L13FC: WWII from 2000 to the Present

It’s Friday the 13th and my lucky day. We get to share thoughts about a topic in the movie industry. Never has there been an event in the twentieth century that has instigated a global outpouring of stories documenting the best and worst in humanity than World War II. The movie industry has had a love affair with making World War II films. According to Wikipedia, over 400 films have been devoted to the event. In timing with anniversary dates, one has come to expect new narrations muscling for a chance to share their perspective. Outside of battles and key events, the Holocaust is a genre of its own. We have a macabre sense of duty to understand the atrocities and mindset of a time where everyday common people were thrust in the way of world domination. Today, let us discuss the cinematic touches that made recent World War II films compelling and effective. 

A smattering of films since 2000. What should be added to the list? Before you criticize me, I think a lot of Hollywood films about WWII are too romantic and silly. For instance, I don’t think Pearl Harbor is a good film overall, but I do think the filming of the attack on Pearl Harbor to be outstanding. So, what SCENE or PERFORMANCE has stuck with you over the last two decades? For me, World War II movies that moved me the most in the last twenty years were the ones involving children.

L13FC: Director Robert Altman

Welcome back to Cindy’s Lucky 13 Film Club. This month, John Charet is my featured co-host. We discovered we shared a mutual like and respect for Robert Altman’s techniques. Please share your stories and comments. Don’t forget to check out John’s site CINEMATICCOFFEE for his passion and knowledge of the cinema. 

My Favorite Robert Altman Films

JOHN SAYS:

As with a handful of other great filmmakers who defined the New Hollywood era (1965-1983), director Robert Altman (read here) is often celebrated for his unique approach to cinematic storytelling. Though much older (he was born in 1925) than some of his contemporaries (Francis Ford Coppola, Martin Scorsese, George Lucas, and Steven Spielberg), one could swear that his 1970 breakthrough anti-war comedy MASH was the work of a 24-year old than that of a then 44-year old. Altman’s trademarks rested on more than just his irreverent sense of humor though (read here), but also stemmed from his use of improvisation and overlapping dialogue (read here and here). As with MASH, Altman combines these two traits together when it comes to deconstructing a beloved genre like the western with McCabe & Mrs. Miller or the Neo-noir with The Long Goodbye. Other times, we find these same qualities in ensemble pieces as varied as NashvilleA WeddingShortCuts and Gosford Park to name just four examples. Now without further ado, I present to Cindy’s readers my top 3 favorite Robert Alman films starting with number 3.

3.) Short Cuts (1993)
On paper, adapting nine Raymond Carver short stories into a 188-minute episodic film, not to mention relocating it’s setting of the Pacific Northwest to that of the Central Valley, looks like a hit-and-miss undertaking with more examples of the latter than the former. Amazingly enough, Altman executed it all on the screen without a scratch present. Not unlike 1975’s NashvilleShort Cuts is an epic ensemble piece set against the backdrop of another iconic American city (Los Angeles, California) while exploring the lives of its many different characters – 22 as opposed to the 24 of that earlier film. Here, Altman (along with Frank Barhydt, who co-wrote the screenplay with him) delivers a sprawling human comedy-drama that also works as an insightful panoramic view of everyday people and the situations they face. The results are both humorous and poignant.

2.) McCabe & Mrs. Miller (1971)
Produced during an era when the Revisionist Western was at the peak of its popularity, McCabe & Mrs. Miller continues to stand out for me as quite possibly my personal favorite of the aforementioned sub-genre, which I count myself as a huge fan of. MASH might have introduced us viewers to director Robert Altman’s unconventional filmmaking style, but it is in McCabe & Mrs. Miller that Altman finds himself perfecting it. In its entirety, Altman sprinkles his trademark use of overlapping dialogue so effortlessly that it feels more like his tenth feature film after MASH rather than his second (Brewster McCloud was sandwiched in between). As others have implied, the plot may sound straightforward, but in execution, it is anything but. For example, Warren Beatty’s entrepreneur/gunslinger John McCabe debatably ranks stronger at the former than he does at the latter regardless of its climactic shootout. As a business partner, Julie Christie’s brothel madam Constance Miller completes him. Speaking of which, the chemistry between Beatty and Christie (the best of their three on-screen collaborations) is as playful as it is ultimately poignant. Vilmos Zsigmond’s distinctive cinematography and Leonard Cohen’s poetic music (three of his songs are played here) shapes the form and content of this authentic American masterpiece.

