Dark Comedy “The Professor” and Mortality Films

I heard nothing about Johnny Depp‘s recent dark comedy The Professor when I trolled through Amazon’s waters for something new to rent. It was a love/hate experience. One of those films that has great ideas and witty occasions but executed in a sloppy way that undermines the story. I really wanted to like the film. I love Johnny Depp. And I dislike much of his films. He has so much talent that shines forward in scenes, but he can’t seem to find a film that showcases him to the stature he belongs as an actor. In this film, his voice warbles and remains low and other accents from previous characters creep in. He doesn’t seem to know how to act the part. (2.5 stars) Yet, the ideas about the film come through and linger with me. 

Johnny plays a New England English academic who is diagnosed with stage four lung cancer. He decides not to seek treatment knowing he has six months to live. This confrontation with mortality alters his perception of life and his teaching style. He throws away professionalism and embarks on a journey with his English students with a carpe diem approach including partying and random sex. In short, he throws away his authority and parties it up with his students while expecting earnest conversations. Time is not to be wasted. The movie is a cross between Old School and Dead Poet’s Society. It’s profane and not too funny much of the time. Too bad, since stories with themes that include the insights to a meaningful life appeal to me, and I love a good dark comedy. Maybe you liked it?

Finally, at the end of the movie, the message arrives. Treat your days as though they were your last. Don’t be a part of the 98 percent who embrace mediocrity. Strive to be an individual and live life with meaning. Well, it’s certainly sage advice we’ve heard of before in films. Do you recognize these famous lines?

“Make each day count.  Hear, hear! To making it count.”

“Earn this.”  

“Seize the day, boys. Make your lives extraordinary.”

“You is kind. You is smart. You is important.”

“Life is hard. It’s supposed to be. If we didn’t suffer, we wouldn’t learn a thing.”

“Don’t look back. It drags at your heart till you can’t do anything but look back.”

It’s supposed to be hard. If it wasn’t hard, everyone would do it. The hard…is what makes it great.”

“Not all those who wander are lost.”

“A heart is not judged by how much you love, but by how much you are loved by others.”

“I do not expect us to agree about everything, but I would much rather have you believe in something I don’t agree with than to accept everything blindly. And that begins with thinking rationally.”

“Listen to me, mister. You’re my knight in shining armor. Don’t you forget it. You’re going to get back on that horse, and I’m going to be right behind you, holding on tight, and away we’re gonna go, go, go!”

Have you noticed many films with the best messages are played by a dynamic duo from the 80s and 90s? Do you think there is a correlation between the memorable lines said by the characters played by Tom Hanks and Robin Williams? That is to say, the sentimentality incurred by their famous lines made them endearing to the public. Another way of putting it — their famous lines made the actor, not necessarily their talent? I do.

What are some of your favorite lines that give insight into the meaning of life?

 

* * * * * * * * * * * *

 

Jack, Titanic; Capt. Miller, Saving Private Ryan; John Keating, Dead Poet’s Society; Abileen Clark, The Help; Jesse, Before Sunset; Scarlett, Gone with the Wind; Jimmy Dugan, A League of Their Own; Gandalf, The Fellowship of the Ring; The Wizard of Oz; Santosh Patel, The Life of Pi; Ethel, On Golden Pond. 

 

 

L13FC: Raymond Chandler films

 

Welcome, all to the Lucky 13 Film Club and a special thanks to my good friend Pete from Beetley who agreed to co-host this month’s topic–films associated with Raymond Chandler. The purpose is to comment and engage with others in a positive way. So, join in!

Pete’s thoughts:

As I have never read any of Raymond Chandler’s novels, I am dealing with the portrayal of his iconic detective, Philip Marlowe in four films made before 1950, as I consider them to be in the genre of American Film Noir. Later versions served as an homage but lacked that gritty feel of the black and white classics.

Marlowe is a character we all think we know from either the books or the films, but each actor who has taken on the role has given us a very different portrayal. Essentially, he is a reflective, chess-playing man; a world-weary and unimpressed detective who rarely falls for the sob stories of the ever-present female love interest. He lives alone, avoids violence, and treats friend and enemy with much the same attitude.

 In his first outing, ‘Murder My Sweet’ (1946), former song and dance man Dick Powell gives us an edgy Marlowe. No-nonsense, unsympathetic, and openly aggressive, he lacks both the insight and contemplative manner that is essential to understanding the character. And it is hard to equate the cheery crooner from ’42nd Street’ in the role of a tough guy too.

But in 1946, we were treated to ‘The Big Sleep’. Marlowe was firmly established in the genre by the near-perfect casting of Humphrey Bogart. This was an actor who not only knew how to deliver some classic one-liners but also how to get Marlowe across by what he doesn’t say, as much as by what he does. Laconic, tired, visibly sick of it all, he also fails to be beguiled by the presence of Lauren Bacall as the femme fatale. He can say as much in one look, as Powell managed in ten lines of dialogue. This wonderful pairing, great direction, and snappy script all combined to deliver the archetypal Marlowe on screen. And for my money, it was never bettered. 

