside from Patricia Clarkson, whose work I love, these are actors unknown to me (listed below), but SO good, they are the ones who carry and create this incredibly natural feeling film. The "under glaze" of scoring helps raise the feelings to a slightly higher level than one would expect from daily mundane of life. The shots of common objects, cropped and focused upon, give added proof that this is an idea formed from looking a little closer and a little longer...a willingness to find the elegance and drama in what makes up most of our lives most of the time. (Paul Schneider, Zooey Deschanel, Shea Whigham, Danny McBride, Maurice Compte, Heather McComb, Benjamin Mouton, John Kirkland, James Marshall Case, Patricia Clarkson, Maya Ling Pruitt.) WOTO IMDB

"Of Mice and Men" (again, 1992): Gary Sinise almost single handedly created this film version of Steinbeck's novel, and with John Malkovich co-starring, it's a potent version of a potent story. Set in the era of 1930's Great Depression America, two drifters, who are life long friends, make do riding the rails, getting odd jobs, and clinging to any dream that helps them get one more mile down the tracks. The photography is beautiful and effective, the sound track rich and earthy, scoring very supportive, it's inspiration is flawless, of course, and the acting by all involved (including Ray Walston) is magnificent. If nothing else causes you to now read all of John Steinbeck's work, this should do it. WOTO

"Cinema Paradiso" (again, Italian, 1990): One of the most touching, funny, sad, insightful, humane movies full of deep longing ever made. Starting in a 1940's small Italian town where the only real entertainment for it's residents is the local movie house (the “Cinema Paradiso”), we watch one young boy, who is fatherless because of the war, adopt an old man - perhaps the most important man in town – the man who is the projectionist at Paradiso. The boy LOVES movies and the old man. Life is typically silly, frustrating, and joyous for him as he grows, but the time arrives when he must “become a man”, and, with the old one pushing him, he leaves his small, intimate world to tackle the larger one. Thirty years pass. When he finally returns, he finds himself facing unfinished emotional business. A very moving experience. WOTO

"Annie Hall" (again, 1977): Simply one of the most innovative, interesting, insightful films you will ever experience - again and again. THIS work announced that Woody Allen would never again return to slapstick comedy, and would instead draw from deeply personal sources in the manner of other serious artists. It's innovative for his use of still camera shots that allow it's characters to leave (or never enter) a scene (yet you hear their conversation), subtitling of thoughts vs words, movies within movies, the use of animation within a "normal" film, giving the dialog to other actors on a stage, characters who leave their bodies and still carry on conversations, characters who break from the film and talk to us the audience, split screen depictions of different times or places with the characters speaking to one another across the splits, flash backs of characters that describe their futures...it's a superb break from what was expected. It's interesting on more than artistic levels, as Allen delves into references far beyond the mundane, and presents them with wit, humor, and awkward honesty. It's insightful for his honest and thoughtful look at how humans behave under different realities. "Annie Hall" is a masterpiece. (And watch for many lucky young actors (such as Jeff Goldblume, Christopher Walken, Shelley Duval, etc.) who, thirty years ago, could only dream that "Annie Hall" would help kick start their hopeful careers. WOTO IMDB

"Il Postino (The Postman)" (Italian, 1995): The lead actor, Massimo Troisi, is a master of natural, relaxed acting. What a joy to share in his unpretentious perfection. As for the story, on the surface it appears simple: the great poet Pablo Neruda seeks political asylum on a small "back water" island of Italy. There, he begins a relationship with the only man with whom he comes in contact - his postman. For much of the film, we watch a funny and tender relationship form between these two very different men. However, do NOT make the mistake of thinking this is a uni-directional film. It goes places much deeper and wider than just two people discovering one another's worlds... and THIS is why I've put "Il Postino" in the top category. WOTO

"The Count of Monte Cristo" (2001): From Alexander Dumas' novel, this is a sweeping, grand, epic of a film, set in it's original period. The costuming, sets, locations, etc., are thoroughly believable and lush, but more important is the depth of it's issues... love, honor, treachery, morality, faith, patience, vengeance, karma, persistence...it's all here, and presented in a way that you needn't worry about it's content with older children (implied sex only, and no gratuitous violence). Jim Cavezel stars as the Count.

"Platoon" (again, 1986): If "The Thin Red Line" is a contender for the ultimate poetic film about war (and I say it is), then "Platoon" is the gritty, tense, realistic contender. There is NOTHING soft, easy, relaxing, funny, or romantic about this story. The acting is superb by all (the list is too long, although Tom Berenger, Charlie Sheen, and Willem Defoe take main characters), and each scene is a creation with only one goal in mind - to attempt an explanation of what it is to be a soldier in war. The photography is confusing and violent, the lighting leaves movement and perception in doubt, the sanity of the characters is fragile, the scoring is both epic and nostalgic. This is Art on all levels. WOTO IMDB

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“Monsieur Vincent” (French, 1947): Starring Pierre Fresnay and Lisa Delamare, “Monsieur Vincent” received the Oscar for Best Foreign Film 1948. Set in 17th century France, this is the life story of Vincent de Paul. It’s an interesting and profound look at that which drives some people beyond “normal” capabilities, which, in his case, was caring for the poor. He learned much along the way – gained many deep insights – that are passed to you. The copy I viewed was uneven (unrestored), but thankfully, it was done in subtitles. Acting, photography, sound, lighting…all take back seats to the biography here. They are the “servants” to the story. It could hardly be any other way. WOTO

“The Exorcist” (again, 1973): I’ll never forget the face of a best friend when he’d gone to see this film first run, alone. There was no way he was going anywhere if it meant being alone. Well, although the film is a little dated in some ways now (EVERYONE constantly smokes cigarettes, the special effects and makeup are sometimes crude), it’s still a tense, increasingly frightening story about a girl taken over by the spirit of the Devil. Set as a contemporary story (1973), in a still-Liberal American culture, as events begin to happen, no one is willing to believe such a “third world/old time” exists. And, things get worse. Heavily Catholic, full of issues about faith, omens, evil, spiritual power, and rituals, it’s a fascinating look at what is still held by the church (but kept low profile), and, it’s a good scary story. Make sure to see the uncensored version (for example, the 25th anniversary edition), or you’ll wonder why ANYONE was shocked at all. NOT for children. Best Adapted Screenplay, Best Sound, starring Max von Sydow, Ellen Burstyn, Lee J. Cobb, Linda Blair, Jason Miller. WOTO

“La Maternelle” (French, 1934): To appreciate old films, contemporary audiences MUST lose their jaded contemporary attitudes, and allow themselves to be caught up in the work as it was presented. It seems to me that if someone can allow “suspension of disbelief” in current fantasy and sci-fi, for example, it shouldn’t be THAT difficult for a willing viewer to do the same with a work that has but a slightly exaggerated style of acting, different timing, subtitles, and, no color. This is a wonderful, warm, sad, and charming little French film that has plenty of heart. A young, socialite woman had it all – and then she didn’t – finding herself working as a maid in a poverty stricken Parisian day care center. Here she finds meaning, and many kinds of fear, sadness, pain, and deep love. WOTO

“Through a Glass Darkly” (Swedish, 1961): Oscar for Best Foreign Film, Nominee for Best Story and Screenplay, Swedish Academy Award, etc., starring Max von Sydow, Harriet Andersson, and Gunnar Bjornstrand, with gorgeous, perfectly composed shots made of silvery light, by Sven Nykvist. On the Swedish coast, during the season of round-the-clock sunlight, we meet a father, his son, his son-in-law, and the daughter/wife. We slowly learn that she had serious mental problems, and everyone is hoping for her recent treatments to stick. However, this IS Bergman, and this IS Swedish. Hope is slowly lost. “Through a Glass Darkly” is a painful, difficult film if you’re willing to sink into it, and yet, a marvelously symbolic work of art. Always reminding yourself that Ingmar Bergman does nothing by accident frees you to consider everything he makes available to you – from a slightly opened door, a ship wrecked hull, a chair being painted black from it’s older white, even a pair of sunglasses – he controls his story with utmost care and concern. Nothing is an accident. WOTO

