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jromanbaker
Reviews
The Man I Love (1946)
The Great Ida Lupino
Of all the great ' emotion ' and Film Noir actors such as Bette Davis, Joan Crawford and Barbara Stanwyck Ida Lupino was in my opinion the greatest, with Davis just behind her. Why ? Again in my opinion she never seemed to ' act ' and her effortless performances as in ' The Man I love ' and ' Road House ' are not as often showed and respected in the UK as they should be. In ' The Man I love ' she had a fine director and co-actors who were up to her standard. I fantasise and think how they must have followed her lead. The story is basically simple. An emotionally and passionately independent club singer goes to visit her family over Christmas and is drawn into failing relationships. Sexual harassment and also falls in love with an emotionally crippled once well known pianist. None of the characters are one dimensional and some are recovering from traumas. Others are ' bad ' people but not as in so many films ' evil. ' I recommend this excellent Raoul Walsh film to all those who appreciate fine script writing and actors like Andrea King and Don McGuire who should be remembered for their work.
Le beau Serge (1958)
Did Chabrol realise the relationship ?
I really do not care if this great and less well known film is New Wave or Old Wave. This question bores me to tears. In my opinion it is his finest film, raw and painful to watch and set in a French town that no one would really want to live in. Even the mongrel dog walking around it looks downcast and miserable. Jean-Claude Brialy returns to it with ill health, and his repetitive asking after his old friend played by Gerard Blain shows clearly to me friendship and repressed passion. It is a fierce male love story with women half-loved and disastrously abused. Blain kills his feelings with alcohol, and Brialy with a pursuit to save Blain with every bone in his tubercular body. His only relief is in seeing his friend, and only has one brief encounter with a young confused woman who is abused. No spoilers but the cold driving snow and Brialy's hurrying to save both Blain's pregnant wife and Blain himself beats many an ending of other French films that are far more praised. I dare to say that repressed bisexuality is at the film's distressed heart and I just wonder how much Chabrol perceived it as such. He was not a stranger to homosexuality as he openly shows in his late 1960's film ' Les Biches. ' and again in my opinion did he ever think of this film as being arguably the best ? Brialy and Blain ( a great couple on film ) joined up to make ' Les Cousins ' again showing the inner turmoil of two men and their relationship.
Tom of Finland (2017)
No Light and then too Bright
This film made me think of Ingmar Bergman on a 'Gay ' day and followed by scenes that could have come out of a clone version of the hippie musical ' Hair. ' The latter depicted in an hilariously jubilee of celebration of so-called freedom among an army of leather clad men. I am not sure there was music to it, but it felt like that as if this fetish army were the only type ( if there is one ) of gay men. A totally masculinist film except for a sister ( well acted ) in Touko Laaksonen's life. As for Touko himself I felt both appalled by the persecution he endured in Helsinki after WW2. This long stretch of film was darkly conveyed with beating ups and even a nasty reference to the gas chambers while briefly imprisoned in a German prison. Hard to watch, darkly lit this section had total and perhaps true negativity written all over it. Bergman's ' The Silence ' in a parallel world. Then things brighten up as his masturbatory drawings liven up California and all things West and the money pours in followed by the AIDS Epidemic which he is he held partly responsible for. A Near death scene is portrayed with a white rabbit on the bed for comfort, which made me want both to cry and laugh at. The sexual scenes in the film rather coy and joyless and then the final curtain of the army of liberation that had a long run of life until the 21stc rolled in. Seeing this in 2024 and late in the day I was both depressed and saddened at this limited depiction of male homosexuality. I give it a three for the depiction of the horrors of persecution mercilessly conveyed, but as for the man ' Tom ' himself I wondered how much truth there was and how much fiction.
Tennessee's Partner (1955)
As it wasn't
The come on for this film was the boast that the West was like this film. I somehow do not believe that, but this is pure Hollywood at its best and its worst. Allan Dwan has a reputation among film buffs and clearly he directs well, but the plot is mainly set in a house for girls who want to get the best out of men. Rhonda Fleming looks her beautiful self and her acting is not bad either. Gamblers congregate there including John Payne who doesn't seem to like women very much in this role. His partner is someone who got him out of a dodgy situation, and that is Ronald Reagan who in my opinion cannot really act. Coleen Gray is bland as Reagan's love interest, and of course she is no good. This foursome play out the fantasy of the West and no doubt many lapped it up. A film for those who want to see glamour and a little violence and no one has a speck of dirt on them.
