Shirley Has Left Us

Actress Cindy Williams has passed at 75. Her lengthy career in TV and films included The Conversation and the breakout hit, American Graffiti.  She became a nationwide sensation with Penny Marshall in the comedy series Laverne and Shirley, a spinoff from the hit, Happy Days. Her character Shirley Feeney was originally a blind date for Richie Cunningham (Ron Howard) in a memorable episode that led to Laverne and Shirley. At one time it became the most popular show on prime time. Its chemistry echoed the best of Lucy and Ethel on I Love Lucy.

I met Cindy at The MidAtlantic Nostalgia Convention several years ago, and she couldn't have been sweeter. (It was also cool to see her show some love for another celebrity, Erik Estrada from CHIPS!)  She was a TV icon.

ALL QUIET ON THE WESTERN FRONT and Its Antiwar Message

The first German version of the anti-war novel, All Quiet on the Western Front, (previously filmed in 1930 to Oscar glory and an excellent 1979 TV movie,) as co-written and directed by Edward Berger, is an outstanding work of cinema.

Amid World War I in 1917 France, young, enthusiastic German soldiers are sent to frontline trenches and bloody fighting.  Paul Bäumer (Felix Kammerer) and his buddies are quickly disillusioned by the grim realities of warfare where soldiers are dying en masse, fodder in a hopeless war.  The months roll by, and then German emissaries desperately attempt to reach an armistice to avoid countless more casualties.  As the conflict is ending and new recruits arrive, Paul and his remaining comrades desperately struggle to survive the remaining moments of the war.  

There are powerful visuals and effective use of sound with remarkable contrasts between intense combat and the subsequent stillness and silence.  The impressively choreographed, battle scenes heighten in scale with tanks and planes, and yet the most effective moments are horrifying and traumatic during close quarters and hand-to-hand fighting.  Filled with painful ironies, the film makes a point to depict what it is like to kill another person and to see a comrade fall.  It attempts to show how Paul and his friends struggle to survive harrowing conditions yet maintain a shred of humanity.  

Though the narrative in this version deviates somewhat from previous versions (especially with its diplomatic subplot), this is an impressive achievement of adapting familiar material for a new audience.  It also shares its DNA with Paths of Glory with the class contrasts and the vanity of military leadership. As one of only a handful of truly great films on WWI, it is in rarified company.

**** of **** stars     Netflix

TRIANGLE OF SADNESS and its Quirky Tale of Class Dynamics

 

In Triangle of Sadness, writer/director Ruben Östlund tells an offbeat tale of class contrast that is an interesting take on human behavior amid change.

Divided into three parts, the story introduces a young couple, Carl and Yaya, on a luxury cruise aboard a deluxe yacht populated with eclectic personalities and wealthy business types all of whom are pampered by a dutiful crew led by a reclusive, eccentric captain (Woody Harrelson).  Among the topics of dinner conversation are philosophy, Capitalism, Communism, and Marxism even as buffeting rough seas become the ultimate test of intestinal fortitude.  When the boat wanders into dangerous waters, it results in a shipwrecked group of survivors who must learn to coexist and survive with whatever makeshift hierarchy is needed.

The pieces are there for a potentially great story, but viewer reaction may vary with how they are assembled (with its deliberately truncated ending).  A couple of minor scenes go nowhere in this unconventional narrative that mixes characters and the dinner from Hell. It has a slight feel of The Gods Must Be Crazy and recalls Swept Away.  There are characters we get to know and others who make brief appearances while minor characters are suddenly thrust into the spotlight. It’s a study of contrasts between not just the passengers and the staff, but the staff and the cleaning workers. It’s also a tale of observing protocol and subsequently breaking those rules when faced with extreme adversity.

Some of the visuals are outrageous, perhaps excessively so; think of Monty Python’s Meaning of Life. The film generates some humorous moments, as it attempts to walk a fine line between satire and drama.  One thing is sure; you may never think of a cruise the same way again. 