“Goodfellas” (again, 1990): It’s been at least 5 years since I’ve seen this film. Much of the storyline I’d forgotten. Yes, it’s about The Mob in the 50’s through the 80’s, much of which is a true story. Okay. Great acting that never goes “movie” on you, delivered by DeNiro, Bracco, Liotta, Pesci, Sorvino… it’s hard to find fault with this classic, sweeping tale of life inside one crime world. However, I was pickier this time, and two things – perhaps handled by the same person – were often a problem: 1) the cars were sometimes showing up as much as two years earlier than the year they were released, and 2) the pop music also being used (to set the tone), was consistently behind era by 2-4 years. Look, when you’re doing a lengthy tale dealing with decades worth of changes, and the time element is important, you don’t get sloppy with the period cues! This is the one aspect that kept yanking me OUT of the moment – something you do not want happening to your audience. Martin Scorcese is a great director. He just needs to take more care choosing his staff – since he can’t do it ALL himself. I doubt this is the first time the issue has been raised. 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. Maybe not. Good luck. While you're at it, try to determine in EXACTLY what year "A Christmas Story" is set! It CAN be deciphered. WOTO IMDB

“L.A. Confidential” (1997): GREAT crime drama set in early 50’s Los Angeles. Thorough sets (although a tad dated for the year 1953), non-cartoonish costuming, no “waxed car syndrome”, a wonderful range of architecture…and plenty of tough guys, beautiful broads, little weasels, corrupt cops, and lost souls populate the story’s landscape. The acting is acceptable (the ever so-so Kim Basinger) to top notch, which would include Russell Crowe, Kevin Spacey, Danny Devito, David Strathairn, Guy Pearce, and more. Full of post-WWII California land-boom atmosphere. Be prepared to think. This is NOT a simple plot. WOTO

“Floating Weeds” (“Ukigusa”) (Japanese, 1959): The first few things I notice about films by writer/director Ozu are: the incredibly consistent, artful composition used in his shots; his patience with the “ordinary”; and his intentional avoidance of “action” and blatant “drama”. His films are meditative exercises on the daily truths we humans must face, which contain their own realistic challenges. Like Bergman and Allen, he too often uses the same actors, non-exotic locations, and stays within a philosophical area of interest that is obviously not market driven…which earns them dedicated followers...even after death. Ozu’s films are pure elegance. WOTO IMDB

“The Story of Women” (French, 1988): Directed by Claude Chabrol, starring Isabelle Huppert and Francois Cluzet. Set in WWII occupied France, many women were forced to find any means possible to afford rent and food for their families while husbands were off to war or dead. This is the story of one woman,, with two children, who HAS a man at home, but doesn’t love him, and proceeds with a life as though he didn’t exist. Huppert plays an odd character, both warmly feminine, and frozen without emotion or morals. It isn’t that she is such a complex person – just that she sees her condition as an Existential one that requires various attitudes to get the job done. Her calculating ways are even a shock to the prostitutes who come to know her. The film takes a twisted view of men as well – who are either sadistic users, or, weaklings of no value. NO ONE comes off looking good. Huppert and Cluzet are great is the lead roles. WOTO

“Memories of Underdevelopment” (Cuban, 1968): Made in 1968, set and shot (b/w) in 1961-62 Cuba, using a frighteningly smooth blend of documentary footage, and flash-backs, with new sets, locations, and actors in present-time, we watch a man at an airport say goodbye to most everyone he’s ever known. THEY are escaping the new Castro Cuba, to start over in Miami, USA. HE has decided to remain (although we’re never given much of an explanation why), and use (what must be) his independent wealth. Now living in the big city with only strangers, he wanders about looking for relationships. Instant closeness. Replacements. Although carrying the demeanor of a suave, patient, aging bachelor, he has the desperation of a teenage boy, driven by appearances and hormones. As archival footage is used to expand the vision of Castro’s Cuba, it is clear the lonely man is the one making the bigger mistake. I thought of this “story” as Emotionally Existential. WOTO IMDB

"American Beauty" (again, 1999): Kevin Spacey, Annette Bening, Thora Birch, Allison Janney, Peter Gallagher, Mena Suvari, Wes Bentley, Chris Cooper…an all-talented cast, great photography & lighting, interesting score, and supremely alienated dialog (along the line of "The Ice Storm"). "American Beauty" received the Academy Award for Best Film of 1999, about which I have no argument. Spacey does a great job of creating an average man who's slowly losing his tolerance for a life that gives nothing back (and received Best Actor for it), Benning is a self-tortured Type A real estate broker who can't find perfection in the world, their daughter (Birch) - wanders solo through the house, trying to connect with something and someone. Her best - only - girl friend (Suvari), is a loud-mouthed, acidic Prom Queen type, who talks the talk and appears to walk the walk. A young man moves in next door. He's silent, and seemingly videotapes everything and everyone (Cooper). It is often through his lens that we observe these lives. This is by no means a comedy, but there is a lot of BLACK humor for awhile, which slowly sheds the humor part... leaving the film to conclude in the only ways it could. This is one of my favorite American films of the last decade. "We" have done a great job of looking closely at our own culture, and finding some of what makes us "US". I would include "Blue Velvet" "The Ice Storm", "Exotica", "The Straight Story", and "The Sweet Hereafter" in this genre. WOTO IMDB

"Mephisto" (Polish, again, 1981): Starring Klaus Marie Brandauer, directed by Istvan Szabo. This is the first film of a trilogy (those Poles seem to love triplets!. I think it's a smart idea if, as an artist, The Art is your first concern (as opposed to typical sequels and other attempts at creating mere Hollywood cash. How do you spot the difference? Trilogies (etc.) are NOT "Parts One, then Two, then Three, normally loaded with more and more lame, self-referential cliches and marketing repeats per effort.) Instead, a trilogy is a deeper, more thorough look at a story or idea that would be damaged if cut short. Taken to the extreme, there's efforts such as Fassbinder's "Berlin Alexanderplatz",
which is 15 ½ hours in length.) Okay, NOW BACK to "Mephisto": Set in the early 1930's in Germany, we meet a totally self-involved, self-convinced, mediocre stage actor, who the audience adores...i.e., they have a perfect relationship. As Germany morphs into the Nazi environment, many artists, teachers, and other intellectuals flee Germany, but THIS man's ability to rationalize is astounding. With each small or large shift in German life, he adapts, or tries to adapt, with lightning speed... making certain the "spotlight" stays on him, and his career is not only not weakened, but grows. His narcissism keeps him blind to the fact the Nazis eventually figure out how to USE him...and use him. Learning comes slow, too slow, to this pathetic character, who earns the ironic nickname "Mephisto". I can't help but think this film was inspired by the film director Kurt Guerron, who is the subject of the documentary “Prisoner of Paradise”, and basically did the same thing, in Germany at that time. WOTO IMDB

“Colonel Redl” (German, 1984): Starring Klaus Marie Brandauer, directed by Istvan Szabo. This is the second film of a trilogy. (The third, “Hanussen” I do not own, but will try to find for rental.) Here we are in Germany again, but before WWI. A young man decides that the only way to raise himself from his peasant roots is to enter the aristocratic military world – and is willing to do anything to get in, stay in, and advance in. This he does, but there’s always The Price. He slowly loses those things and people which held any meaning or joy for him. He finds himself an amateur in a world that is completely Darwinian, and long-practiced in the art of manipulation. Like “Mephisto”, the ladder climber seems to reach spectacular heights, only to be tossed down when it most serves those who were never out of control. These films of Szabo start light, start fluffy, and slowly change into foreboding, evil, hopeless stories with NO optimism towards the human spirit, organized groups of humans, or Time being a teacher. They are very insightful essays on these subjects. WOTO IMDB

“A Generation” (Polish, 1954): This is the first of a war trilogy by Andrzej Wajda. Photographed in rich black & white, “A Generation” is about the youth of Poland, who joined underground rebellions against the Nazis. They formed small “cells” (sound familiar?) of fighters, used pseudonyms, and seldom met with larger groups – for the sake of secrecy and safety. The photography is wonderful (the long opening scene is alone worth the price of admission), the acting is great to average (with a TEENAGED Roman Polanski in one of the supporting roles!), and the dialog gives insight into kids who must grow up overnight and become not merely premature adults, but calculating killers. Made less than a decade after the war, this film depicts the serious, accurate, and even on extremely rare occasion, lighthearted moments that made up their lives. “Kanal” (1957), and “Ashes & Diamonds” (1958) follow. WOTO IMDB

