The Devil and Miss Jones (1941)

With a title like the above, this film might sound like yet another horror flick or even a latter-day soft porn job, but it is actually another comforting golden oldie, albeit not one of the better-known ones -- although it thoroughly deserves to be.

Character actor Charles Coburn who was oscar-nominated for the role plays a curmudgeonly rich guy who takes major offence when the employees of a department he owns (among his lesser holdings) hang him in effigy in social protest.  He decides to go undercover as a hapless slipper salesman to uncover the ringleaders and get them all fired.  Needless to say he is soon very much on the side of the people who befriend him, in particular the lovely comedienne Jean Arthur who feels so sorry for what she believes to be a poor and hard-done-by old geezer, Spring Byington as an older potential romantic interest, and Robert Cummings in a meatier role than his normally lightweight ones as the main agitator.  Only the usually dear old Edmund Gwenn as an uppity too-big-for-his-boots department manager really gets his goat.

This film is something of a cross between the screwball comedies of the 30s in which Arthur excelled and the more socially-conscious movies of the 40s, but it is thoroughly delightful on all counts.  Arthur retired from the movies far too early (her last role was as the mother in "Shane"); she was never a glamourpuss but always the gal you could both believe in and wish to know. 

Tags: The Devil and Miss Jones, Jean Arthur

FrightFest Part Two

The main lesson one took away from the films shown in the first half reviewed below is that it continues to be unwise and definitely unsafe to go into the woods!  From the remaining movies we appear to be advised that it is best to avoid mirrors and killers that look exactly like yourself -- since this was a recurring theme:

From Within (2008):  This American effort was a fairly proficient scarer of how a town's collective guilt from an earlier incident can be turned against itself, as its inhabitants are confronted with their own murderous doppelgangers.  The first victim was one Rumer Willis (daughter of Bruce and Demi) in histrionic mode which gives this some curiosity value.  Nice downbeat surprise ending too.

Let the Right One In (2008): This Swedish film named after the Morrissey song was the most pre-hyped movie of the fest and lived up to its publicity.  Set in a snowy and beautifully photographed Swedish winter, it tells of the growing friendship between a bullied 12-year old boy and the vampire girl next door (who has been 12 for a very long time!).  How she is able to satisfy her blood lust while helping to protect him from his tormentors forms the basis for this gory yet very satisfying tale played out by two amazing child actors.

The Broken (2008):  Broken here refers to mirrors like the one that breaks during a family birthday celebration and how the shattered glass causes each of the family to face being replaced by their mirror image.  Stylishly filmed by a former fashion photographer and featuring Lena Heady and Richard Jenkins amongst the small cast, it in fact made little sense and was in the end more puzzling than scary.  And you thought that seven years bad luck was the only consequence...

Autopsy (2008):  As it says in its tagline, the horror only starts after the ambulance arrives.  Five friends suffer a car crash in the middle of nowhere after running down an unknown man and are swiftly transported to a nearly deserted hospital.  Here they meet a demented doctor played by ex-Robocop Robert Patrick, who in good horror movie tradition is seeking a formula to save his dying wife and needs young bodies on which to experiment.   This he and his three demented colleagues continue to do with only one feisty female (again) out to save her doomed pals from the red splatter.

Martyrs (2008):  This relentless French film is a nasty shocker of twisted revenge turning into sadistic torture as a young girl is systematically abused to discover the nature of martyrdom.  One needs a very strong stomach not to be repelled by the scenario and cruelty on display and I somehow feel that this calculatingly disturbing film lacks any moral authority.  It's definitely one to divide the audience.

The Dead Outside (2008):  I nearly skipped the world premiere of this Scottish movie and no harm if I had.  It's still another story of a singularly small group of survivors (two and then a third) banding together at an isolated farmhouse as a strange virus decimates the population and turns everyone into bloodthirsty stalkers.  (This is another theme that is being increasingly overdone).  Quickly shot on a low budget, this one has some unusual character development but failed to engage this viewer with its underlying emotional charge.

