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Libeled Lady (1936, Jack Conway)
Libeled Lady suffers from a few things, but it’s hard to pinpoint what doesn’t work about the film because there are so many things working well. There’s a great William Powell slapstick fishing scene in the film, there’s a great wedding scene where the husband gets a peck and the best man gets a passionate kiss, there’s even a nice courtship between Powell and Myrna Loy, except Powell’s married to Jean Harlow and Loy is suing Harlow’s boyfriend, played by Spencer Tracy. The problem stems from not knowing what to do with Harlow. Libeled Lady is a ninety-eight minute comedy with four major stars, it having focusing problems isn’t even in question….
The film opens with Harlow and Tracy and it stays with Tracy for a bit, introducing Powell in a great way, but up until that introduction (and even immediately following) Libeled Lady is a newspaper comedy. This genre has disappeared, but it was prevalent in the 1930s. I’ve read the early talkie screenwriters were newspaper reporters, explaining the newspaper office as a frequent setting and the reporter as a dedicated hero. But then it turns and becomes an odd Myrna Loy-William Powell comedy, one where you really miss W.S. Van Dyke behind the camera. When Tracy and Harlow return to the film, Harlow has become superfluous. It’s not a traditional comedy–there are different expectations and responsibilities. It’s a little more serious. The audience comes to like Loy (or Loy warms to Powell and the audience warms to Loy while Powell in conflict). But, Powell never reveals the full extent of his subterfuge to Loy when the audience gets to see (again turning the film’s focus to Harlow and Tracy). There isn’t a scene because it doesn’t work with that returning focus to Harlow’s side of the story.
It’s a lot of fun, and Tracy is really good in the opening. He and Powell have a good repartee going too, but we only get to see it once. Harlow and Powell were together at the time and the chemistry cares over to celluloid, but it’s also a Powell and Loy film, which causes a disconnect. I think it’s in Myrna Loy’s biography–when Loy had a cameo in The Senator Was Indiscreet as Powell’s long-unseen wife, it wasn’t even a question for audiences she would be the wife–it was expected. It doesn’t help the film perturbs Harlow’s character arc to fit that clean ending or makes Tracy so ineffectual in the second half–though the scene with him running across a foyer is delightful. It’s in an awkward part of the film, but Tracy’s fun translates well.
It’s good. It is. It’s just the problems are more visible then they should be….
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Dark Star (1974, John Carpenter)
Dark Star is probably John Carpenter’s second finest film (after The Thing). It’s the John Carpenter film I’ve always been saying he should make–a funny one. I have seen Dark Star before, probably nine years ago, back when it was somewhat rare (it got picked up, a year after I saw it, by a video distributor who’s kept it in print). The first time I saw it, it struck me how much Dan O’Bannon used again in Alien. In Dark Star, O’Bannon–who makes the film, he should have been an actor, he’s hilarious–hunts a tomato-shaped alien through the bowels of the spaceship. He used that hunt again in his script for Alien. Well, this time, I noticed some of Carpenter’s shot compositions of the spaceship against the planet are identical to Ridley Scott’s set-ups for Alien… Scott just had more money….
The film is pure delight, from O’Bannon’s bickering with his crew mates to the commander rambling about surfing. The humor’s actually a little smarter than I expected, but it’s hard to believe Carpenter and O’Bannon were just students when they made this film. The budget isn’t quite there–it looks about the same as an episode of the original “Star Trek”–but Carpenter always spends his money well. It’s one of his trademarks.
I’m having problems with this post because the film’s only sixty-eight minutes long and it’s a comedy. I’ve already said O’Bannon’s great, I’ve already mentioned some of the funny stuff… but it’s not without some depth too. The film’s present action is short, maybe a few hours, and while the specifics of these characters’ longings are comedic, their existence is not. I just read someone call Dark Star a parody of 2001 but it’s not… The end of Dark Star is touching and more humane–if incredibly short (three minutes at the most)–then the rest of Carpenter’s filmography combined. Seeing Dark Star in 1974, I’m not sure it would connect with the Carpenter who made They Live. I just remembered Starman (as an example of Carpenter’s humaneness, but Dark Star has it beat). It’s a great film.