*** of **** stars    Amazon Prime

La Lollo Is Gone

Italian film actress and sex symbol Gina Lollobrigida has passed at 95. She was at her peak of worldwide popularity in the 1950s and 1960s with such films as Beat the Devil, Trapeze, and Buena Sera Mrs Campbell (which served as the main plot of Mamma Mia many years later.) She was courted agressively by billionaire Howard Hughes. She co-starred with the top male superstars of the day including Burt Lancaster, Frank Sinatra, Errol Flynn, Humphrey Bogart, Rock Hudson, and Sean Connery. (She co-starred in Solomon and Sheba with Tyrone Power when he died suddenly and was replaced with Yul Brynner.)

Here is a related story when I was a young boy. My mom would shop the DC department stores when they were the classy retail giants, and she ran into Gina in Garfinckels in the women's lounge and got her autograph (below). I still have it after more than 50 years!

 

Culture War in WOMEN TALKING

 

Based on a true story, Women Talking is an allegorical tale of abuse brought to emotional angst by writer/director Sarah Polley and a great cast.

In a remote, Mennonite settlement where the way of life is devoid of modern technology and conveniences, girls are repeatedly victims of sexual assault by the village men amid a culture of male domination where only the boys receive schooling and grow up to perpetuate this vicious cycle of violence.  With no prospect of change, many of the women (including Rooney Mara, Claire Foy, Jessie Buckley, and Frances McDormand), who suffer from anxiety, anger, and depression, band together to discuss their options. In their world where ‘what they think does not matter’, and knowing any dissent could result in being banished from the settlement, their desperation gives way to a courageous plan.  Can they find a way out of their hopelessness and forge a better life for themselves and their children?

This is a great ensemble of actresses (while Ben Whishaw has a significant role as a trustworthy male), and though the film almost feels like a stage production primarily set in a barn, Polley makes this a cinematic journey with effective use of cinematography, music and editing. What is remarkable is how simple lines of dialogue coalesce into unexpectedly powerful moments, and you will have an appreciation for these brave women who risk everything. The film explores each woman’s personal reasons to leave or stay while guided by specific tenets including- to protect their children (especially the girls), being true to their religious faith, and having the right to free thinking.

It’s a minimalist story, but by the end, the emotional payoff is affecting and resonates, (potentially triggering a trauma response for the audience).  It’s an important film with far-reaching implications for humanity. 

  **** of **** stars

Cinematographer Extraordinaire

Cinematographer Owen Roizman has passed at 86. You may not know his name, but you know the films he shot. They were among the best of the 1970s and 1980s including The French Connection, The Exorcist, Three Days of the Condor, Network, and Tootsie. He lensed Taps, Absence of Malice, and the original films of The Stepford Wives and The Heartbreak Kid. He was nominated for five Oscars and was respected among his peers with a lifetime award with the ASC (American Society of Cinematographers).

The Extraordinary Life of ELVIS

Elvis is an entertaining biopic centering on the complicated relationship between Elvis Presley and his manager.  It’s an ambitious film enhanced by the visual dazzle of director/cowriter Baz Luhrmann (Moulin Rouge).

Colonel Tom Parker (Tom Hanks), a music promoter with a mysterious background, muses on his long tenure managing the career of Elvis Presley (Austin Butler).  Starting in 1955, Elvis is a young boy curious about blues houses and black gospel music. Years later, Parker hears about Elvis’ popularity as a singer in the Deep South and seeks him out as his meal ticket. Soon, Elvis rockets to fame with his voice and gyrations which cause a sensation among the teenaged girls and runs afoul of religious groups.  Under Parker’s foresight and guidance, Elvis’ career expands to films and the new medium of television, and he becomes a sensation with stage performances in Las Vegas. However, the innumerable concerts take a toll on his marriage and physical health even as he clashes with his exploitive manager.

Butler, in a star making role, commands the screen throughout the film, while Hanks is astonishing as the villainous, controlling Parker, part con artist, confidant, and manipulator who extracted whatever could be profited (including merchandising).

The film, amid a background of news headlines, gives some startling reminders that Elvis was the highest paid entertainer in history, and his concert attracted an all-time satellite TV audience.  The film also offers insight into his personal life including his controversial military service and touches on black musical influences like B.B. King.

Luhrmann shows his love for this subject with imaginative direction frequently employing fluid camerawork, split screens, and rapid edits that jump back and forth in time. It’s engrossing and a cut above most musical biographies with its strong performances.