“Kanal” (Polish, 1957): This is the second of Andrzej Wajda’s trilogy about WWII in Poland. I LOVE the photography – the light, the angles, the flowing camera movements. “Kanal” is about a group of resistance fighters and civilians who, out of necessity, band together to fight (what appears to be a losing battle) against the oncoming Nazis. First set in an incredibly bleak ruin of Warsaw, the story and acting only intensify as they begrudgingly try to escape through the underground sewer system. THIS one will take it out of you. It is relentless. RELENTLESS. WOTO IMDB

“Ashes and Diamonds” (Polish, 1958): And, this is the third of Wajda’s trilogy about WWII in Poland, or perhaps better stated, inside the Polish people. This one is set on t he last night of the war, and the following first day of official peace & freedom from German domination. As with both of the other films, nothing is as simple as it might first appear to us, or to the story’s characters. Although it might not be “necessary” to view this trilogy three nights in a row (as I did), they SHOULD be seen in sequence. The writer and director chose exceptionally interesting and symbolic moments in time to place these stages. Note: NONE are upbeat, optimistic considerations of what war creates, except perhaps Wajda’s inclination that the Poles do what they MUST for the greater good, even when it is for their individual worst. WOTO IMDB

“A Streetcar Named Desire” (again, 1951): Tennessee Williams wrote it for the stage – and received the Pulitzer; Elia Kazan directed it for film – and received four Academy Awards, making it a classic; and Marlon Brando (at age 27, received the first of his four consecutive Academy Award Best Actor nominations), Vivien Leigh, Kim Hunter, and Karl Malden brought it to life – and for the first time caused a film to garner three of the four acting Oscars. No one interested in stage plays or film making can or should be unfamiliar with what is arguably considered the most important single script of the twentieth century. WOTO

“Veronica Voss” (German, 1982): Rainer Fassbinder’s film about a once-was actress trying to pretend she’s still hot property (think “Sunset Boulevard”), who has a combination of problems that plague her and anyone who nears her … well, except for those who use her. Sound fun? This is no comedy. Set in 1955 Germany, with flashbacks to the “glamorous” days of WWII, we slowly learn about Veronica Voss, along with a sports writer who is drawn into her world. The b/w photography is beautiful, the use of unexpected music adds to many unreal moments, the acting is emotionally restrained (Germanic) and chilling…this is a top notch drama. WOTO

“Insomnia” (2002): I saw the original Euro version a few years back. It was good, but the story line left me a little confused at points. This 2002 version, American, made things clearer...and because of that, it became all the more interesting and tense. Add Al Pacino, Robin Williams (playing nearly as good a role as in "One Hour Photo"), and Hillary Swank as the main characters, incredible landscape scenery, the phenomenon of getting no sleep, and this was a no-lose, cat-n-mouse, crime story. WOTO

"Masculin Feminin" (French, 1966): A film by Jean-Luc Godard. I recently described "Natural Born Killers" as a film that must be seen by film fans if for no other reason than its unique presentation. "Masculin Feminin" is another work of Art that has to be viewed on its own terms...and THIS one came thirty years earlier. Shot in black & white, using a voyeuristic, documentary style, and divided into 15 unequal, titled segments, we follow a group of French friends and lovers through their lives as urban 20-somethings. With way too much time on their hands (think the t.v. show "Friends"), they spend it all either refusing to think (think "Clueless") or living entirely in their heads, espousing political dogma, spray painting slogans, and generally leading the slightly surreal lives of privileged dilettantes. (I wonder IF the youthful audience of 1966 understood Godard's indictments?) This is a unique film in its visuals, editing structure, and audio. "Masculin Feminin" sneaks up on you. It's very good. Don't let the lives of these people lull you into their way of seeing things. Stick with Godard. WOTO

“Natural Born Killers” (again, 1994): Written by Quentin Tarantino, and directed by Oliver Stone…you can fairly expect a violent, exaggerated, surreal story. Add wonderfully unique image montages, editing, camera work, color, and unexpected scoring. Woody Harrelson, Juliette Lewis, Tommy Lee Jones, Rodney Dangerfield, Robert Downey Jr., and many more stars are consumed inside their various insane, sociopathic roles. This is one twisted story of “star crossed lovers” – with a very dark sneer at the commercial media machine. NOT for kids or the squeamish, but for film fans, “Natural Born Killers” is a must-see work. WOTO

“Tully” (again, 2002): Elegantly understated, beautiful, sad, funny, and finely made. "Tully" is an independent effort that has no high profile stars, and everything you want from Art. Think "Hud" and "Tender Mercies" mixed with "The Straight Story", "The Last Picture Show", and “All the Real Girls”. Superb photography and sound capture the land, water, light, air, and each life of rural Nebraska. Relaxed dialog patiently reveals the plot and it's secrets. The acting is admirable by all. Points to be made are created with depth and forgiveness. There are no easy solutions, and problems never stay buried... WOTO

"Finding Nemo” (again, 2003): No one is better than Pixar at computer animation, but like I've said before, it's not just the look of the characters, color, light, texture, reflections, movement, sound, etc., which are all VERY good, it's also WRITTEN with characterization and story line as a PRIORITY. Sure, they ALL have something of the same concept: Lovable characters have their secure home interrupted with a threat, which only they can solve. We expect them to face multiple dilemmas on a journey, and to gain deeper appreciation for one another in the process. It's not a unique plot line, but it's done SO well, the formulaic aspects of Pixar stories (and they're not alone!), is easy to accept, in trade for the great visuals and quirky, witty characters – greatly assisted by the proper voice castings.

“Coffee and Cigarettes” (2004): Think of a series of tiny “My Dinner with Andre” films, staged in various restaurants, at single tables, set with coffee and cigarettes, and pairings of known and unknown actors, musicians, etc. – but much more eccentric. If pauses, silence, dry humor, b/w film, and no “real” action BORE you, skip it. If you find small moments interesting, as I do, SEE “Coffee and Cigarettes”. If you don’t like one piece, wait for the next. There’s a rhythm to this film, and once you find it, the nearly comatose pacing is quite enjoyable. WOTO

“Blade Runner” (again, 1982): Twenty three years have passed since this film premiered. The early 1980's were peak Punk fashion, and it shows here... BUT, this is ALSO a richly textured, atmospheric Futurist flick (courtesy of Ridley Scott), set in 2017 (oops, here comes that pesky future creeping up on us again). "Blade Runner" has a visual logic very hard to top. The sets, sound. music, costuming, scenario, moody dialog ...are VERY 80's in tone, which includes the NOIR of 1940's films, and our 1980’s concerns over the years ahead. This is outstanding "post-modern" science fiction. Harrison Ford takes the lead as an ex-specialist-cop who is unwillingly brought out of retirement to hunt down six killer androids, Sean Young is luminous as the 2017/1940 square-shouldered mystery babe, Daryl Hannah is the female epitome of bedraggled Punk athleticism, Edward Olmos is the greasey street detective that’s seen it all, Rutger Hauer is the charming but calculating killer…and other talented actors play equally interesting roles – all of whom help create one of the best mood-driven Sci-Fi’s of all time. Even people that aren’t “fans” of the genre will probably like it. WOTO

“A Bug’s Life” (again, 1998): I think I enjoyed this one as much (or close to) "Toy Story". Beautiful, funny, enjoyable. Pixar is by far the leader in compu-animation...NOT just due to visual quality (my GOD! The textures, reflections, shadows, colors of light, subtle movements, detailing!!), but for story line, sound tracks, etc. Alright, the script IS based on "The Seven Samurai", but it's a good story! WOTO

“Wild at Heart” (again, 1990): I have to qualify this one: “Wild at Heart” is one you’ll enjoy IF: you like David Lynch films in general, you have nothing against a lot of kitschy imagery (a la Tarentino), you have nothing against a lot of extreme violence, sex, and disgusting characters, and, you find all of it sort of funny. Now, with THAT said, why see it? This ISN’T a “spoiler”, trust me… you should, from the start, watch this with “The Wizard of Oz” story in mind. Both films are “road trips”, both encounter characters, have witches, evil beings, travails, tests, grandiose goals, fantasies, and, are basically love stories set as adventures. Both have lead characters who are trying to find their places in the world, and to do this, they had to LEAVE their worlds. Trust me, just keep OZ in mind, and you’ll have a weird, perverted, fun, creepy time with this one. Nicolas Cage, Laura Dern, Diane Ladd, Willem DaFoe, Crispin Glover, Isabella Rossellini, Harry Dean Stanton, Jack Nance (“Henry” of “Eraserhead”), Pruitt Taylor Vince, and other talented people got on board with this weird, fun, awful tale of True Love. WOTO

