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Tag: Mimi Stark

What’s a Nice Girl Like You Doing in a Place Like This? (1963, Martin Scorsese)

What's a Nice Girl Like You Doing in a Place Like This? is an absurd but arty comedy short. Director Scorsese mixes full motion video with stills, which sometimes do stand-ins for scenes—like protagonist Zeph Michaelis marrying Nice Girl Mimi Stark—sometimes just for expository stuff. See, Michaelis is a writer who gets a new studio apartment and can’t write because you can’t do even a nine minute short about a writer who can write. He becomes obsessed with a photograph he purchases and loses the ability to function normally. He just stares at the photograph.

Sadly, the photograph isn’t great. It’s a composite so Scorsese can manipulate it for narrative mileage, but even still… it’s not even compelling enough for poser Michaelis to fall in love with it.

Michaelis narrates most of the short; when he disappears in the last few minutes, it’s not initially a bad thing. Michaelis’s narration doesn’t make the character any more likable or amusing. It just keeps him around, because it’s his movie. But for the end to work, his narration’s got to go. Scorsese pulls it off like a Bandaid, refocusing attention on Michaelis’s friend, Fred Sica, who’s essentially a character witness for Michaelis. Right after Scorsese’s got this nice move of Sica repeating—word for word—Michaelis’s psychiatrist’s advice… the ending flops.

Scorsese’s intent is obvious and not aimed high at all; it’s an absurd but arty short, after all. Scorsese just isn’t able to get there with the script. It’s not funny. Occasionally, Nice Girl is rather well-made, lots of the still montages are beautifully edited—courtesy Robert Hunsicker—but it’s never funny enough when it needs to be. Scorsese can’t land the absurdist jokes; there’s one about Michaelis having a multi-day party in his efficiency. It’s a real, please laugh moment, ruining the serious filmmaking presumably going on.

But the lead up to ending with Sica repeating analyst Sarah Braveman? It’s cool. It’d be a save if the ending itself weren’t so… goony. Obvious and goony.

Cute cat and awesome King Kong reference though.

Posted on 6 April 202027 February 2022 by Andrew WickliffePosted in 1963, Directed by Martin Scorsese, Film, Short, What's a Nice Girl Like You Doing in a Place Like This?Tagged Fred Sica, Mimi Stark, Robert Uricola, Sarah Braveman, Zeph Michaelis. Leave a comment

The Stop Button

blogging by Andrew Wickliffe

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    Movies

    Double Danger (1938) D: Lew Landers. S: Preston Foster, Whitney Bourne, Donald Meek, Cecil Kellaway, Samuel S. Hinds. Inoffensive but mostly charmless B picture about police commissioner Hinds inviting his two prime suspects for “The Gentleman,” a renowned jewel thief, to his suburban estate for the weekend. Foster and Bourne are the suspects and ostensible romantic leads. Simultaneously too busy and not busy enough during its hour-long runtime. The opening social engineering heist is the highlight.

    Lost in America (1985) D: Albert Brooks. S: Albert Brooks, Julie Hagerty, Michael Greene, Donald Gibb, Garry Marshall. Dissatisfied yuppie couple Brooks and Hagerty decide to leave L.A. in a Winnebago, dropping out like in *Easy Rider* (which they may have misunderstood), only to discover life’s not so easy on the road. Some fantastic, funny sequences and outstanding cameos (Marshall’s best performance ever and Donald Gibb’s a hoot). They just run out of story too early.

    Radio Patrol (1932) D: Edward L. Cahn. S: Robert Armstrong, Russell Hopton, Lila Lee, Andy Devine, Sidney Toler. Peculiar mix of early talkie, stock footage extravaganza, toxic masculinity primer, B copaganda picture following the latest (integrated) police academy class in an unnamed city. By the finish, only forty percent survive, done in by dopers and dirty cops. Director Cahn doesn’t believe in second takes; his cast needs them, especially thanks to the mawkish melodrama. Hopton’s exceptionally sturdy.

    The Saint In Palm Springs (1941) D: Jack Hively. S: George Sanders, Wendy Barrie, Paul Guilfoyle, Jonathan Hale, Harry Shannon. Lackluster outing survives thanks to Sanders, who’s actually more bored than everyone else. He’s in PALM SPRINGS to deliver some valuables to Barrie (who’s returning but as a different love interest) and runs into old pal Guilfoyle, now the resort detective. Not predictable only on a technicality. The script requires Sanders to be dim; he obliges, the picture suffers.

    Sea Fog (2014) D: Shim Sung-bo. S: Kim Yun-seok, Park Yoo-chun, Han Ye-ri, Lee Hee-jun, Yeom Hye-ran. Portentous “based on a true story” (well, adapted from the play based on the true story) about a desperate fishing boat captain (Kim Yun-seok) who takes a job trafficking people from China. Unfortunately, his boat’s a deathtrap and his crew’s mostly misogynistic sociopaths. Solid production, some strong acting; also, a bewilderingly ill-advised romance subplot and shallow finish.

    Waltzes from Vienna (1934) D: Alfred Hitchcock. S: Edmund Gwenn, Esmond Knight, Jessie Matthews, Fay Compton, Charles Heslop. Histrionically acted, stagy play adaptation about Johan Strauss II (Knight) getting the chance to be his own composer thanks to rich lady Compton liking the cut of his jib, musically and physically. Shame she’s got a husband (Vosper), and he’s got a girlfriend (Matthews). Plus angry dad Gwenn figures in. Boring, though director Hitchcock does try to stay amused.

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