I Remember Mama (1948)
A Dull Plodding Film
I can perhaps understand why this film has such high ratings, but in my opinion it is a miserable experience to watch. This was perhaps due to George Steven's claustrophobic direction stretching the semi-poor Norwegian family's life in San Francisco in such a long drawn out way. Barbara Bel Geddes as one of the daughters, and a writer looking back is not given much scope to develop, and Irene Dunne gives a too tight a performance, accentuated by the heavy clothes she has to wear. Oscar Homolka tries to add humour as an uncle and his big scene looking after one of the family's daughters in hospital and teaching her swear words to combat physical pain was probably meant to be funny but falls flat, Sentimentality hovers over the whole film like a sickening cloud, and depresses more than cheers you up. I give it a 3 because it obviously touched some audiences in 1948 and to be generous it attempts to depict deprivation and a struggle for survival. I rarely respond to George Steven's films, and Irene Dunne is an actor I respond to even less so this did not help, and woefully the young actor who played the son of the family was given little chance to develop and again in my opinion he had more life in him than the rest of the actors put together.
Gone with the Wind (1939)
A Great Film ?
It has taken decades for me to see this film, but I feel that even now in 2024 it still has a lot to say. Is it the great film that everyone wanted to see in the 20thc and how exactly did they see it ? I have just seen it twice over two nights and in my opinion it is one of the finest anti-war films ever made, especially in the first half with the aftermath of Gettysburg and the destruction of Atlanta. Perhaps negotiations between North and South could have avoided the massacre of so many men, vividly shown in the Atlanta hospital scenes. Without battle scenes we see the cruelty of badly equipped doctors with no medical means to help the dying and wounded. And Vivien Leigh ( brilliant performance ) realising the full horror. The North had the technical advantage, the South did not and also vividly shown after the Civil War the rape of the South by crude and exploitative carpetbaggers. The South gone with the wind indeed1 As for the making of this film three directors had a hand in it, George Cukor, Victor Fleming and Sam Wood. Cukor in my opinion should have been allowed to continue filming but thanks to a troubled Clark Gable did not. Also in my opinion this film is no love story but shows in the second part a microcosm of battling emotions and the war between Scarlett and Rhett Butler leading to a bitter end. Scarlett loves Ashley Wilkes played weakly by Leslie Howard, who loves her in return but marries Melanie played well by Olivia de Havilland. A quartet of infidelity and recriminations murders any trace of remaining affections, culminating in the death of a child. This is not a romantic film, and almost Strindbergian in its emotional violence. A film that I feel needs repeated viewings and seen in its total uncut version. To sum up I think it is almost a great film created under pressure and hostile feelings among its makers.
The Quiet Man (1952)
Ruined by its Ending
No spoilers as to the ending, and only to say that it ruined a film of nostalgic ( if false ) charm. Set in an Ireland of American fantasy and directed by John Ford I found I responded to his direction and I have to admit that this seldom happens watching his body of work. Maureen O'Hara is good, and John Wayne shows a certain vulnerability and tenderness; the first towards O'Hara ( despite the forcing her and dragging her across fields and throwing her literally towards another man ) and the second showing visible guilt over what he has done to a man in the boxing ring. Most of the film is quiet and Ford filmed this fictitious Ireland with a great deal of visual beauty aided by excellent Technicolour. I am not a fan of either Ford or Wayne but by the last reel I had to resist giving it a 7 and with a certain regret gave it a 3.
Lark Rise to Candleford (2008)
Late in the Day
It has taken me years to see all forty episodes of ' Lark Rise to Candleford ' and now after a steady binge of seeing them I think they represent the BBC at its very best, and while watching them I put Flora Thompson's great book out of my mind. The sets for both Lark Rise and Candleford and the creation of the Post Office with Julia Sawalha running it will forever remain in my mind. In such a short review I will focus on that and the way all the characters seemed to make their entrances and exits there. The two sisters with their pretentions and gossip and their lapses into French while running a clothes shop cheered me up, and so did the two young male rivals for the love of Laura who worked alongside Dorcas. Good acting by everyone in the cast and sometimes the camera took us into the evocative countryside and I wanted to pause as if looking at fine Victorian paintings. My only criticism is that a few episodes near the end were not in my opinion up to the rest, but that is a minor gripe for a truly landmark work of television filming. I know I shall revisit both Lark Rise and Candleford again, just to see the characters again and re-enter their world.