“Pretty as a Picture – The Art of David Lynch” (1997): This is a documentary, made during the production of his film “Lost Highway”. Interviews include Bill Pullman, Patricia Arquette, Robert Blake, Robert Loggia, Balthazar Getty, and Natasha Wagner. Also in the documentary are Angelo Badalamenti, Mel Brooks (did you know HE funded “The Elephant Man”!?), Lynch’s children, and many of the people who began their careers at the same time, and along with, Lynch. This film looks at Lynch as a director, but also as a painter, sculptor, photographer, collaborator, writer, and all-around Idea Man. If you’re unfamiliar with his films, this may jump in too deep too fast. I’m not sure. If you ARE familiar with them, this can only add insight into his work process. DO NOT expect him to “explain” his films to you. WOTO

“The Secret Lives of Dentists” (2004): Starring Campbell Scott, Hope Davis, Dennis Leary, and Robin Tunney – all talented actors. Life is one chaotic situation after the next, and then we choose to go on with it the next day. This is a richly textured look normal people with normal lives full of normal concerns and fears, who deal with them as best as they can - which is never quite good enough, but will just have to do. A few somewhat inventive devices are used to multi-layer the realities being considered, but the strength of this story is in it’s intrinsic truth. This is a film for all adults to see, as a reminder that we’re doing the best we can, it ain’t good enough, but until a “cure” or an “answer from on high” comes along, it’s what we’re gonna hafta live with. WOTO

“Westfront 1918” (German, 1930): I found it very interesting to watch a GERMAN anti-war film about WWI. As is often the case with anti-war films, we spend most of our time with “average Joe (Johann)” in the trenches, finding out he’s just like the rest of us. We watch the tragedy, monotony, hunger, panic, madness, mud, death, fleas, the desperate acts of desperate people…trying to accomplish what? Exactly. Survival, and nothing more. The CONTEXT of this film is what most interested me - the 1930 Historical Position – of a country defeated in that war only twelve years prior to the film’s release – a country under huge economic collapse, and the soon to be complete control of Germany by Adolph Hitler (1933). The last question asked is “Is this the end?” A VERY loaded question, full of meanings. I am SURE the people who made this film had to flee Germany. WOTO

“True Romance” (again, 1993): An extremely violent film, up there with Pulp Fiction, Reservoir Dogs, and Bring Me the Head of Alfredo Garcia, “True Romance” is still, somehow, an oddly sweet love story. Starring Patricia Arquette, Christian Slater, Dennis Hopper, Brad Pitt, Val Kilmer, Gary Oldman, Christopher Walken, James Gandolfini, Michael Rappaport…the list goes on (plus oddly sweet scoring by Hans Zimmer), “True Romance” is a white trash, random world, go-with-the-flow story about two people who meet under false circumstances, but simply, and quickly, decide to always be honest and in love with one another. It was THAT simple. What ensues is a cross-country, crime drama road movie, with lots of interesting, tacky, some dark humor, weird characters, aimless lives, and slaughter left & right…but at it’s core is this oddly sweet love story. There ARE other films that have similar plots, but they do not have the “soul” of this one. WOTO

“Sleuth” (again, 1972): Originally a stage play, this is a two person mental duel (Laurence Olivier and Michael Caine), set mainly in one room. Because of this, you’ll see little “action”. It’s all verbal. IF you listen and follow, you’ll be completely entertained with the wit, complexity, ironies, twists and turns, and final outcome. WHO is Cat, and WHO is Mouse? IS there a “Perfect Crime”? That’s what “Sleuth” is all about, and it’s hard to imagine anyone ever writing a better example than this by Anthony Shaffer. WOTO

“The Mission” (again, 1986): Robert DeNiro and Jeremy Irons do superb jobs in powerful roles in a very good film about the encroaching Christian "righteousness" upon the native people of South America in the 18th century. Not merely a "contemporary doesn't always mean better" finger-wagging P.C. flik, this has great insights into the politics of religion, it's administration, and the people that "serve" it's purposes. However, the stages of DeNiro's character - his personal growth - are the focus and brilliance of this film. Typical top quality scoring is by Ennio Morricone. The photography constantly illustrates natural beauty versus 18th century European artificiality. There are many scenes you will never forget. WOTO

“Himalaya” (Tibetan, 1999): Powerful landscapes and sweeping, beautiful music set the stage for this seemingly simple story of a “generation gap”. A small village survives their Himalayan winters by trading salt for other provisions. This is done through a yearly, grueling trek over the high mountains, on foot, with their pack-Yaks. One group follows the traditions and beliefs handed down to them from centuries past. The other group claims new ideas, and becomes impatient with waiting for the Gods to instruct them. What ensues is a testament to ALL humans. Nominated for Best Foreign Film (Academy Awards), and Winner Best Cinematography and Best Music (Cesar Awards). WOTO

“A Nos Amours” (French, 1983): Starring Sandrine Bonnaire. In two years, she would star in “Vagabond” – the purest, and my favorite, Existential film. “A Nos Amours” is the story of a 16 year old girl in a very dysfunctional home. A dramatic, frantic mother, a withdrawn, depressed father, and a confused, violent brother round out her “home”. No wonder this daughter seeks the constant company of men, asking all to never leave her, yet she’ll attach to no one. We all know people like this – perhaps there’s something of her in us. “A Nos Amours” is an intelligent, thoughtful way to stare it in the face. WOTO

“Eternal Sunshine of the Spotless Mind” (2004): Like other films of the last few years, there continues to be a rush to shatter, spin, crank, or turn inside out the plot structure. To whom shall we give credit? Quentin Tarantino and his "Pulp Fiction"? Well, like any FASHION trend, it can used as an empty, stylish method to hide a lack of substance, or, LIKE "Eternal Sunshine..." it can be used to support the topsy turvy story it sets out to tell. We learn that a man (Jim Carey) has been rejected by a woman (Kate Winslet), and he's pretty torn up about it. We then learn he wants to get her back. Standard fare. THEN things change. You'd better be of clear head when you watch this one, because it's going to challenge you with it's depictions of alternate realities, internal visualizations, and moments that for some time will feel helter skelter. Only with work will you keep up. Honest...hmm..m....unless I'm just a Dumb or Dumber Guy. Here are some of the pleasant surprises (and I'm giving away NOTHING by listing these, so you can open your eyes again now): Jim Carey can now be considered a good actor along with a great comedian. It happened to Bill Murray and Robin Williams too. This is an innovative, thoughtful film that asks a lot from you. There ya go. Love it or leave it on those terms. It does NOT pander to the audience. WOTO IMDB

“The Triplets of Bellville” (2004): Prepare yourself for a unique experience. This is pure animation in the very best sense of the word. Take the high point of Disney – oh, say, the 30’s through the 50’s – remove all the schmaltz, make the visuals even better, create an entire story with no dialog, cool music, and incredible insights into the details of daily creatures (human and otherwise), sprinkle in some really weird, gross, and darkly funny moments, and then just sit back and let it wash over you. It’s VERY refreshing. WOTO

“World War II documentary films” (1937-1945): I found a large set of video sets that are all documentary footage from WWII, organized into specific battles and subjects (see below), with interviews of veterans from ALL sides of this major world event. Viewing will be a lengthy effort on my part, but I want to know much more about this terrible time when so many people suffered and gave their lives to stop TRUE Evil…for themselves, for me, and for you. WOTO

“Airborne under Eastern Skies (1940’s – up): Jumping from a parachute. If you were dropped from too high a height, you were a long-term target for the enemy below, and completely vulnerable to winds that could throw you into a cliff, the ocean, or an enemy camp. If you were dropped from too low (and the altimeters in planes did fail), you dropped like a rock, with the parachute not having enough time to slow you down. Death rates, just from parachute mistakes, was as high as 10%. Very serious stuff.

“Destination Berlin” (1940’s – up): MORE jumping from a parachute, mainly from wood & canvas gliders that had no power, and few places to land. Many men were killed from the incendiary rounds sent into the gliders, or parachuters were shot while hanging in the air, killed from bad landings (in the middle of the enemy, against cliffs, on houses, in trees, in deep water…), or died from enemy bullets surrounding them on the ground.