**** of **** stars (for Elvis fans)    on HBO Max

GLASS ONION: A KNIVES OUT MYSTERY Is a Fun Whodunit

 

Glass Onion is an enjoyable mystery with twists and turns to savor as writer/director Rian Johnson orchestrates his follow-up to Knives Out in fine fashion.

Billionaire Miles Bron (Edward Norton) invites old friends (including Dave Bautista, Kate Hudson, Leslie Odon, Jr, and Kathryn Hahn) to his island paradise for a murder mystery game. As the guests converge with surprise additions including legendary detective Benoit Blanc (Daniel Craig), each person has a secret, and the group’s past comes back to haunt them with extremely high stakes.  It turns out Miles’ plans and machinations are part of a bigger scheme, and not everything is as it seems.  Old grudges, betrayals, and jealousies emerge, but are they motive enough to commit murder?

With cameos and Easter Eggs augmenting snappy, amusing dialogue, the audience needs to stay on its toes to keep up with a dizzying script (that belies Johnson’s love of classic mysteries) filled with surprises and misdirects to confound even the best detectives. Expect the unexpected; you may think you can guess the murder plot, but you would be wrong.  Of course, the climactic narrative is replayed with eye opening revelations. 

Gorgeously shot in Greece with imaginative set and costume designs, the film is anchored by a delicious, musical score.  It’s nice to further explore the character of the brilliant Blanc thanks to a spot on performance by Craig.  The impeccable cast, highlighted by Janelle Monáe, is having a ball with this juicy scenario.  With this gallery of colorful characters, it’s a fun romp that compares favorably with Knives Out, and despite an over the top, apocalyptic end, this is one worthy whodunit.  The next Rian Johnson mystery can’t get here soon enough.

***1/2 of **** stars (add ½ * for Blanc fans)  on Netflix

Female Pioneer in TV Journailsm

Pioneering journalist Barbara Walters has passed at 93. Her long career began in the 1950s, and she eventually worked at all three TV networks. She became a cohost on the NBC Today Show and then coanchored the ABC Evening News which shattered a glass ceiling. Her accomplishments were not without resistance from male counterparts, but she set the gold standard of event interviews over the decades with the top stars and world leaders. Her pre-Oscar show was a staple for many years and her evening news magazine 20/20 was an institution. She helped create The View and mentored female talents. Even SNL's Gilda Radner and later (Cheri Oteri) famously parodied her as 'Baba Wawa'. She won multiple Emmy Awards and was at the top of her profession when she retired in 2014.

The Good Bad and Ugly in BABYLON

 

Babylon, writer/director Damien Chazelle’s (La La Land) personal exposé of vintage Hollywood in transition, is a celebration and damnation that will both fascinate and repulse.

At a wild Hollywood party in 1926, drugs are overflowing and sexual diversion commonplace, and movie neophytes and megastars converge in an orgy of debauchery and scandal. Among them are legendary actor, Jack Conrad (Brad Pitt), would-be starlet Nellie LaRoy (Margot Robbie), and an ambitious gofer, Manny Torres (Diego Calva).  The road to stardom is paved with power brokers and bottom feeders, and fame is fleeting.  As the years march on, careers flourish and wither as the industry undergoes major changes led by talking pictures, and lives will be changed forever.

With well written characters and sharp dialogue, the movie, part spectacle and drama, demystifies old Hollywood and touches on unsavory subjects including humiliating, racial stereotyping.  Chazelle reveals the excesses and realities of an industry of fragile egos and veers to unpleasant, creepy extremes resembling a darker version of Quentin Tarantino. 

Robbie shines as Nellie, and Pitt eclipses his Oscar-winning performance in Once Upon a Time in Hollywood.  Calva is a revelation as our point of view (like Nick Carraway in The Great Gatsby).  A strong supporting cast includes Jean Smart emulating a Louella Parsons type and Li Jun Li, a dead ringer for Anna May Wong as real Hollywood names are mixed with icons. 

It’s a fascinating tale that tries to be many things, and at over three hours would play better as a miniseries.  Production values are outstanding with cinematography (and remarkable tracking shots), costume design, and musical score as standouts. This potentially divisive film is an ambitious undertaking (with a dizzying, montage finale) that doesn’t completely work, but it’s certainly a wild ride for cinema lovers.