The Disappeared (2008): This British would-be shocker is set in the dingy setting of a council estate where a young man blames himself for the earlier disappearance of his younger brother, not helped by the fact that Dad (Greg Wise) blames him as well.  As he appears to be receiving whispers from the grave, he attempts to discover the boy's actual fate and is abetted by various characters who may or may not really exist.  This was an ambitious film with an unexpected denouement but murkily shot and in the end not as involving as it could have been.

Mirrors (2008):  This is a "reimagining" for Hollywood of the superior Korean horror "Into the Mirror" which I reviewed a few years back. French director Alex Aja who made a huge splash with "Switchblade Romance" a few years ago has accepted the big American budgets with a vengeance and managed to turn a truly scary original into a bloated mishmash. Kiefer Sutherland is a suspended cop who takes a night watchman's job at a burned-out architecturally grand department store filled with (you guessed it) murderous mirrors.  There are a few very effective visual shocks at the start of the film, but as the terror escapes its setting and starts to threaten Kiefer's family, things just become more and more unbelievable and simply an excusefor supernatural fireworks.  The film is also 'blessed' with some of the clunkiest dialogue I've heard for an age and the ending designed for our hero is a good example of the director trying to be just too clever for words.  A big big disappointment.

After the above I decided to skip the closing film which was the UK premiere of "Death Race" a remake of the Corman classic "Deathrace 2000" and starring that wooden lunk Jason Statham.  Having seen the poisonous U.S. reviews for this recent release (only the New York Times admitted that it was some fun on a moronic level), I felt that I could wait until this movie comes my way in the normal course of events.

So that's FrightFest for another year -- the fourth fest that I've reported since starting this blog.  Roll on the new frights for 2009...

 

 

Tags: FrightFest, murderous mirrors

FrightFest Part One

Well I'm now three days into this five-day marathon although I am exhibiting rather less stamina than in previous years and have been skipping the late showings -- even when these held a strange appeal like the return of weirdie director Frank Henenlotter ("Basket Case", "Frankenhooker" etc.) after a hideously long gap.  I shall have to try to catch up with his delirious-sounding sleazy tale "Bad Biology" on DVD.  So what stands out so far?

"Eden Lake" (2008):  This new British film was given its world premiere and rather neatly illustrates the fact that is becoming increasingly clear in my mind that there is a not too subtle difference between horror movies and films that depict horrible things -- and this seems to be where the genre is going.  What we have here are a lovely young couple (Kelly Reilly and Michael Fassbender) who are planning a romantic weekend in the scenic woods but who end up being tormented and tortured by a gang of young and callous hoodlums.  As Warner Brothers demonstrated in the 1930s, this crime theme is ripped from today's headlines.  Yes there is a wave of teenaged violence and yes their cruel anomie can be terrifying, but when did real fears turn into horror?  The movie is very well done, but despite the female half's feisty fight, modern reality would appear to have no happy endings -- at least not here.

I Know How Many Runs You Scored Last Summer (2008): This extremely minor Australian tongue-in-cheek slasher was also a world premiere but far less likely to leave much of a mark on the horror afficionado.  Using the apparatus of cricket for a series of inventive and grisly murders, one is unable to take this tale of a bullied schoolboy's revenge with more than a few grains of gore.  And any movie which stars its female co-director and then gives her an extended full-frontal lascivious nude shower scene (albeit with an obvious body double) can not really be taking itself too seriously.

TimeCrimes (2007) and King of the Hill (2008?):  Next up were this pair of Spanish films, the latter being a last-minute replacement for a Danish teacher-as-alien no-show.  "Time Crimes" was definitely the more inventive and mind-boggling (and destined for a U.S. remake) as our middle-aged hero undergoes some time-shifting and ends up being pursued by a relentless doppelganger of himself, eventually finding that he has split into three separate entities, each functioning in a slightly different timeframe.  The other was yet another example of adults (but not quite so likable here) being picked off in the wilderness by young killers.  This definitely seems to be becoming the new face of so-called horror.