“The Battle of North Africa”: In comparison to the Japanese in the west and the Germans in the east, the Italians, rushed into a tag-along deal with Germany, went into North Africa unprepared and disorganized. The English were, relatively speaking, quickly in control, causing the Italians to surrender. THEN the Germans sent in Rommel, and within months, this General reversed the trend, pushing back the English. Everyone on all sides respected his abilities. Had it not been for additional countries adding power to the North African effort (including Roosevelt sending every “extra” Sherman tank the U.S. had), Africa – which includes the Middle East – might, to this day, be German…and from there, who knows? SOME of you are asking “Would THAT have been worse than what we’re now seeing?” It’s an interesting question, but NOT on the radar at that time.

“The Battle of St. Vith”: Germany defeated France with little problem. What I didn’t know was that a part of France and it’s French people, fought FOR Hitler, not against him. They didn’t succeed (and I’d love to see a focus on THIS subject – how the rest of France dealt with their own traitors), and Germany had to hold France on their own. The war dragged on. St. Vith was a small village in France, whose only importance was it sat at the crossroads intersection of many important transport routes for the Germans. Control of this zone was crucial to everyone, and soon lead to the Battle of the Bulge.

“Fei Hu: The Story of the Flying Tigers” (1998): Quite some time before the U.S. became officially involved in WWII, due to the attack on Pearl Harbor, we were secretly fighting the Japanese in China. Japan had been effectively warring with China for three years, and was winning. They had a serious air force, whereas China did not. A group of American fliers were selected & sneaked into China, disguised as tourists, to train on the new P-40 fighter planes, help protect China, and prepare Chinese fliers. President Roosevelt arranged this in such a way so the American fighting men could not be traced back to the U.S. military. It wasn’t until 1991 – 1 9 9 1 – that the “Flying Tigers” were given VETERAN status, despite the reality (and success) of their efforts. It’s a VERY interesting story, full of real film footage, and interviews with those surviving men and women. If you don’t know what it means to do what needs to be done… see documentaries such as this. WOTO

“Tried by Fire – The Battle of the Bulge” (1997): Anytime you think your life is rough or you’re doing all you can, study WWII. Look at these films, listen to the interviews with the men who were there and survived, begin to comprehend some of what every single solitary day was like for them, day after week after month after year. Then take these insights, reevaluate your situation, and say two things: “Whew!” and “Thank you so much!” I’d never correctly understood what “the Bulge” was. I thought it was an especially hilly area. I knew it was a bad scene. The Bulge was instead the term for the pressing lines of Allies against the Germans. The Bulge was the area of the line where which ever side was winning and advancing created a “bulge” towards the enemy. The Bulge was, therefore, not as much a “place” as a position. It tended to occur on all sides of Germany and Belgium, as the Allies pushed in, but seems to have lasted the longest – was the bloodiest – on the western border of Germany. These soldiers had to face the threat of death, and do it in below zero winter or shin high mud. They saw their friends die. No one got a vacation. No one was certain they would ever see Home again. I feel like such a pampered person. WOTO

“The Battle of Manila, New Guinea, Midway, and In The Sea” (1997): I’ve learned a couple things from this ongoing “project” of watching films about WWII. One, at the conceptual level, it IS a chess “game”, but with so many unknown factors – all of which CANNOT be anticipated - that winning is, no matter what, a calculated effort with some frightening luck. Two, that the war in the Pacific may as well have been on Mars, compared to the war in Europe. The landscape, weather, civilian response, effects on machinery, local diseases, and the attitude of the enemy was THAT different. Really, the U.S. was involved in TWO World Wars during World War Two. The only thing they both had in common was kill the enemy or they kill you. Even there, the difference was that Germans were willing to eventually surrender…unlike the Japanese. WOTO

“Anzio, San Pietro, and the Bridge at Remagen” – There’s not much more to say here. More tactics, more battles, more losses, more death, and a few more meters towards victory over Germany. Hitler, NOT a brilliant German military tactician, had ordered his troops to stay in their locations and fight to the death. Germans tend to be obedient. The Americans decided to bypass some of these locations, and muster their forces at more important sites. It helped the Allies win the war. WOTO

“Spartacus” (1960): Produced and starring Kirk Douglas, directed by Stanley Kubrick. Epic in length (3.25 hours) and width (Cinemascope), this is the story of a simple slave (Douglas) who is taught to be a Gladiator (does THAT sound familiar to contemporary movie fans?), later rebels and begins a huge movement against the powers of Rome. Parallels to the Civil Rights movement of the 1960’s is not lost on us. Douglas is almost understated in his role, which is a pleasant relief (unlike the heavy handed scoring by Alex North). Actress Jean Simmons screams HOLLYWOOD GLAMOUR GIRL” through her entire role as the Beautiful Slave and love of Spartacus. Laurence Oliver, Charles Laughton, and Peter Ustinov play appropriately sleazy, catty, and vaguely gay Roman politicians…and we DO wonder about Tony Curtis… None the less…(!) this is a strong film, a valid story, has sweeping scenes NOT created by computers, is interesting to view in 1960 terms, and has to be forgiven it’s 1960-nesses. It deserved four Academy Awards. WOTO

“Winter Light” (Swedish, 1962): Just prepare yourself. Bergman is at his depressive best here. If you’ve ever lived in an environment that is perpetually cold, wet, and gray, you’ll understand. If not, well, this film will illustrate it for you. A preacher, in serious depression himself, is losing his flock. His flock has rampant depression too. He tries to help, but it’s useless. He starts looking for answers from them. No one has answers. Things happen. Nothing happens. It’s the same old thing today, and tomorrow. This film requires patience. Expect no action. Even a scene change begins to seem like excitement – which is exactly what Bergman wanted for you. One scene, in which a major character “narrates” a letter she wrote to the preacher, is amazing. With a blank background, she stares into the lens of the camera, and talks “at” you – for pages. What a gutsy thing to do in a MOVING PICTURE. Avoid this film if you want more than thinking and feeling as results. WOTO IMDB

“The Nuremberg Trials” (1994): This is a documentary of THE Trials, using only real film footage shot there, and captured from the Germans after their defeat. It explains the main players on both sides, the process of the trial, shows samples of why these men are criminals, and finally, their deaths joining the millions they themselves killed. Much of this footage I had never seen. Narration is occasionally flamboyant, but understandable. WOTO

“The Candidate” (again, 1972): Robert Redford and Peter Boyle star in this insightful look at how a well-meaning activist becomes a politician. Robert Redford plays an ex-lawyer working in the trenches of his community, helping better circumstances for the people in this little part of America. A team of political campaign professionals is searching for a new face it can use – not to necessarily win, because win or lose, they get paid for the process. We follow Redford and his campaign manager (Boyle) through a seamless political campaign, but MORE importantly, through the psychological transition of a caring individual into status quo politics. This will NOT inspire you to go out and vote. WOTO

“Meet John Doe” (1940): Before Frank Capra’s “It’s a Wonderful Life” there was “Meet John Doe”. Capra mortgaged his home to make this first independent film – gambling everything - while The Great Depression dragged on. Europe was at war. America was still undecided, and unattacked. Capra had things to say, and he said them. This story may lack some of the finesse in “…Wonderful Life,” but it’s a strong, socio/economic/political statement – not only about THAT era, but MOST times for MOST people in MOST places. Capra made uncommonly good films about common people who HAD to fight to overcome their obstacles. Gary Cooper improves with every moment of this story, finding his “zone” towards the end - as a brooding, doubting, disheartened but decent man. Barbara Stanwyck is on her game throughout. You’ll see many of Capra’s favorite character actors here, who joined him in film after film. If you like “…Wonderful Life”, this one will be of great interest to you. If you like the film version of “The Grapes of Wrath” (with Henry Fonda), you’ll probably feel this 1940 Capra effort was on equal footing. WOTO

"Donnie Darko" (again, 2002): A film with average production values, but interesting photographic ideas, uses of music, and a story line you haven't heard before. There are lots of "isn't that...?" movie stars, a moody feeling to the entire film that gets under your skin...and yet, you're not quite sure to do with it all, once it's done. Try to mix some of "The Ice Storm" with "Poltergeist" and "Carrie", plus the story structure of “The Sixth Sense”. I saw “Donnie Darko” for the first time two years ago. Tonight, on my second viewing, I deciphered the story to a much greater degree - which I will not divulge here. (I hate people who ruin movies for others.) I now think it’d be interesting to watch it twice in one night…and double check my theory. WOTO