Dangerous When Wet (1953)
What's not to like ?
In my opinion this is is the best of Esther William's ' swimming films ' and she has a great cast with her. Fernando Lamas is her love interest, and Jack Carson is fun to watch as her swimming coach who gets her to swim cross the English Channel. Charlotte Greenwood plays her mother and she is, as always, perfect in her timing and her wit. And to top all this a very original Tom and Jerry Cartoon which almost steals the whole film. There is even an amorous octopus in it. No more spoilers except to say that Esther Williams has great chemistry with Fernando Lamas and the film is sexy with its revealing male and female swimsuits. A film I instantly fell in love with and should be shown on UK television channels and give Esther Williams a season of her films with it. She is a tonic that we sorely need.
Designing Woman (1957)
Where's the Plot ?
I cannot give away any spoilers as I could not really find the plot. I don't expect it from say Antonioni and even then I found some, but in this Hollywood comedy I sat back and watched the glorious framing of images, and Minnelli was a designing director to the core. Even the theme music and the opening credits are top drawer, and I could watch that part over and over again. A relaxing film even when Gregory Peck sits at a table and has a hot meal thrown into his groin. No sound from his polite face and of course laughter from the audience is expected. He is also married to Lauren Bacall but the chemistry between them seemed thin; more friends than lovers. Bacall looks her best and her costumes stunning and if memory serves me right she is shocked at ' violence ' at a Boxing match. To sum up I cannot fault the visuals and there is a dance sequence with Dolores Gray that despite the predictable choreography kept me wide awake. Two hours of pointless entertainment, but it is as polished as first class fingernails.
The Three Musketeers (1948)
Almost a half good film
I found this film deeply pessimistic and made during the Post-War 2 period it is in some ways understandable. I Liked the first half as it showed itself to be a fun version of the Alexandre Dumas novel, and Gene Kelly as D'Artagnan set the comedy tone, and despite the gloom of Van Heflin as one of the other musketeers fighting for the King of France in the 17th c I went along with it. Technicolour excellent, superb camerawork and fine sets added to the pleasure. Lana Turner played a bad woman but that could have been lightly treated. June Allyson great to see and enjoy and all the cast presumably enjoyed themselves. My problem came round at the almost half way point when the violence accelerated and the incarceration in prison for Lana Turner along with June Allyson as her goaler. No spoilers but murder and execution follows, and although half shown it was in my opinion cruel. The worst kind of violence on screen for me are the hints of it, like a bloodied hand or an executioner's axe and the slow path to execution. Women are the main victims here and given the track record of women executed in films most of the time to please an audience fills me with disgust. The men suffer as well, but as men portrayed in an ' entertaining ' film they seem to shed a crocodile tear and march forward as our much loved Musketeers do. If you have a tolerance towards this all well and good, and the film will cease to be half way fun and half way despairing. Summing up I do not think it is suitable for children or overly sensitive adults, and on its 1948 release it was given a ' U ' certificate for all.
The Cakemaker (2017)
Contrived, but well acted
I liked this film in so many ways, but at the same time found it contrived and an old fashioned film comparable to the heyday of Hollywood tear jerkers. The acting extremely good, and the conflict still with Germany's past and Israel now quite possibly believable. The story is over complex and long drawn out. A Jewish man meets a German man in Berlin in the German's cafeteria. Love develops over a Black Forest cake and after a few months the relationship ends as the Jewish man rather conveniently dies in a car accident. End of Gay loving and in my opinion implausibly the German goes to Israel and coincidently the bereaved wife also has a cafeteria and the German settles in and works for her. Then in true Hollywood fashion an unlikely passion develops between the German and the dead man's wife. End of spoilers except to say that the ending is whatever you think it might be. That said the acting is excellent and the film is very quiet and easy to watch and the music could have been made for a Douglas Sirk weepie. To me this was all that heaven allows indeed.