Trailer Park of Terror (2008): It seems that some years ago a young sexpot went on a murderous foray in her trashy trailer park, killing everyone and destroying the site; yet many years later on a stormy night, a busload of teenaged delinquents and their Holy Joe team leader are able to take refuge there.  And guess what, all of the former redneck inhabitants are still there in the shape of murderous zombies and undead cannibals for one last blood-soaked night in the traditional horror-movie mode.

Mum and Dad (2008): This was a fairy proficient example of "the family that slays together stays together" sub-species as a deranged couple living in the shadow of Heathrow Airport (with its low-flying planes that might drive anyone crazy) use their two equally amoral children to lure airport co-workers to their "happy home" for a spot of torture, intimindation and mayhem.  In due course our hard-done by heroine does manage to escape and to revenge the days -- with whoops and cheers from the hardcore audience here.

Fear(s) of the Dark (2007):  This French-language compilation of short black and white animations, was stylish and adventurous in design without being overly horrifying.  One was taken in by the rather spiffy styles of the eight different directors of the various sections and I for one viewed it as an interesting sampler of animation techniques rather than any sort of coherent horror film whole.

Dance of the Dead (2008): We're rather back in familiar horror territory here as the chemical fallout from the towers overlooking a graveyard manage to reanimate the dead on the night of the high school prom.  Only an assortment of science geeks, heavy metal freaks, a couple of nubile females, and a gung-ho sports coach can save the day from the new undead.  This was another instance of 'let's have fun with the genre' film-making, rather than a 'let's scare people to death' horror movie -- which is fine for occupying a forgettable 90-odd minutes.

Manhunt (2008):  ThisNorwegian entry was yet another "let's menace holiday-makers with unseen killers in the woods".  Are we spotting a trend here?  At least we were spared yet another instance of rampaging teens, but how much of this sort of thing does the world really need?  Not much is my take on the subject!

The Chaser (2008):  This Korean thriller was a relentless example of the search for a serial killer, but was really just a little out of place in the FrightFest brief, despite its lashings of blood.  An ex-cop turned pimp spends the full two hours trying to find the man responsible for "selling" his girls (when in fact he has been murdering them) and wants to discover the fate of his latest call-girl disappearance, accompanied for much of the time by her stone-faced seven-year-old daughter.  This was a well-realised film, full of well-rounded characters, but bleak in its outlook and in the end unforgiving and dark.  To be generous, horror does indeed assume many shapes.

Bubba's Chili Parlor (2008): This cheapjack and fairly pathetic entry shot on cheap video was another world premiere and is being distributed by the FrightFest mavens.  They are welcome to it and I lasted for less than half of its short running time.  A load of contaminated beef has turned the country bumpkins of the area into yet another load of hungry zombies.  Sprinkled with cod adverts and scratchy intermissions this was far less than a 'grindhouse' rip-off, but rather a not particularly good example of poverty row film-making.

Still there is more to come over the next two days and being the eternal optimist, I have my usual high hopes. 

Tags: FrightFest, horror vs.horrible

Movies to fall asleep to...

Well I'm back from the States for the time being but will be going back either once or twice next month (which is a serious pain in the you-know-where) and, as is my usual wont, I should be reporting on the in-flight movies seen.  The above caption is perhaps a wee bit misleading since the selected films were all worth a look, but truthfully were not properly viewed, since I managed to doze off during all of them.  Still at least I know which will be worth my time when I get around to them again:

The Iron Man (2008): I am probably the only movie buff in existence who has not yet seen the new, blockbusting Batman film (I'm in no hurry), but as far as comic-book heroes go, this film has a lot going for it.  Robert Downey, Jr. is such a consummate actor that he is even believable as a superhero -- a concept totally at odds with his previous screen incarnations.  I wish I'd seen all of this one, since it seemed good fun with stupendous effects and a bald Jeff Bridges making an unlikely but menacing villain.  Even Gwyneth Paltrow doesn't grate here.

Kung Fu Panda (2008): I usually like modern animations but could barely keep my eyes open during this one which is currently out-boxofficing "Wall-E" (which for my money is the superior film).  This one is an affectionate take on kung-fu movies with roly-poly Jack Black voicing a roly-poly panda who yearns to be a hero.  Like so many recent films, this one boasts a celebrity voice cast which even includes Jackie Chan, but I reserve judgment for now.