"Big Fish" (2003): You MIGHT have to already have some experience with Tim Burton's films - at least some of them - or you'll MIGHT end up feeling baffled and unfulfilled by this one. I’m not sure. When Burton is at his best, his films are like no one else’s. In my opinion, if you like his film "Edward Scissorhands," you'll like "Big Fish" - for it is it’s closest relative. The idea of "Big Fish" takes on a number of meanings throughout the story, and although it feels a little heavy handed at times (perhaps as it relates to the character of the Father), it’s very entertaining, has some strong emotions, lots of unique laughs, people, sets, and circumstances, and ends up making it's point - with enough room left for your personal vision to join in. God Bless the story tellers in our lives. What would we be without them? Albert Finney, Jessica Lange, Danny DeVito, Steve Buscemi, Alison Lohman, Ewan McGregor, Helena Bonham Carter, Billy Crudup…my god, who else do you want? (And there ARE more.) WOTO IMDB

"Mean Streets" (again, 1973) This is the one that put Scorcese on the map. It is a frantic, non-stop story about a bunch of small time hoods in their trashy, little Italian New York neighborhood, using up their daily lives in meaningless, pathetic ways. Excellent depictions. Rober DeNiro shines as “Johnny Boy” – the charming, explosive, full-of-excuses liar who’s used to everyone else picking up his slack. Harvey Keitel plays his cousin, also a loser, but with his heart in the right place, who keeps covering for Johnny. They redefine “co-dependent”. Everyone else takes supporting roles. The photography is rich and harsh, the score loud and straight from a juke box, the dialog perfectly petty. WOTO

The Wild Bunch (again, 1969): I had the pleasure of watching the 30th anniversary, restored, director’s cut (144 min.) version of this great film. On the surface, the story of a group of gunfighter criminals caught in a modernizing world leaving them behind, seems simple enough. The times they are a-changin’… so “let’s pull off one more good ‘un, and retire.” But…things aren’t done changing - yet. Perhaps Sam Peckinpah’s greatest film, “The Wild Bunch” is film making, story telling, and moral lessons all wrapped up into one good looking, interesting, detailed, textured, sometimes violent work of art. WOTO

“Sakharov” (1984): As Russia’s lead designer of the H-Bomb, and later, a leading figure in Russian human rights, Andrei Sakharov (and his wife Elena Bonner) gave everything to the ideal of Freedom. As their involvements increased, so did the KGB threats against them and their family. Even after receiving the Nobel Peace Prize, the harassment and persecution continued. Andrei died in 1989. Jason Robards & Glenda Jackson do WONDERFUL jobs in these lead roles. Very inspiring. WOTO

“My Architect” (2003): This is an HBO documentary about architect Louie I. Kahn, by his son. There are three angles to this film: 1) The son sets out to meet and discuss his father with anyone who knew him, because Dad died when he was only eleven, and was seldom, if ever, available as a real parent, 2) The son sets out to understand the architecture, and 3) The son sets out to meet all of his half siblings and other relatives who he’s never met – because “Dad” kept three entire families separate and secret from one another (though only miles apart), until his death. There are some interesting psychological connections drawn between Louie and his buildings, made by his students and other architects (which was not empty chatter). The son travels around the world to see buildings and people, yet seems like a deer caught in headlights the entire time. What slowly reveals itself, whether you like Kahn’s buildings or not, is that NO ONE liked him as a person. Without concern, he left a wake of hurt feelings and damaged lives behind him. He and Frank (Lloyd Wright) would’ve either been best buddies, or hated each other. Probably the latter.

“No Direction Home” (2005): Compiled and edited by Martin Scorcese. This assemblage of film footage (much never seen before) covers the early years of Bob Zimmerman (Dylan) up to his motorcycle accident of 1966. In between, you see a young man who has an unsure, vague desire to sing & play (NOT write), latch onto heroes, emulate them, catch the mood of the Time, and begin to find his own way. THIS is the message of “No Direction Home” – everyone has to start somewhere, and once you’re moving along, there’s no going back - no matter how much you might want it, no matter how painful the journey is. “Genius” does NOT drop out of the sky, is NOT delivered by angels, and is not released by a drug – it is stubborn, open-minded, narrow-focused, hard work that slowly adds up to Greatness. (See the original documentary on Dylan (“Don’t Look Back” by Pennebaker) for added information.

"Bob Roberts" (again, 1992): This is a wonderfully sarcastic and dark mockumentary of a political campaign in Pennsylvania, between the arch-conservative, faux-Dylanesque newcomer Bob Roberts (Tim Robbins), and the tired, seen-it-all incumbent, Senator Paiste (Gore Vidal). Also seen are Allen Rickman, Helen Hunt, Susan Sarandon, Jack Black, John Cusack, and many other talents that make this a totally satisfying, snide look at politics, spin-meisters, and the media. WOTO

“Luther” (2003): Starring Joseph Fiennes and Peter Ustinov, shot in many of the original, historical locations of Germany and Italy, with wonderful sets and costumes. I can only hope that the facts were accurate (I am NOT a religious scholar), as this was a very interesting, intense, and powerful story of vision, politics, dedication, pettiness, fear, courage, and all the other things we, as humans, find important. Causing change is never pretty...even with the finest of intentions. I will see this again. Fiennes did as especially great job of acting. He carried the weight, so to speak.

“Maria, Full of Grace” (Ecuadorian, 2003): This film received prestigious awards, which it deserved. If there’s ever been a film that could be described as HARROWING YET LOW KEY, this is the one. We follow a slightly rebellious Colombian teen through her normal life, for which she runs out of patience. By simple, flirtatious chance, she’s offered another “job” – as a drug “mule” - from Bogotá to New York. “Maria…” does NOT become “The French Connection”, despite circumstantial changes. This is not an action packed drug story or a sweeping character study. Instead, it is a close look at one reality, how it is woven into society, how it affects nameless citizens, and how some people might be lucky enough to stumble out of a problem and into a solution, after so many seemingly minor mistakes.

“Gia” (again, 1998): Angelina Jolie is no lightweight actress. I realized this after "Girl, Interrupted", and now, with "Gia", the deal is sealed. A true story, Jolie plays a woman, living her own wacky but harmless life, who is "discovered" and brought into the world of New York fashion modeling. The story is not a new one - the sudden, high speed life of money, power, glamour, drugs, loss of control and freedom, eventual alienation, disease, and death. The choice for a double feature would be "Basquiat". Invite friends who are good at cheering you up afterwards….then show it to any naïve kids who think they MUST be “beautiful”, or, want to do drugs. WOTO

“Gorillas in the Mist” (again, 1988): This would be an interesting film if it was about nothing but a woman (Dian Fossey) who studied and lived with gorillas. (Do NOT confuse Fossey with Jane Goodall and HER work.) This is a GREAT film because it’s a character study worthy of a top ten position along with “Lawrence of Arabia”, “Taxi Driver”, and “Serpico”. You’re also given the bonus of fine photography. The score could be toned down a little perhaps, but having been written by Maurice Jarre (“Dr. Zhivago”), you can expect it to “swell” on occasion. Sigourney Weaver plays Fossey… and by doing so, set the bar very high for the rest of her career. Expect some VERY mixed feelings to come from this film. WOTO

“Prisoner of Paradise” (documentary, ): The story of 1920’s/30’s German Jewish actor/film director Kurt Guerron, who was so absorbed with his career in Berlin, that he refused to acknowledge the growing Nazi party and it’s threat. Time after time, he choose to deny or decline opportunities for escape, and instead took one more job…and one more…and one more…repeatedly restarting his career while trying to stay near Berlin, yet out of reach of the growing threat. Once he was imprisoned in a concentration camp which was disguised for propaganda purposes as a wonderful Jewish retreat, he was given the choice of being killed or producing propaganda films. He knew that as long as he was USEFUL to the Nazis, he would remain alive. The clock was ticking. This is a very interesting, unique look at that experience – about which I’d heard nothing.

“Finding Neverland” (2004): (I’m tired, so excuse me here…) I enjoyed the film very much. It was funny, tender, sad, and very sad. It explained many of Barrie’s circumstances very well, and went deep enough, that by the end, I felt like I had some true insight into the play write, his life, friends, and the inspiration behind “Peter Pan”. Frankly, I had taken him for granted, which was a mistake. Johnny Depp, Kate Winslett, Julie Christie, Dustin Hoffman…all great. I expect I’ll see it again, and as it was, I watched it two nights in a row!