The Dinner (2017)
Time Will Tell
Oren Moverman has directed one of the finest films that has come out of Hollywood in recent years. This is my opinion and I hope time will tell for it to be seen for what it is, an adaptation made in the USA of a Dutch novel, and appropriately it is set in the USA. The terrible crime that is committed during the film could take place anywhere and no spoilers but it is utterly appalling. Richard Gere, Steve Coogan, Rebecca Hall and Laura Linney ( in one her best roles ) set up a dinner of extreme luxury, which is in itself an emblem of their wealth, to discuss the killers who happen to be their respective children. Flashbacks of past experiences are shown so as to flesh out their characters more fully and both are again I believe essential, one at a memorial to the battle of Gettysburg and the other in a classroom where Steve Coogan rages at the loss of lives, and also at the loss of history that creates so many deaths. For these telling scenes alone the film is extraordinary and imaginatively filmed. The open ending is debatable but it worked for me, as it can only show that the reasons for the crime will never go away in our society as it stands, and the chaos of this ending is thrown back at the audience like a mirror. I will watch it many times and already it is among my most treasured films. I thank the director and the brilliant cast and their acting for their commitment to this film.
Macabre (1958)
Film Noir Horror
The gruesome premise of this atmospheric and well made film is not all that it seems to be, and there is a lot of black humour which adds to the brew. No spoilers but it is very enjoyable to watch, and the acting is good. Jim Bachus stands out because of his voice, and this too adds to the cruel joke of the whole plot. It is short and there are no inessential scenes and William Castle is in my opinion a good director and this film made his name as he sold it so well to his audiences with gimmicks that no one would fall for now, The funeral at night in the falling rain with the screen full of black umbrellas is a highlight scene and so is the final revelation at the end which I did not see coming, The credits at the end in my opinion are more explicitly horrific than the action scenes. I was surprised that children could see it in the USA as in the UK it had an X certificate for adults only. Basically it is a mystery film with Film Noir black and white photography. I recommend it and some scenes can still disturb sensitive viewers,
Hair (1979)
Awful
This in my opinion is a truly awful film, and pales before the original musical that i saw in London at the same time as I saw the original production of ' The Boys in the Band. ' Both were fresh as paint and totally fresh, and both failed on the screen. In this film John Savage and Treat Williams do their best, and recently I watched Savage give a brilliant performance in Konchalovsky's ' Maria's Lovers, ' but here he looks as if he wonders why he is in the film. Unlike the nudity and rawness of the musical, which had a lot of sexual diversity this Milos Forman mistake gives us coy choreography, interiors of homes to backup rather banal ' stories ' and safely avoids the sight of a penis. It was also made far too late when the 70's were preparing for the pandemic years of the 1980's. In truth he did not know this, but there is a staleness of sexual revolution about the film which again in my opinion shows. The one credit is letting black actors have a few scenes and words, but dare I say it this is a travesty of a vibrant stage musical, unilike any other musical before it. An utter dud.
Fata Morgana (1971)
Too Distanced For Me
This film can be seen on YouTube, but had subtitles I barely understood, so clearly I missed perhaps the intention of making this film. What I saw was a country impoverished and the first part shows a lot of desert and detritus to be found in it. As we go forward people appear, but there was the same distanced feel from who they were exactly and what was the political situation they were in. We are all victors or victims of our society but Herzog in my opinion shows little interest here in the perhaps conflicted world they live in. As a director I have seen his most famous films and hallucinations abound in them, and of course Klaus Kinski added to this vision. It is not my view of the world, but I respect him as a director. And to be honest the only film of his I have enjoyed is ' Nosferatu ' which I found deliriously funny. But not a patch on Murnau's film which filled me with serious dread.
Les chansons d'amour (2007)
Bi or Gay ?
I loved this film back in the so-called ' innocent ' days of the first years of this century. I bought the ending with its clear gay message and I believed in it, and no doubt the audiences of the time watched in dismay seeing Louis Garrel and Gregoire Leprince Ringuet kissing passionately and sort of naked in bed together. With the charming songs it became successful, but the poster portayed a totally straight film with a man and two women. I cannot kind of forgive this marketing but was France ready for such a film that was supposedly a 21stc ' The Umbrellas of Cherbourg ' ? It seems it did, and the heterosexual first two parts of the film ( a weepie this ) dominated. Nothing more tragic than an unhappy ending to a straight threesome ( man and two women. ) I also on second viewing did not believe in the passion between Garrel and Ringuet. The acting passable, and only the song between the two on a Paris rooftop still moves me now- and yet although I give it a deserved 8 out of 10 I needed to step back and watch it with older eyes.