1.) Nashville (1975)
How does one sum up an essential American classic like Nashville? Well If you adore the film like I do, then the answer to that question is simple. For me, Nashville is like watching 3 films for the price of one. Each is as similar as they are different. On the one hand, it is a comedy that (explicitly and implicitly) satirizes the title city’s political culture, not to mention it’s country music scene. Simultaneously, it is a thought-provoking drama that critiques celebrity worship. On the side, it also comes off as an exuberant musical filled with expressive songs. Director Robert Altman’s trademark use of overlapping dialogue (here courtesy of Joan Tewkesbury) is at it’s most memorable here – one of the sequences takes place during the aftermath of multiple-vehicle collision and another at a pre-show house party. All in all, Nashville stands out as Altman’s crowning achievement. In case any, if you readers are interested in reading my full-length review of the film, click here

Cindy Says:

I appreciate Robert Altman now more than I ever have because he is a director whose filming style became a personal stamp of distinction. His love for the actor, that is, giving them free-reign of ownership of the scene, was atypical. Elliott Gould‘s talent for improvisation made him a favorite of Altman. In MASH, Gould recalls in an interview (read the full Jon Zelazny article HERE) “I read the script, which was by Ring Lardner, Jr., but I didn’t think much of it. As far as I’m concerned, MASH is Robert Altman’s vision. I remember when we showed the picture to Lardner at the studio, he came up to me afterward and said, “How could you do this to me? There’s not a single word in there that I wrote!” And he went on to win the Academy Award for Best Screenplay!” In The Last Goodbye (1973), Elliot Gould maximizes his ability to insert character snippets of dialogue to create memorable lines that forge a character, like his repetitious, “It’s okay with me”. Robert Altman wanted his actors to show him something new. He believed the artistic power of a scene rested in the lap of the actor, not the director.

His incorporation of music and his obsession with sound using multi-tracks created an experience similar to watching a beehive. MASH (1970) is a perfect example of this. The expansive ensemble casts and his love of wide-angle shots included everyone and everything showcasing their lives and mini-dramas. The character Radar (Gary Burghoff) births a whole career out his ability to create a character who talks over his commanding officer. A simple trick for making the grunt superior to his superior. A technique for flip-flopping what’s expected and revealing the satiric theme of the film. The result is a chaotic perspective, occasionally voyeuristic, like when Griffin Mill (Tim Robbins) spies on June Gudmundsdottir (Greta Scacchi) outside her window while having a flirty conversation in The Player (1992).  In a Richard Altman film, the audience is positioned far and high enough away to catch the buzz of sounds and movements. It’s an unusual perspective.

My favorite Altman technique is the long take, his famous example is the seven-plus minute opening shot in The Player which pays homage to Orson Welles long take, opening shot from Touch of Evil (1958). Many of Altman’s films combine the long take with overlapping dialogue. You see it beautifully executed in The Player and my personal favorite Altman film, Gosford Park (2001). I am a sucker for plots that focus on the “upstairs, downstairs” dynamic. Altman pays homage to classic Hollywood with a British location and a large, star-studded ensemble cast that is a joy to watch. We follow the camera around the halls overhearing, snooping, participating in the whodunit mystery. The music is perfect with a Cary-Grant-type star Ivor Novello (Jeremy Northam) at the piano serenading the scheming elite while the servants silently migrate the periphery of the room. The acting, the aesthetics, the constant movement of dialogue and tracking shots are Altman at his best. I believe Robert Altman blended art and marketability better than most. What was his recipe for success?

Griffin Mill: It lacked certain elements that we need to market a film successfully.

June Gudmundsdottir: What elements?

Griffin Mill: Suspense, laughter, violence. Hope, heart, nudity, sex. Happy endings. Mainly happy endings.

Well, maybe the happy endings didn’t happen, but I noticed I’m always happy after watching a Robert Altman film.

THANKS AGAIN, JOHN CHARET for co-hosting today! Please, everyone, tell us what you think about the technique of the late-great Robert Altman. 

CindyLucky13Banner (1)

Are You Not Entertained? Books, TV, Movies

Always on the quest for excellent entertainment, here continues a series of a quick report of above-average finds.