“The French Connection” (again, 1971): GREAT, gritty character study set in the great, gritty city of 1971 New York…in those daze, still the really nasty, grimy, dirty, rotten to the core Apple. Gene Hackman plays the piggish, uncouth, intuitive undercover cop, who begins spotting “signs” his gut tells him he should follow – and follow – and follow. Roy Scheider is his partner, and together they begin unpeeling a complex, international drug deal about to go down. Based on a true story, this is a superbly made work that holds up very well, despite the era’s blatant, funky look. Patient and interesting turns to exciting and dangerous as they begin to piece together the French Connection puzzle. One of the best “cop” films of all time. WOTO

“The Aviator” (2004): I don’t know a lot about Howard Hughes, and I truly hope that this film played it straight with history…because it is a fascinating story, and I’d rather it be accurate. (Oliver Stone DIDN’T make it, Martin Scorcese did, 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 majority of his years before he lost himself to what I’m sure would now be labeled “Obsessive/Compulsive Disorder”. The story immediately takes a peek at his childhood, where an important issue is clarified, and we then dive right into his start with aviation. 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 fine job, as does Cate Blanchett, Kate Beckinsale, Alan Alda, Ian Holm, Gwen Stefani, and Alec Baldwin. The dirty business of politics & payoffs is covered, but so is the glorious, imaginative efforts of Hughes and his engineers. Special effects are excellent, photography is exciting, dialog always interesting, sets & costumes rich with era, scoring great…it’s all-around solid character study, and recreation of an era that is worth another look. If you liked the film “Tucker”, I can assure you “The Aviator” will do nothing but top it, which is quite a compliment. IMDB

“Tora Tora Tora!” (again, 1970): You only need to love history to enjoy this film. It is NOT a Hollywood excuse for a Romance (“Pearl Harbor”). This is a step-by-step examination of what lead up to and through the incredibly incompetent U.S. political & military bureaucracy, allowing Pearl Harbor to be such an easy opening target for Japan. It names names. Not everyone was an idiot or amoral, but enough WERE to cause this huge first event, which pushed a reluctant U.S.A. into WWII. Watch for superb detailing (except for a couple of off-period hairdos), and special effects that were NOT created in a computer. REAL things did explode, and REAL people were at risk, to create this film. The special edition video includes historians who verify the events, show real film footage, and discuss “alternative” (conspiratorial) theories about this horrific episode, that truly DID alter the lives of most everyone on Earth - to this very day. WOTO

“Jean de Florette” and “Manon of the Spring” (again, French, 1986 & 1987): This is one epic story, divided into two separately titled films, but in no way is the second a lame “sequel”. Full of issues humans hold dear – dedication, love, loss, greed, pettiness, Karma - the total work is full of strong characters made real through solid acting (Yves Montand, Gerard Depardieu, Daniel Auteuil, Elizabeth Depardieu), set in the gorgeous mountains of southern France, c. 1900. I once described this film (when it premiered) as a very enjoyable, high quality, soap opera. I retract “soap opera”. There is nothing “lesser” about this drama. It reminds me of the complex ironies English novelist
Thomas Hardy used. WOTO

The Story of Adele H. (again, French, 1975): Those 1970’s production values…huh. ASIDE FROM THAT… This is the TRUE story of Victor Hugo’s daughter, Adele, played by the wonderful Isabel Adjani. Through the film, you watch a transformation seldom seen. Although aspects of the film’s making are not without flaws, Adjani’s performance of a woman who is slowly consumed by mental disease (it might be called Obsessive/Compulsive Disorder now), is on par with Peter O’Toole’s work in “Lawrence of Arabia” and Robert DeNiro’s in “Taxi Driver”. I am completely mesmerized by her slow, subtle changes. She is a frightening, sad, joy to watch. WOTO

“Sideways” (2004): Wine must be stored sideways, for it to mature. It will age and improve until it reaches it’s peak, and then it is either to be enjoyed, or it declines, alone. This is the story of two middle aged men who became best buds as roommates during their freshman year of college, and have barely escaped that mentality. Although something of an Odd Couple, they DO understand one another, and offer the slimmest of supports. Their lives are a mess, but one has decided to marry anyhow. They take off for a week of traveling through Wine Country in northern California...in a series of funny, desperate, pathetic, sad, and dumb ass experiences that slowly reveal themselves as important. Everyone does a great job, the script is written from an original book (and divided into “chapter-days”), the landscapes are amazing, and the meanings are delivered in small sips…so to speak.

“Christ Stopped at Eboli” (Italian, 1979): Directed by Francesco Rosi. My one constant problem with 70’s films is their quality of production. I don’t know the technical reasons behind this flaw, but it was seldom avoided. NONE THE LESS, this is a really interesting, quiet, contemporary twist on the idea of Jesus going where no one else was willing – into the poorest, most diseased, uneducated, remote regions of the land – and learning to become involved with and humbled by humanity. Set in 1935 Fascist Italy, a political prisoner – an artist – is banished to and must remain in a very bare-bones part of his country. His former life in cosmopolitan Rome is of little use here. He struggles with and learns from the people who have never known anything else. Clearly, this story has a political agenda as well. It is worth your consideration on numerous levels. WOTO

“Sin City” (2004): Packed with stars, funky pulp fiction lingo, mixed period sets, cars, clothing, buildings, and gizmos, this is one GORGEOUS, HARSH black & white film (with touches of color). Perfect “graphic novel” 40’s style noir lighting, angles, positive/negatives, and exaggerations make for an unreal but really fun, extremely violent piece of entertainment. Think “Pulp Fiction” in a b/w comic book form (and Tarantino WAS “guest director” – whatever that is). Lots of computer generated perspectives and “camera moves” reminded me of the over-the-top approach used in “Moulin Rouge”. This is a brain-neutral film. It is a kitschy, visceral, visual product that has no intentions of teaching morals through storytelling.

“Napolean Dynamite” (2003): 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 one week. I have to own this one! IMDB

“Miller’s Crossing” (1990): An early Coen brothers story, full of talented actors, interesting points of view, quirky characters, and unexpected turns in the plot. Albert Finney, Gabriel Byrne, Marcia Gay Harden (her debut role), John Turturro, Jon Polito, J.E. Freeman, and, if you watch closely, a tiny bit part for the yet unknown Francis McDormand (later to make her name in another Coen film, “Fargo”). This is a gangster movie, set in the late 20’s/early 30’s. Yes, it’s a violent film, with double-crosses, dames, “Tommy” guns, and illegal businesses…but in the Coen’s hands, it’s a unique, dark, sometimes almost funny look at a period of American history that is too easily romanticized. WOTO

“When Trumpets Fade” (again, 1998): IF you are interested in war films, this recreation of a real battle fought during WWII (just prior to the Battle of the Bulge) is definitely one of the better depictions. VERY realistic in its violence, settings, and psychological terror, "When Trumpets Fade" takes you down into the cold mud - stained red from blood - and doesn't let you up the entire time. No one is McArthur, no one is Patton, and no one is Eisenhower. And, you're very glad it's a film about a time now passed. Go thank your parents or grandparents or great grandparents, and ask them to tell you what it was like. WOTO

"Children of Heaven" (again, 1998, Iranian) - I've come to LOVE recent movies from Iran. This one and "The White Balloon" have been wonderful experiences that I would want to share with kids. Let's watch a typical brother and sister help and love one another, be part of a family, feel honor, responsibility, concern, joy, and warmth. And! NOT be a Disney/Hallmark upchuck. It expertly balances cultural differences and the sameness of the human condition, viewed mostly from the children’s point of view, in a very rewarding experience. The simple plot shows remarkable depth in understanding that any small moment can have huge effects, and to respect their power. And, that despite our nostalgia, being a child is as complicated as being an adult. WOTO

“Le Jour Se Leve” (also known as “Daybreak”) (French, 1939): Directed by Marcel Carne. Nicely done French Noir film with classic shadowy compositions, about a decent enough single fellow, a sand blaster in a factory, who finds himself in the common position of squabbling over relationships with assorted women, and fighting them out with the other men involved. So far, so common (although the sexual situations may have been considered shockingly open for the time)…then things get out of control. In a series of flashbacks woven throughout the present moments, we learn how this situation came about. The strongest point is that this ISN’T an uncommon situation reserved for the foolhardy, overly romantic, or highly violent people. THIS could happen within YOUR sphere. WOTO