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Yesterday Once More (2004, Johnnie To)
The event romantic comedy is a familiar genre, but not one with frequent entries. With the exception of Julia Roberts (and maybe Sandra Bullock), the genre in American cinema does not exist anymore. The hardships of making these films is finding a project the stars jibe with–I mean, people actually like Runaway Bride. Two Weeks Notice, which I thought was a huge bomb, was actually a hit. It’s just a hard genre because these films are about the audience’s affection for the actor, not the character she’s playing. I say “she,” of course, because there isn’t–currently–a male event romantic comedy star. Though Hugh Grant tries, it only works when Julia Roberts is part of the equation.
Yesterday Once More is a Hong Kong event romantic comedy, pairing Andy Lau and Sammi Cheng as a pair of divorced (but still, of course, in love) professional thieves. As I understand it from my cursory research, Lau and Cheng did a couple other romantic comedies (as well as some dramas, I guess) and a pairing is a big deal. I’ve seen Lau in Days of Being Wild, but I don’t remember him and I’ve never seen Cheng in anything. I’m not hip on my Hong Kong offerings anymore. I used to watch John Woo stuff, but now I don’t and unless it’s a Wong Kar-Wai, I just queue a Chinese-language film, I don’t rush to see it. An event romantic comedy has a specific target audience (albeit, in theory, a large part of the moviegoing audience) and I am not part of Yesterday Once More’s demographic. But I got it.
For the first forty minutes of the Yesterday, there’s nicely shot, nicely scored montage after montage. First the divorce, then a proposal to Cheng, then a heist, then a trip to Italy. I had to pause it to see what the time was when the film finally slowed down for a scene. Since Yesterday is supposed to be purely entertaining, it has to do very little. It has to be charming. Well, Yesterday pits Cheng against a kleptomaniac mother-in-law to-be, has a couple private investigators who worry about each other’s cholesterol intake. The heists are even cute. Yesterday works because it keeps it simple–besides the couple, there’s a mother-in-law to-be and a few supporting characters, really supporting. When I started watching it, not remembering why I’d queued it in the first place, I realized as long as they kept the character count low, the film would work.
While Lau is good, he’s not the protagonist–he is the character the audience has to identify with, however. Cheng is the one who actually has to act in Yesterday and she brings a semblance of depth to an easy character. Ultimately, the film stumbles because it doesn’t want to embrace its levity. Out of nowhere, in the last half hour, it actually wants to say something, which it can’t. But even those false steps can’t defeat the film’s charm.
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Mallrats (1995, Kevin Smith), the extended version
Of all my youthful indiscretions, I think my affection for Kevin Smith is–today–the most embarrassing, simply because it perplexes me. I watch Mallrats and I don’t get how I could have watched and liked this film multiple times. By 2000 or so, I didn’t. But from 1996 to 1999, I must have watched this film six or seven times and thought it was good. Even the things I thought were good about–things I thought I would still think were good about it (namely, Jason Lee)–they aren’t good. He isn’t good. He’s bad. His acting is bad. All of the acting is bad. Jeremy London is worse than Lee and I am a little surprised Shannen Doherty is so much better than Claire Forlani, but I just can’t believe I sat and watched this movie.