In Bruges (2008): I only saw the start and end of this one, but it seemed a winner and I definitely want to watch it again.  Colin Farrell and Brendan Gleeson play two hired killers lying low in Belgium while awaiting orders from their boss -- an OTT Ralph Fiennes.  Farrell often leaves me cold, but as the foul-mouthed and not-too-bright hitman hating the cultural mecca of Bruges, his performance is definitely one of his more watchable ones.

Gone Baby Gone (2007): Ben Affleck's directorial debut starring his brother Casey in an adaptation of Dennis Lehane's novel is sure-footed and absorbing, with a number of unexpected ins and outs that one didn't see coming and perhaps an overly downbeat ending.  Affleck Sr. does a professional job of giving the viewer a realistic view of the Boston where he was raised and in controlling the very able cast.  That I found it a little confusing is most likely down to the fact that I missed great chunks of it while dozing off in Cloud Cuckoo land -- so this is another that I must give further respect to.

Be Kind, Rewind (2008):  I saw most of this one based on a concept from the weird mind of its director Michel Gondry and while it was amusing in parts, it probably isn't a film that is worth repeat viewings.  Jack Black (again) gets himself magnetized (don't ask) and blanks out all of the videos in the down-and-out video shop being watched by his mate Mos Def (very good, as always) for its owner, Danny Glover.  In order to satisfy their dwindling customer base, they decide to "swede" a number of the movies, making home-made rip-offs of popular titles with a certain degree of ingenuity and good humour.  There's also a running motif of their New Jersey town being associated with Fats Waller which gives the film its continuity and resolution.  It's a pretty minor effort but one which leaves the viewer in feel-good mode.

I'll try to write again during the coming days before succumbing to the FrightFest marathon which starts on Thursday.  Nearly 30 movies in five days?  Now that's guaranteed to put me to sleep!

Sorry folks (if indeed there is anyone reading out there!) no time or inclination for any new entries before FrightFest, despite seeing some worthy contenders.  Just too much going on to get my act together....  

Tags: Inflight movies, falling asleep, ping-bloody-ping, further delay

A couple of charmers...

It seems that I'm still on my golden oldie kick since the more recent movies that I've seen this week have not been doing their job of getting me outside myself -- which unfortunately is something I really need at the moment.  Not so the pair of charmers below which managed to take me back to happier and simpler times:

The Young in Heart (1938):  This is not quite a screwball but is a rather gentle comedy about a family of con artists: father Roland ("Topper) Young, mother (good witch) Billie Burke, daughter Janet Gaynor (in her last movie appearance for 20 years), and son Douglas Fairbanks, Jr., who between them have never done an honest day's work and who survive by card sharping and bogus romances.  When they are uncovered on the Riviera and forced to leave for England, they meet a lonely little old lady on the train, realise that she is stinking rich, and befriend her in the hope of being made her heirs. This part was played by stage actress Minnie Dupree and was suitably named Miss Fortune and the viewer prays that her trust will not prove misplaced.  That things work out rather differently from the family's master plan is the heartwarming and totally satisfying twist here.  And it's a "doggie" movie too which is guaranteed to make me smile.

The Good Fairy (1935):  Written by Preston Sturges before he was given the opportunity to direct, this is a clever bowdlerisation of a Hungarian play and brings out the comedic talents of its lead, Margaret Sullavan, playing a naive orphan unleashed to the fleshpots of Budapest.  There she meets a concerned waiter (Reginald Owen), a lecherous would-be benefactor (Frank Morgan), and an impoverished lawyer (Herbert Marshall -- the most dashing one-legged man in the movies).  They are as charming and amusing a trio as one could wish, and the lies and complications grow apace until the naturally happy ending.  Couldn't we all do with more of those?