“The Untouchables” (again, 1987): Written by David Mamet, scored by Ennio Morricone, starring Kevin Costner, Sean Connery, Patricia Clarkson, Robert DeNiro, Andy Garcia. How could this possibly lose? It doesn’t. Although there are a few “soapy" scenes, it is an otherwise truly great crime drama. The photography is dramatic, the sets and costuming properly period, the level of tension high, and the overall feel rich with atmosphere. WOTO

“Closely Watched Trains” (Czech, 1966): Good looking black and white photography sets the tone for what sometimes – most of the time - appears to be a “coming of age comedy” set at an obscure train station in Czechoslovakia during the Nazi occupation. Directed by Jiri Menzel. If this is any indication of the Czech vision, then it could be summed up like this: Life is full of duties and dull moments, which are occasionally brought to note by sex and/or tragedy. This film has the STRANGEST combination and proportions of humor or wit mixed with dark moments I think I’ve ever seen. Jim Jarmusch – arriving much later to the film world - comes to mind as a directorial comparison. WOTO

“Fox and His Friends” (German, 1975): The story is not unusual. A loose knit bunch of con men take one man for all he’s worth. The difference is THIS story, by Werner Fassbinder, is set entirely in the world of gay men. There are your whores, your vultures, and your pigeons. That’s about it. Think “My Fair Lady” (!) submissively hidden underneath “Midnight Cowboy”, and run through the even darker vision of a GERMAN artist. NOT a pretty picture…but it is very well done. “Fox and His Friends” is methodically set up, and the “writing” is on the wall from the start (it does NOT have a twisty-turny plot or a “surprise” ending). WOTO

“Zoolander" (again, 2001): It's as ridiculous as the Austin Powers movies, and just as funny...maybe funnier...but with different actors. Ben Stiller wrote, directed, and starred in this story of male fashion models who have, throughout history, been the brainwashed dupes committing all the international political assassinations. Far fetched? Zoolander first thought so. Well, not "thought" exactly, but was eventually convinced...sort of...I guess. Owen Wilson, Will Ferrell, Jerry Stiller, Jon Voight, and a mile long list of real stars playing real stars. Do you like break-dancing kung-fu fighters? Do you like male model "walk off" posing-competitions held at the old "Members Only" warehouse? Then you'll like this one. We watched it two nights in a row. It’s just plain funny. WOTO

“The Lower Depths” (Japanese, 1957): Directed by Akira Kurosawa, this is a black & white film adaptation of the Russian novel by Maxim Gorky (which could easily be adapted to a stage play, if it hasn’t already). Set in the worst of squalor in a single ramshackle room somewhere in Japan, we silently observe a group of diverse, lost souls who have, through their lives, lost all sense of hope, decency, restraint, empathy, or common politeness. They do little but bicker, yell, compete, lie, and ignore any real chances to improve their conditions. Think “Who’s Afraid of Virginia Wolf?” but with a larger, Japanese, ensemble cast. In the same way that “Virginia Wolf” FEELS like the all-night event it depicts, “The Lower Depths” will put you through the ringer. WOTO

“Fires on the Plain” (Japanese, 1959): Of the films made before the 1960’s, “Fires on the Plain” is one of the most graphic, dark, violent war films of all. Set in the Philippines at the Japanese front, 1945, the last remnants of defeated, stranded, lost, diseased, dying Japanese soldiers are left to their own wits. All the rituals and all rules have been thrown out. Everyone is on their own. Not only is this a powerful anti-war film, but a strong, existential look at “culture” and its thin, fragile veneer. WOTO

"Sullivan's Travels" (again 1941): Veronica Lake (one of my 40's Babe crushes) had a film career that peaked before I was even born. (It's a DISTANT crush, that's for sure.) She and Joel McCrea (whose comedic sense is not the equal of Lake), star in a pre-WWII, Depression Era story about a millionaire movie mogul who decides to make a "serious" but warm movie ("with a little sex") "in the spirit of Frank Capra" - about the hardships Americans are facing. Convinced by one of his butlers that he knows NOTHING about the real world, he decides to find a "tramp costume", and set out for the "real" America, with only a dime in his pocket. If THIS wasn't pathetically funny enough, it only gets better, thanks to Veronica Lake, and the director Preston Sturgis. I've always felt Lake did not receive enough credit for her ability to perform comedy as easily as the vampy, noir-ish, blonde. Her timing, reactions, willingness to get down and dirty (literally), etc. is top notch. Sturgis' control makes for a uniquely good looking film, with rapid fire dialog exchanges and overlaps. All THIS, and STILL a "Capra-esque" message by the end. What more could you fairly expect? WOTO IMDB

“Black & White in Color” (French, 1977): This is a witty little film about two groups of white folks (French, and German) in a tiny, dry, hot little out-of-the-way spot along the Ivory Coast of Africa. It’s 1915, they’ve pleasantly divided the African soil between them, use plenty of black “help”, and are leading the easy life of Imperialism. News always arrives late to them, and THIS time they learn there’s a WAR on between their homelands! To Arms! But…how? The film is a funny, ridiculous, sarcastic, symbolically accurate look at who wants war, who “organizes” it, how it’s maintained, and when it apparently ends. WOTO

“Jurassic Park” (again, 1993): Is there anyone who HASN’T seen this one? It’s a wonderful, almost believable sci-fi scenario, 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, lighting, music, story lines, etc., but it sure is fun to go for the ride… AND, it funds his serious work…like “Schindler’s List” and “Empire of the Sun”. So, LET there be “Jaws” and “Jurassic Park” – lawdy, even that dopey “E.T.” - there’s room for both types, and these crowd pleasers are what pay for his other efforts. THIS is the reality of big budget efforts. 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. WOTO

“Three Brothers” (Italian, 1980): An extremely melancholy movie – more like the depression of a Swedish film or the ennui of a French film, than anything typically Italian. Three estranged brothers receive word their Mother has died. Daily lives are put on hold, and each heads to the “country” for the funeral, their Father, and to reacquaint with one another in the village of their childhood. The three are shown in forgiving contrast to their Father, one of the son’s daughters, and the old family dog. Think of this movie as a trim, non-commercial, patient, personal, very thoughtful “Big Chill”. The scoring was perfectly sad and delicate throughout…you will not want to get up and dance. However, unlike a Swedish film, “Three Brothers” does slowly reveal glimmers of acceptance and hope. WOTO IMDB

“The Wages of Fear” (French, 1952): Directed by Henri-Georges Clouzot, starring Yves Montand. In a bleak, penniless village somewhere in South America, reside it’s peasants and a few Euro bums. A man comes to town. He is the eventual motivating force behind four of them being bribed to work for an oil company – driving two huge trucks full of nitroglycerin over the mountains to another camp. The dangers are immense, and this is one TENSE film! Although only 105 minutes in length, it will FEEL like four hours!! It’s a great, teeth-gritting, knuckle-whitening drama. WOTO

“The Fire Within” (French, 1963): Directed by Louis Malle, scored by Eric Satie. This is a perfect visual reason to use black and white with tons of gray. It is two days in the life of a young, popular man who has returned to his acquaintances, friends and ex-lovers, after vanishing into a program for alcoholics…a program he found comforting, and did NOT want to leave. He searches through his relationships for a reason to continue his life, whether as-is or anew…but overriding any thoughts of the future is his current state of total depression. His friends continued their lives during his absence, they continue their fast-paced, challenging repartee during his visits, and they will clearly continue after his leaving. “The Fire Within” is a quiet, observational film, interrupted only for conversations that seem to have substance, yet offer no solutions. It has one goal, and meets it very well. WOTO IMDB

“Grand Illusion” (again, French/German/English, 1937): Starring Eric von Stroheim, directed by Jean Renoir. This was the FIRST foreign language film to be nominated for the Best Film Oscar – and deservedly so. Set during WWI in German P.O.W. camps, we are shown the last vestiges of honor among enemies. The officers understand that this is their Profession, and they do what they must, yet there is mutual respect, and even trust, now that they are no longer facing one another on the battlefield. This film still rings true that war is the choice of no one (with sanity), and must be endured to an acceptable, logical completion. This was the final war of an Aristocratic Military, who left all civilians out of the conflicts as much as possible. Also presented are the changing realities for Jews, blacks, and others who were beginning to enter the world of the military as lower officers – a su