Thursday, April 28, 2016
THE LADY EVE and SULLIVAN’S TRAVELS are the two which are most enshrined by now. I have little problem with this. One of them I’ve even written about and there’s no reason why I shouldn’t get around to the other eventually. But certain things mean more to you as time goes on for reasons you only partly understand and I’ve reached the point that, maybe against popular opinion, HAIL THE CONQUERING HERO might very well be my favorite. I’m not saying it’s the best. I’m not saying I’m right. Even considering this over the combo of Fonda & Stanwyck in THE LADY EVE probably reveals just how screwy I am. But Quentin Tarantino has said that his favorite Sturges is either this one or the later UNFAITHFULLY YOURS so I’ve got him on my side at the very least. Though it wasn’t intended to be, HAIL was the last film made during his Paramount run so it feels like the culmination of all of his themes that had been building up until then. A main character pretending to be what he isn’t, the snowballing nature of the plot as it spins downhill, the incessant use of his mellifluous display of language (“He likes those big words,” to steal some dialogue), the manic portrayal of his many beloved character actors in the frame reaching a sort of crescendo here as if he’s trying to cram more of them into the shot than ever before. At the very least, the recent screening at Tarantino’s New Beverly Cinema paired with the unknown Eddie Bracken-Veronica Lake vehicle HOLD THAT BLONDE (never released on video, but pretty good) was a chance to remember why I feel this way about it in the first place and confirm that it does warrant such a defense, even if it may never be the most canonized of his filmography. Bruce Goldstein and told him how much it, and a similar Billy Wilder retro the following year, had meant to me. He looked taken aback for a moment and then asked, “Why haven’t you been back since?” Well, I have been but eventually I moved out to L.A., what can I tell you. But I’m still grateful and still try to revisit these films every now and then. Come to think of it, there is a study to be made in how Sturges approached the conceit of charade in his films compared with Wilder. But that’s for another time. HAIL THE CONQUERING HERO may not be THE LADY EVE or SULLIVAN’S TRAVELS and the wartime setting does date it, after all. It still just makes me feel good like few other films in how it almost displays the pinnacle of the world as viewed by Preston Sturges but I also find it touching in ways that I can only partly understand. The final image goes back to an earlier plot point that almost seemed minor but turns out to be what the story was headed for all along, as if to explain the off-kilter grin on “Hinky Dinky” Truesmith’s portrait in the first place. A reminder of how sons try to live up to the enigma their fathers always will be. The past, after all, holds the secrets of the future. Life proceeds as it was always meant to.
Tuesday, April 19, 2016
BLUME IN LOVE (the second film in that opening night double at the New Beverly—Donald F. Muhich appears again, basically playing the same therapist, which made the pairing even more ideal) Mazursky went deeper making a darker look at infidelity and that film dangles on a tightrope like few others do but BOB & CAROL with its 60s sense of hope and optimism still felt in every scene comes together beautifully. There are no missing parts, each of the characters get their say and the realization they all silently come to at the end feels natural for them to stay who they are.
Thursday, March 31, 2016
Blu-ray that came out in 2015 (as did De Jarnatt’s previous film CHERRY 2000) reigniting some of the thoughts I’ve had about it over the years. The question I asked that night had to do with the oddness of the opening narration, including a brief opening shot which gives the presumably mistaken impression the whole thing might be a flashback. De Jarnatt acted a little sheepish about this issue, saying he’d fix some things in the first ten minutes if he could and to be honest I always felt kind of bad for bringing this up, even apologizing to him for it years later via Facebook. He said that wasn’t necessary although on the Blu-ray commentary he brings up the possibility how that opening shot, which if you’ve seen it you know couldn’t possibly take place during the body of the film, could be a sort of out maybe allowing for the possibility that the whole film is a dream or other unexplained scenario. I like this answer. Much of the film has a dreamlike logic anyway and looking at it that way opens up the possibilities of what it all means, what MIRACLE MILE can ultimately be in the back of your own mind. Enough of Los Angeles is like a dream anyway and if you find yourself out on the streets between 3 and 6 AM when everything outside your car window looks like outtakes from THE OMEGA MAN you can believe this. Besides, no one ever said a single thing in life was ever going to make sense.
Monday, March 14, 2016
read it again to see if he was right--and that imagined encouragement helped me finish it a few days later.
Tuesday, December 29, 2015
I BLAME DENNIS HOPPER and it’s only one of the many stories she has to tell. She writes about the challenge of working with Robert De Niro on the remake of CAPE FEAR, going days without eating while filming ALIVE and the freedom Gus Van Sant gave her during the making of TO DIE FOR. But she also talks about her childhood, the background of which explains the book’s title, along with her early days of discovering movies at the drive-in as well as deeply affecting recollections of her relationship with grandfather Melvyn Douglas including her formative experience visiting him on the set of his late-career triumph in Hal Ashby’s BEING THERE, the film that won him his second Oscar, where she also had a memorable encounter with the film's star Peter Sellers. This turned about to be one of only several meaningful and often fortuitous brushes with legendary figures in her life that she details including an unfortunate phone call with Billy Wilder (who at another point she correctly refers to as God), a lasting friendship with Roddy McDowall and an unexpected run-in with a presumably hungover Lee Marvin on a New York sidewalk early one morning. She also discusses her own passion for movies and why they mean so much to her, how that connection helped transform her into who she ultimately became and it’s a beautiful, funny, inspiring read, one of the best such books in a very long time. It’s a must for anyone who loves films and a reminder of why they can mean so much as we watch them so obsessively. Her book is a connection to GRACE OF MY HEART as well, it deepens how much the film clearly meant to those who made it, a film in which you can feel the undeniable yearning of its lead character just as you can feel the yearning of Illeana Douglas in the stories she tells about her own life. “I don’t have a song in me,” declares the lead character she plays in the film at a crucial stage, just before writing the ultimate song within her. Sometimes the very thought that we don’t have any songs left in us is the most frightening thing of all. I BLAME DENNIS HOPPER, Illeana Douglas writes about how GRACE OF MY HEART has endured in some unexplainable way, that people have taken it to heart no doubt because they see something of themselves in her journey. It’s a reminder of the things you need to strive for, that you can’t let them just fade away as the years go on no matter what happens. You need to hang onto that as much as possible if it’s what you feel deep down. And you still need to find out who you are, what your life is and whether or not you can find the strength, as well as the grace, to move on in this world.