Brief mention goes to the two 1947 films, ‘Lady In The Lake’, and ‘The Brasher Dubloon’, starring Robert Montgomery and George Montgomery, respectively. After Bogart’s turn the previous year, those two hard an impossible act to follow. The result is by-the-numbers performances in films that are ultimately forgettable.

Cindy says:

I recently focused a post on Raymond Chandler AS AUTHOR. I wanted to revisit the film adaptations of his classic novels. Additionally, where he had a role in the screenplay. It’s the language of the script that interests me. What’s more important in a film noir? The actor and femme fatale chemistry? Or is it the storyline? I’ve read many reviews that pick at holes and say the plot takes a back seat. I feel it’s Chandler’s language that makes the best film noirs. 

Implementing the lyrical metaphors and the snappy smart-alec responses typifying the style of Raymond Chandler is when the noir ascends. The script that moves further away from Raymond Chandler’s style, the lesser the quality. 

One film noir is quintessential. Billy Wilder‘s direction + Raymond Chandler‘s screenplay+ the powerhouse chemistry between the narrator (Fred MacMurray) and femme fatale (Barbara Stanwyck) is on everyone’s favorite list: Double Indemnity (1944). Watch the clip. It’s the language that makes the film fantastic.

Walter Neff: How could I have known that murder could sometimes smell like honeysuckle?

Murder My Sweet (1944) starring Dick Powell has an awesome dream sequence and is a fantastic film noir. Why? Once again, the language.

Philip Marlowe:
“‘Okay Marlowe,’ I said to myself. ‘You’re a tough guy. You’ve been sapped twice, choked, beaten silly with a gun, shot in the arm until you’re crazy as a couple of waltzing mice. Now let’s see you do something really tough – like putting your pants on.'”

Philip Marlowe:
My throat felt sore, but the fingers feeling it didn’t feel anything. They were just a bunch of bananas that looked like fingers.

Which Raymond Chandler film is your favorite and what is your favorite scene? 

 

A big hug goes to Pete for hijacking my blog and talking to you all. Please join in the conversation and don’t forget to check out Pete’s blog found RIGHT HERE.

Anticipated 2019 Indie Films

I was reading the December 2018 article by David Ehrlich, et al,  “The 20 Most Anticipated Movies of 2019” on Indie Wire to stimulate my curiosity for films I might like to see this year.

Image result for ad astra film poster

Ad Astra. James Gray leaves the jungle in The Lost City of Z and offers a science fiction drama in space. Starring Brad Pitt, Ruth Negga, Tommy Lee Jones, and Donald Sutherland, it will be a challenge to create a realistic space epic about a son who travels through the solar system to find his father and why his mission to Neptune failed. I am hopeful. Release date: May 24. 

Image result for scorsese the irishman movie posters

The Irishman. Martin Scorsese explores the hitman Frank ‘The Irishman’ Sheeran’s possible involvement in the disappearance of Jimmy Hoffa. If you like mobster movies, I don’t know how one could not be interested, when considering the cast: Robert DeNiro, Al Pacino, Joe Pesci, and Harvey Keitel. Scorsese signs up with Netflix for total creative control and resources. The CGI de-aging of DeNiro has caused rumblings. I’m hoping the chemistry and a well-written script keeps me captivated. It should be seen on the big screen, so I hope it makes it to the theaters. Release date: “Sometime in late Autumn.”

Image result for image jojo rabbit movie poster

Jojo Rabbit. New Zealand director Taika Waititi (Boy, What We Do in the Shadows, Hunt for the Wilderpeople, Thor: Ragnarok, Two Cars One Night) whose mother was a Russian Jew, creates an unusual tale about a young German boy who searches for his identity in a fascist regime by creating his own version of Hitler as an imaginary friend. In reality, his mother is hiding a Jew in the basement. Starring Scarlett Johansson, Sam Rockwell, Rebel Wilson, and Thomasin McKenzie, who was amazing in Leave No Trace, it sounds like a quirky, dark satire. I hope Waititi’s sensitive side adds compassion and irony to a potentially thought-provoking story. Release date:  November 27. 

Once Upon a Time in Hollywood. Is this Quentin Tarantino’s final film before he retires? Whether you love him or hate him, this film intrigues me. It’s Quentin Tarantino’s goal at creating the historical climate of Hollywood in the early seventies. Will it be enough? As with most Tarantino films, I find the plots dubious and rambling — a lot of borrowed style but little content. I hope the script he took five years to create has a beginning, a middle, and an end. Yes, of course, I would love to see Brad Pitt and Leonardo DiCaprio together on screen. So, too, Margot Robbie and Al Pacino. It also helps that the Manson murders are a backdrop and not the central plot point of the movie. That Sharon Tate’s sister approved of the script and that Tarantino had the class to ask her for her blessing, helps the cause. Release date: July 26.

What are some films you are looking forward to watching this year?

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