Something that always amuses me in the Hollywood films of this period is how age seems to disappear in the magic of the conception.  For example, Janet Gaynor was meant to be 20 in the above film (and was actually 34) and 'older brother' Fairbanks was actually five years her junior.  But she glows in the role and we want to believe.  Similarly Sullavan at 26 was probably too old for the 17-year old orphan, but both actresses look great and one willingly suspends belief.

This will be my last entry for a while since I'm off to the States (again), but I promise to reappear before this year's FrightFest.  Take care...

Tags: Feel-good movies, The Young in Heart, The Good Fairy

Malpertuis (1973)

I originally saw this film on TV some years ago in a dark and dubbed print, and it left no abiding impression; however when I saw the director's own cut some years later, I was staggered by its brilliance and wondered whether indeed it could be the same movie.  Belgian director Harry Kumel, the man behind the stylish vampire flick "Daughters of Darkness", had wanted to make a film of the fantasy novel by Jean Ray for some time, but struggled to get the financing.  Assembling a remarkable cast which included Orson Welles, Susan Hampshire (in three very different roles), Jean-Pierre Cassel, and Michel Bouquet, the film was shot in English and French and then dubbed into different languages for different markets.  By the time it arrived in Cannes, it had been chopped to bits by an outside editor, and left to die a critical death.

But Kumel was not defeated, eventually restoring this masterpiece to its original two hour running time and re-doing the dialogue in his native Flemish.  I must confess when I first viewed the revision, I thought that Welles had looped his own dialogue, but this was wishful thinking on my part, as I understand that Kumel over-dubbed at least six of the characters himself -- not that this shows and not that it distracts from this very strange and dream-like bit of surrealism.  I have seen the movie described as a horror film, but it is no such thing.  It is a mind-blowing fantasmagoria with echoes of the Belgian artists Matisse and Delvaux; it's the story of a vast house of endless corridors, peopled with strange characters, and ruled over from his vast bed by the dying Welles.  The viewer is left to wonder what is real and what is not, who is insane and who is whole, and whether the house's secret will ever be revealed.  Having been led to wonder whether it was all a dream, a shattering ending dispels this illusion.

I have eventually got my grubby little paws on a Belgian DVD which includes the Kumel revision as well as the disposable English and French shorter versions, plus a host of fascinating supporting features.  This film certainly deserves to be better known and so do search it out if you can.

Tags: Malpertuis, Harry Kumel, Orson Welles

In the Line of Fire (1993)

I have a very soft spot for Clint Eastwood and have always thought that there was more to him as an actor than those critics who dismissed his early minimalist style.  He was never show-offy as so many more highly rated actors, but always came across as very real.  It has also been gratifying to see his growth as a director, to the stage where he is now revered as one of the grand old men of cinema -- and he shows no signs of slowing down either.  Long may he wave!

Although he has done it often, it can not be easy directing yourself, and after the early 90's outings of Unforgiven and The Bridges of Madison County, his lead roles in the subsequent self-directed Absolute Power (1997), True Crime (1999), and Blood Work (2002) do not rank among his best work.  Fortunately here he is directed by the very able Wolfgang Peterson and the character he plays is well-rounded, sympathetic, and very believable.  As a long-term secret service agent who still regrets not being able to have saved President Kennedy, he asks to be put back on the protective rosters when there is a threat to assassinate the current president.  While he and we know that he is too old for this work -- his puffing running alongside the presidential limo demonstrates this, he feels that preventing another death would be his redemption.  The would-be killer, played by a cerebral John Malkovich, enjoys playing his cat-and-mouse games with Eastwood and gets as much pleasure from taunting him as he hopes to get from the ultimate kill.

Malkovich was deservedly nominated for a best-supporting actor role and plays a worthy adversary for Eastwood's brittle world-weariness.  The only minor problem is that Malkovich is meant to be playing a master of disguise and in every single appearance he looks exactly like John Malkovich!  But this is a very minor quibble in what is a well-paced and genuinely exciting story; even Eastwood's dalliance with younger agent Rene Russo comes across as a romance that cheers the viewer -- we genuinely wish this jaded, piano-tinkling loner some happiness. 

Tags: In the Line of Fire, Clint Eastwood