BOOKS

 

The German Girl (2016) by Armando Lucas Correa. Historical Fiction. A fine opportunity to tell the story of the plight of the passengers of the St. Louis, when in 1939, 900 passengers sailed from Hamburg to Havana. They were mostly German-Jewish refugees escaping from the Nazi regime. The protagonist is a 12-year-old girl named Hannah Rosenthal. Her wealthy family hoped to start a new life in Cuba. Her best friend Leo and her father are refused entry. The ship leaves without Hannah and her mother who are forced to live in Cuba. After failed attempts to disembark in Canada or the United States, the St. Louis is forced to return to Germany where the passengers meet their demise. There is a duo narration between Hannah the girl who grows and ages in Cuba and her eventual grand-niece, who pieces together the mysterious puzzle of her aunt’s life.  It’s a good story but falls short at times. Hannah’s life in Cuba is glossed over. It would have been better had Correa devoted more time to the challenges facing the Jewish pair living in Cuba. 4/5.

Lilac Girls (2017)  by Martha Hall Kelly. Historical Fiction. A fascinating topic concerning the Rabbits, the female concentration camp victims at Ravensbrück, who suffered medical experiments. The POV alternates between three characters based on real people. It’s sophisticated, interesting and a gripping account of WWII and the aftermath. Set in New York, Paris, Germany, and Poland, Caroline the New York sophisticate and survivor Kasia bring justice to those that time has forgotten. 4.2/5

MOVIES

A Fortunate Man (2018)2018 Danish drama film directed by Bille August. Starring Esben Smed Jensen, it’s an intellectual film about a nineteenth-century ambitious young man named Lykke-Per who escapes his strict Lutheran family in remote Denmark and becomes an important engineer in Copenhagen. He is a man who seeks opportunity and advances himself in any way possible. He’s a flawed character which makes him interesting to watch and Jensen gives a fine performance. It’s a beautiful film about the possibilities of technology from the 1880s and Lykke-Per is complex and likable despite poor decisions. Equally important is the role of Katrine Rosenthal, the spinsterly oldest daughter of a Jewish family who sponsors Lykke-Per’s projects. The actress who plays the progressive feminist is Jakobe Salamon. She is marvelous. It’s long with a running time of 2 hours and 42 minutes. If you have time to kill and want sumptuous scenery and fine acting with interesting ideas and a convincing protagonist, you can find it on Netflix. 4/5

The Professor and the Madman (2019). Great fun seeing Mel Gibson and Sean Penn give convincing performances depicting the making of the OED. The irony does not fail me — how odd that a Scotsman and an American would have a huge influence over the creation of the Oxford English Dictionary. I loved it. The story, the acting, the story-line. I don’t know how authentic this film is based on “the incredible true story”, but I was greatly entertained. Check out the trailer. 4/5

TELEVISION

So as I was preparing to go to Scotland and London this summer, I watched a lot of United Kingdom storylines. Purely to get me in the mood.

Outlander (2014 -) At first I thought it was a Harlequin Romance put to television, but I did have to concede how historically interesting and the culture of the highlanders were displayed to my utter satisfaction. Details were accurate and the setting was absolutely what I was looking for. Of all things, my mother (at 78) recommended it to me. I was shocked at the graphic sex in the first season. I blushed. Now I understood what my young colleagues were talking about when they mentioned how exquisite Jamie Fraser was played by the buffy actor Sam Eughan. I offhandedly heard of the novels written in the 1990s by the author Diana Gabaldon but I was unaware Dr. Gabaldon holds three degrees in science: Zoology, Marine Biology, and a Ph.D. in Quantitative Behavioral Ecology. I am growing restless at the end of season two and might switch to Reign. It is about Queen of Scotland Mary Stuart. My mom says it’s better. We’ll see. 4/5

Luther (2010-)  This was easy to binge on. My blogging buddies, Pete and Abbi O, raved about it so I gave it a go. I got through a few seasons easily. Idris Elba plays Luther, a brilliant but emotionally impulsive detective who is tormented by the dark side of humanity while hunting down murderers. The cat and mouse plots are top-rate albeit gory. The best part of the series is the unusual relationship he has with psychopath Alice Morgan played to perfection by Ruth Wilson. 4.5/5

DOCUMENTARY

May it Last (2017) The Avett Brothers are refreshing because they don’t follow the pattern of a band rising up to stardom via sex, drugs, and rock and roll. I love their music and their relationships are heartwarming. Authentic and beautiful, their story will move you to tears in parts. 4/5.

This is the prettiest, astute song I’ve heard in ages. “No Hard Feelings”

Blog at WordPress.com.

Up ↑