***1/2 of **** stars (for Chazelle fans)

Immaculate Glory

 

Hall of Fame running back Franco Harris has passed at 72. This legend of the Pittsburgh Steelers glory years of the 1970s and beyond collected 4 Super Bowl rings and career milestones rivaling Walter Payton and Jim Brown. His greatest moment came on what is called "the immaculate reception" during a playoff game. It is one of the most memorable moments ever for football fans.

Bye Bye Cecily

Long time veteran player Cecily Strong ended her role with SNL tonight. What started over the past year with the exit of several classic, talented cast members, concluded with a final skit set at a Radio Shack farewell to a beloved employee, Cecily. It was really a touching farewell as host Austin Butler sang in his Elvis voice, Blue Christmas, as the cast assembled on stage. It was a classy, emotional way to bid farewell to one of SNL's best. 

Cameron Ups the Ante in AVATAR: THE WAY OF WATER

 

Avatar: The Way of Water, writer/director James Cameron’s long awaited sequel to his sci-fi adventure, Avatar (the all-time box office champ), goes in new directions that jump starts the franchise in a big way.

Several years after the battle on Pandora between the Na’vi and the humans or ‘sky people’, Jake Sully (Sam Worthington), now a Na’vi hybrid, and his wife Neytiri (Zoe Saldaña) have a growing family.  Later, humans return from a dying Earth to Pandora for precious resources, and this time a deadly figure from the past makes a figurative return determined to get revenge on Jake.  Both Jake and Neytiri seeks refuge at a Na’vi sea colony leading to an inevitable confrontation with the humans that threatens Jake’s family and life on Pandora. 

The predominant themes about ‘family’, acceptance, and sacrifice go beyond blood and race as Jake must protect his loved ones from an obsessive adversary.  Despite its length (over three hours long) and expository start (keeping track of characters past and present can be a challenge), the tension builds to a thrilling, non-stop climax where the film soars as Cameron, a technical virtuoso, choreographs marvelous, action set pieces.  This is a fully realized, immersive universe in which all life is interconnected, and much of the narrative takes place in the water where Oscar level visual effects are a breathtaking achievement.

On IMAX and 3D, this is a phenomenal, sensory experience, and Cameron has created a generally engaging story with new twists that easily sets up another sequel.  The film (which compares favorably to the original) may feel like a marathon for some while others will be exhilarated by the sheer, world building wizardry on display.  One thing I have learned over the years: Never bet against James Cameron.  

***1/2 of ****stars (add ½* for Cameron fans)

Delicate Emotions in EMPIRE OF LIGHT

Empire of Light is a moving drama that features a romance amid turbulent times and deals earnestly with mental illness as written and directed by Sam Mendes (American Beauty).

In 1980 at an English seaside, Hillary (Colman) is a middle aged worker at a majestic movie house. As we learn more about her, we find a desperately lonely woman who has a traumatic history that has led to her simple, solitary life and acquiescence to the unsavory dalliance of her lecherous manager (Colin Firth). When she takes a fancy to a new employee, Stephen (Michael Ward), who dreams of going to college, her world is changed.  Stephen is a young, black man who is subjected to racism and violence, and as the theater prepares for a grand premiere of Chariots of Fire and accompanying luminaries, Hillary must confront her own damaged soul. The stage is set as tensions mount and hidden secrets emerge. 

This is meticulously directed and well-acted by an ensemble led by Ward and the ever impressive Colman, whose sensitive performance exposes Hillary’s shame, fear, and anger all of which manifest into startling moments. There are memorable scenes including New Year’s fireworks on a rooftop, a stunning confrontation at the premiere, and the very act of watching a movie which becomes a revelation for one person.  

The film’s deliberate pace may test audiences, but it is clear that the time and place have a deep meaning for Mendes personally.  Those who have worked in a movie theater (including yours truly) may find an instant connection to the film’s setting as it features beloved titles of the day including Raging Bull, Stir Crazy, and Being There.  It’s a valentine to cinema with a compassionate turn by Colman.

***1/2 of ****stars (for movie theater lovers)

Twin Peaks Composer is Gone

Angelo Badalamenti the film composer of many scores especially David Lynch films and his classic TV score for Twin Peaks, has passed at 85.