Talking Movies

April 21, 2017

Rules Don’t Apply

Warren Beatty finally releases his Howard Hughes project, and the result says more about Beatty than it does about Hughes.

Marla (Lily Collins) is an enthusiastic starlet from Virginia who has passed up a university scholarship to seek fame in the movies. She’s assigned personal chauffeurs Frank (Alden Ehrenreich) and Levar (Matthew Broderick), working alternate shifts, and attends dance and acting classes with the likes of Mamie (Haley Bennett), but, much to the chagrin of her mother Lucy (Annette Bening), is not met by Howard Hughes, and cashes paycheques while never being given her promised screen-test. But Frank is in the same boat. When they finally get to meet the eccentric recluse, their mutual attraction is already in danger of getting them both fired for immoral behaviour, if the deranged antics of Hughes; locked in conflict with TWA shareholders, Merrill Lynch money men, his CEO, and paranoid about being declared paranoid; don’t destroy their careers and/or their lives first.

One hesitates to say that Warren Beatty is so vain he made a film about himself, but the long build-up to the first appearance of Hughes, his persistent appearance in dim lighting to hide the rigours of age, the power-tripping of keeping people endlessly waiting for no reason, the constant baloney of stringing people along with projects that are never going to happen, the phone calls at all hours of day and night that must be answered, and the endless cooing to Hughes of his genius by pretty young women, all seem to speak more to the actual Beatty that emerges from Peter Biskind’s biography than to any real portrayal of Hughes. And let’s remember that Beatty; actor, co-writer, director, producer; has been working on this script since about 1980. This was, par Biskind’s narrative, to be the magnum opus.

2/5

June 2, 2011

Conspiracy Cinema at the IFI

The IFI is presenting a season of films this June playfully titled High Anxiety. As ‘filmnoia’ these are meant to encapsulate the post-Vietnam post-Watergate zeitgeist of chastened 1970s America. Invariably there is much idolatry of the faultless New Hollywood that was tragically killed off by Star Wars in this positioning, which regular readers of this blog will know I have little truck with. The truth is there are some great films here, some over-rated but good films, and by far the best film is the most defiantly Old Hollywood: The Manchurian Candidate, which is oblique in its violence, sexually charged without being sexual, and whip-smart and heart-breaking in its scripting; the kind of thing that Hitchcock might have directed on one of his darker days at the office. Let’s briefly trot thru the line-up of films in the season.

The Manchurian Candidate June 1st & 2nd @ 6:25pm
The pick of the bunch is the first out of the blocks. Catch this tonight if you can. A superb Laurence Harvey stars as Raymond Shaw, an unpopular soldier who unexpectedly returns as a war hero from the Korean War to the political machinations of his terrifying mother Angela Lansbury, a witch-hunting Senator’s wife. Frank Sinatra is his old army c/o trying to work out the mystery of just what happened in Korea that fills his men’s nightmares, and director John Frankenheimer ratchets up the tension as George Axelrod’s script satirically skewers McCarthyism while breaking your heart along the way.

Klute June 4th & 5th @ 4.50pm
Sex, lies, and audiotape. Widely regarded as the film that legitimised profanity as a hallmark of serious movies Alan J Pakula’s 1971 exercise in paranoia sees Donald Sutherland’s enigmatic small-town PI John Klute travel to the big city to investigate the possible involvement of his friend with Jane Fonda’s nervous call-girl, and her possible involvement in his mysterious disappearance. The sound design is extraordinary as ambient noise swamps the possibilities of recording the truth, and this arguably established the house-rules for all subsequent 1970s filmnoias. Keep an eye out for Roy Scheider’s ridiculous outfit in his cameo as a pimp.

The Parallax View June 6th @ 3.00pm & 7.05pm
Alan J Pakula again, this time Warren Beatty is the lead in a 1974 thriller about a journalist investigating the possibility that the powerful corporation the Parallax Organisation has been behind not only a political assassination allegedly carried out by a conveniently dead lone gunman, but the clean-up murders of all the witnesses of the assassination. The dazzling and famous highlight comes when Beatty is subjected to a test to see whether he fits the criteria for maladjusted misfit that Parallax likes to use for its lone gunmen. You know, people like say Lee Harvey Oswald, or James Earl Ray…

Chinatown June 8th @ 2.10pm & 6.30pm
If Roman Polanski’s film was just a little less self-regarding it would be a far better film noir. Jack Nicholson gives a terrific performance as the cock-sure PI suddenly out of his depth against Faye Dunaway’s ambiguous femme fatale and John Huston’s monstrous patriarch, and there are wonderful moments and lines throughout. The enormous self-importance of Robert Towne’s screenplay sinks the film from its potential heights but is unsurprising given that he reputedly told anyone who would listen that the success of the 3 hrs plus The Godfather was entirely attributable to his dialogue polish on one 3 minute scene…

The Conversation June 9th @ 6.45pm
Francis Ford Coppola’s small personal movie between The Godfather and The Godfather: Part II stars Gene Hackman as a surveillance expert who finds a simple job developing into something much more disturbing, which eventually pushes him to the very limits of his sanity. Walter Murch’s sound design is extraordinary and best appreciated on a big screen, but I’ve never thought that Coppola’s script was good at making us care about the possible murder plot Hackman stumbles upon; the physical distance his camera maintains from the camera being sadly replicated as an emotional distance maintained by the audience from the characters.

Night Moves June 12th @ 5.00pm
A staple of late-night TV schedules (TV programmers can be very easily amused sometimes) this 1975 movie sees Arthur Penn and Gene Hackman reunite for a more subdued outing than their 1967 collaboration Bonnie & Clyde. Hackman is a defeated PI who discovers his wife in adultery, but is unable to satisfactorily resolve that situation or any other case he is working on. Perhaps a lament for the lost idealism of the New Frontier in the age of Watergate, or perhaps just another deconstruction of American myths by Penn that has aged far less well than his Bonnie & Clyde.

Rollover June 18th @ 3.15pm
Yes, Alan J Pakula for a third time. He never stopped making paranoia movies, and this 1981 effort may have had the amazing good fortune to become relevant thirty years after being dismissed as pessimistic and incomprehensible, because of the second defining event of the last decade, the credit crunch. Jane Fonda stars as a company director’s widow who romances Kris Kristofferson’s financial trouble-shooter, brought in to steady the corporation, who ends up involved in an extremely risky deal with Saudi Arabia that goes belly-up in such spectacular fashion that it leads to the meltdown of the entire Western economy.

Winter Kills June 25th & 26th @2.00p
Adapted from another book by Manchurian Candidate novelist Richard Condon, this thriller stars John Huston as Not Joe Kennedy, who after 19 years is told by his son Jeff Bridges that he finally has a good lead on who really assassinated Huston’s other son, the President Not John F Kennedy. Winter Kills had an extremely troubled production, with director William Richert having one of his producers murdered, so this is a welcome chance to belatedly see Huston chewing scenery in such a ripe scenario of what could be classified alongside Inglourious Basterds as the genre of fantasy historical revenge movies.

Missing June 25th & 26th @2.50pm
Jack Lemmon and Sissy Spacek star as the father and wife of an American missing in Chile, in acclaimed Greek director Costa-Gavras’ first American film. An attack on Henry Kissinger’s brand of realpolitik, here masked by hypocritical mutterings about truth, justice, and the American Way, this vividly recreates the feel of Pinochet’s Chile; a regime enabled by CIA connivance in the overthrow of Allende’s democratically elected socialist government. There is a sense of kicking a dead donkey about this as Nixon was already out of power, but Costa-Gavras at least clothes his political points in empathetic flesh and blood characters.

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