I rented the ten year anniversary edition because it finally has the original cut. On the original DVD, there are deleted scenes and a lot of talk about the longer version, and it has been a while since I’ve Mallrats. I thought maybe I was wrong. No, I didn’t. I thought at the least, I’d laugh. But it’s not funny. Maybe Kevin Smith’s Mallrats style has so saturated modern Hollywood film I can’t appreciate it for the constant… no, I lost the thought it was so silly. Essentially, the longer edition makes the film more about Jeremy London, which is not a good idea, because it means Claire Forlani is in more scenes and Michael Rooker is more scenes. The film finally gets to the mall at the thirty-five minute mark, after the first act, making the title a little perplexing. The additional footage probably makes the film better, because it gets worse when they get to the mall. Smith isn’t in his element anywhere in this film–I kept thinking about Clerks’ tight opening and the lack of one in Mallrats, theatrical or extended versions.
Mallrats is an incredibly influential film–it created the expectations of a significant portion of a filmgoing generation. This film was a big video hit and, though the general “fanboy” public has abandoned him, Smith tapped something the audience desired in Mallrats. The film is not good, the characters are not good–the dialogue is stagy and bad and a high school drama class could do better–but it connected. It’s filled with pop culture references and bad dirty jokes and people (unfortunately, mostly of my age group) wanted this experience. And they didn’t grow out of it because Mallrats isn’t about actual film reference, like Tarantino’s films. It’s about faking it.
I realize Mallrats doesn’t deserve all this vitriol (the audience’s reaction is offensive, not the film itself; the film is just awful), but I really didn’t know how bad a film it truly is… and, of course, I’m only angry at myself because I was a member of said audience.
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Return to Peyton Place (1961, José Ferrer)
I’ve read a review of Return to Peyton Place positing the whole film as a disservice to Mary Astor. It might have been Maltin. Right now, I’m reading Bruce Eder’s review over at allmovie. Eder’s a smarty-pants (he does or did a lot of scholarly audio commentaries) and I’d almost recommend it over my own post, because I made a few of the same observations. Return to Peyton Place starts out bad, with Rosemary Clooney singing a silly song over location shots of the town. The first Peyton Place had a great score–if it was a little derivative of Aaron Copland’s Our Town score–and the first couple seconds of music in Return to Peyton Place seemed all right… then the singing started. Clooney was married to director José Ferrer at the time and one imagines there’s a connection to her involvement.
Worse, the first scene is with Carol Lynley. I’m a Peyton Place fan and I can imagine how upset people seeing this film in the theater would have been. Lynley is a poor substitute for Diane Varsi, who originated the role. Poor substitute might be too polite. Lynley’s acting is a crime against celluloid. But then Eleanor Parker and Tuesday Weld and Mary Astor show up–and here’s where Eder and I agree–and Mary Astor’s first scene is really good. Immediately after, she becomes Mrs. Bates, complete with haunted house, but the first scene is good. Tuesday Weld manages to have a few good moments, but she’s busy being in love with Swedish sky instructor–she visibly competent, though I don’t know if I’d say anything if I didn’t know she turned well. Eleanor Parker–replacing Lana Turner, who was the lead in the original Peyton Place–is around because she has to be, but there’s no emphasis on her. It’s a bad sequel in that way–it’s set after the events in Peyton Place, but certain things didn’t happen….
The idea of the film–besides Mary Astor combating her son’s new, pregnant Italian bride (Fox was very international with Return to Peyton Place)–is Lynley writing a book a lot like… Peyton Place. The novel was (I’m Googling for the appropriate adjective) notorious at its publication. That idea of turning that notoriety into filmic content in a sequel, it’s not a bad one. It would allow for the film to cover the existing situations in the narrative and create all sorts of conflicts and yada yada yada, but it’s so poorly handled, it just doesn’t work. Jeff Chandler–who’s good–is bad in Return to Peyton Place. He doesn’t fit the role of book publisher and his scenes are all with Lynley and… oh, they’re awful together.
It’s hard to imagine a good sequel to Peyton Place. You would need the entire cast to return. You would need five or six stories, good ones (instead of two and a half bad ones). You’d need a good writer–though, Return to Peyton Place’s scenes are competently paced–and you’d need a good director. But still, even with all of those components (and Return to Peyton Place has none of those components), there still isn’t a good artistic reason for a sequel….
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