Guermantes (2021)
An Absolute Masterpiece
In the UK this film is to my knowledge unknown, or avoided. It is a hymn to life during the appalling pandemic that hit the world in 2020. This film shows how a group pf actors who practically live in the theatre where they are rehearing ' Guermantes ' a play based on part of Marcel Proust's ' In Search of Lost Time. ' During two hours and twenty minutes we see them rehearse, relax, sleep and love each other despite the fact that the play could not be put on due to lockdown. Their devotion to each other is incredible to watch, and there is a scene where an elderly woman is dying in bed which surpassed for me a similar scene in Ingmar Bergman's ' Cries and Whispers.' Both homosexuality and heterosexuality intermingle as they should in ' real ' life and at one point there is an astute comparison with the pandemic of the 1980's where so many died of another world wide pandemic. There are scenes of a semi-deserted Paris that for me was heart breaking to see. I urgently feel that this film deserves the distribution it should have beyond the confines of France and perhaps other countries with less indifference to Christophe Honore's work and arguably his most committed film.
Triangle of Sadness (2022)
Maybe I don't get it
Maybe I don't get this film, or exactly what it is trying to convey. First it is divided into three parts, and for me the first was the best and I found it witty and accurate in its dialogue, and very well acted by a sparring couple ( comparable to many 1930's comedies; an awful lot can happen in a lift!!. ) The lift is there and the late Charlbi Dean and Harris Dickinson know exactly how to use it. The two would be lovers squabble over money and a thirties title came to mind, ' The Rich Are Always With Us. ' Wit could have carried this film through, but in the second part with a luxury yacht at sea and the very rich on it ending up in a communal vomit bath and a grenade bomb it lost in my opinion its way. For those who have giddy or panic attacks avoid!! The third is set on an island where a woman called Abigail, who was the toilet cleaner on the ship takes on forcibly the role of captain. No spoilers but this seemed to me very heavily played out to a conclusion that left me baffled. Did this film really deserve the highest award at the 2022 Cannes Film Festival ? I was disappointed by ' Force Majeure ' and I have not seen as yet ' The Square. ' Ruben Ostland is in my opinion great as a director, but so far that I have seen in a very fragmented way. Perhaps ' The Square ' will make me change my mind.
Sweet Bird of Youth (1989)
Roeg not at his best
Nicolas Roeg, the director of this film made several very fine films and ' Bad Timing ' is a masterpiece. Given the chance to direct it for television he does not quite succeed with Tennessee Williams fine play ' Sweet Bird of Youth. ' A previous film was made with Geraldine Page and Paul Newman. Page was excellent and Newman less so and the ending was deeply compromised. To Roeg's credit he gives a brilliant ending and the surgical instruments and the scream behind the door does the filmed play justice. Mark Harmon is arguably better in the role of the expensive gigolo ( that's what they were called back then!! ) than Paul Newman; more handsomely jaded and convincing. And in my opinion I could see his conflict between selling his body and the passionate romance within him for a lost love. Rip Torn is also excellent as the corrupt politician whose daughter is ' soiled ' by her previous contact with Harmon's Chance Wayne. As for Elizabeth Taylor as Alexandra del Lago, who is on the run from screen stardom she does it her way, less over the top than Page but for me utterly successful in her interpretation. Sadly with all this acting talent Nicolas Roeg allows various drafts of the play instead of the final version, and lessens the outstanding dialogue considerably. As I said only the ending really hits the spot, and in my opinion his use of overlaid music is terrible and the camera does nothing particularly interesting. I have no idea why he wanted to direct William's drama. I do not think he was in tune with it, but the actors were and they deserved better. Once again Elizabeth Taylor proved what a great actor she was when given the opportunity to shine, even in the hands of a director who half way fails in the project.
The Blue Lamp (1950)
Someone wot gets hung.
A little girl after a murder ( no spoilers ) is asked what a murderer means her reply is ' someone wot gets hung ' and in my opinion this is presented as pure manipulation to the audience for that to happen. This film is grossly manipulative and despite its patronising dialogue of poor people in the 1950's it is I feel full of stereotypes. Dirk Bogarde plays the murderer and Jack Warner is the policeman he kills in a state of panic. The area, now mainly torn down and ' renovated ' in West London is finely conveyed and the best part of the film. When the film is not sentimental about poverty it seems to me to convey that the poor should always be under supervision. A dated film that has a few comic moments due to the late Dora Bryan. There is a scene with Bogarde's seventeen year old girlfriend is extremely violent and unpleasant, and there is absolutely no compassion in the film for her downward spiral into criminality. Tessie O'Shea sings for those old enough to remember her. She cheered me up along with Dora Bryan.
Marcia trionfale (1976)
Not Involving
From the director who made one of the finest of Italian films, ' Fists in the Pocket ' I found this mid-1970's film uninvolving. It starts with a long sequence of a young soldier being bullied to the state of exhaustion, and the same soldier continues getting bullied. As a condemnation of the military it is arguably well observed, and it is always good to see Franco Nero performing well as one of the army leaders. His growling, handsome face is always good to watch and he is the stand out performance in this ( for me ) rather uninvolving film of repeated macho bad behaviour. Women too in this film are equally abused so it is not only one sided. One particular heterosexual sex scene I found unpleasant, and sometimes I sensed a repressed homosexuality but so vague as to be negligible. No spoilers to the ending, but I had by that time become rather bored with the collective and in the main bullying straight men enjoying their power.
Knock on Any Door (1949)
Do not believe the lie
In some quarters this film is considered dated, but after just seeing it I saw how relevant it is and perhaps always will be. It also has two of the major forces in the whole of cinema, Nicholas Ray the director and Humphrey Bogart the actor. Ray was concerned a lot by the turmoil of youth, and ' A Rebel Without A Cause ' proves that. That film can never be topped, but this heart breaking film comes close. Without the distraction of colour he shows how a youth is put on trial for murder, and it is in the penultimate scene where Bogart pleads for mercy for the youth, showing that society as it was then, and arguably is now, collectively responsible for the way we live, and puts a judgement on certain courts of law. John Derek, who is the youth on trial was never better and his courage at the climax of the film where he combs back his hair before facing a blaze of light is one of the most moving gestures on screen. A drama that exceeds itself and becomes a great indictment and a great film.
The Fast Lady (1962)
Awful
This has to be one of the worst films I have seen recently. And Stanley Baxter as a clumsy Scot is almost unbearable to watch. As one reviewer said it is a transitional film from the 1950's to the Carry On films that dominated crude comedy for years. Baxter falls in love with a green car called ' The Fast Lady ' which as a come-on in itself would have drawn the audience in. He also falls for Julie Christie and unbelievably she falls for him, despite James Robertson Justice as her ever irritable father objecting. He is in my opinion the best actor in the film, cool in his humour and makes the poor dialogue believable. I would like to generous but I cannot find the words to be so.
L'enfer (2005)
Coincidence or Destiny ?
Having watched this dreary film I sadly fell on the side of coincidence. Jacques Perrin ( saddened by his death in 2022 ) asks this question in a class full of students. Destiny gives meaning, coincidence does not. The opening shows that, in my opinion, where the urge to live from newly born birds is accidental. Many eggs fall to their oblivion, while a pushy one survives. No spoilers about the ' story ' of this film, and only to say that the various people in it make endless useless telephone calls, and walk out on each other without so much as a goodbye, or maybe I missed some better means of communication. I found the three sisters involved in this circus of lack of meaning boring to watch, as the film is covered in a darkly coloured oppressive gloom. Everyone in the scenario is well off enough living in Paris and I found no excuses for their inward looking selves. Carole Bouquet excels as a mute mother, but her beauty is dismissed by giving her a permanent scowl, white hair that looked like a wig and a passion for listening to stories about cannibalism and how long you can live without a head - the latter being a chicken. To sum up this film is negative to the point of boredom and in my opinion dourly directed. Since it was made in 2005 the world has moved on to an outer hell of the world being engulfed in killings and wars that should have given us all a deeper sense of being in hell.