The Beguiled ’71 vs The Beguiled ’17

I recommend reading Keith’s thoughts about the 2017 remake found here:

The 1971 Version

Three years into the Civil War, handsome Union soldier John McBurney (Clint Eastwood) is discovered and brought to Miss Martha Farnsworth Seminary for Young Ladies. At first, he is delighted to be surrounded by the cloistered beauty of varying ages. An African American slave, Hallie, (blues singer Mae Mercer) who remains on the estate and assists headmistress Martha (Geraldine Page, Hondo, Sweet Bird of Youth), try to keep order among the girls who are drawn to their new guest. The girls learn French, garden, knit and embroider, and take the post to look out for Union soldiers while getting updates from Southern soldiers as they pass by the imposing wrought-iron gate that keeps the girls in like a prison.

The 1971 version was produced and directed Don Siegel (Eastwood and he worked together in five films) was based on the novel A Painted Devil by Thomas P. Cullinan. The 1971 version focused on sexual taboos and sexual repression created by isolation of the war. The male is the victim and Eastwood falls into the den of the black widow and her spiders. The theme of castration is outwardly expressed.

The 2017 Version

In this version, headmistress Martha is played by the wispy, haunted, out-of-breath Nicole Kidman. Colin Firth is Corporal John McBurney. Kirsten Dunst is the plump, aging spinster who wants to escape her confining post as the teacher at the school and hopes John will save her.

The weakness of one version was the strength of the other so that trying to decide which was better was difficult. Sofia Coppola‘s outstanding effort was her directorship. Applauds all around for capturing the humid, suffocating setting of trees and brush and cicadas and for creating an authentic historical climate of 1863 even though she filmed it at Lousiana’s Madewood Plantation while the location was said to be in Virginia. Fine, I’ll give that to her because the location made for an ideal stage. Sofia does well with costumes in her films and uses them to accentuate the personalities of her characters. In this case, her female cast wears white and it is appropriate as boarding school garb and innocence even though they are all a bit too starched and brand new for a timeworn, ragged estate three years into the war. The ending shot was outstanding. It was a daguerreotype, the outcome frozen and ghostly. White seemed to be a motif Coppola played with throughout the 90 minutes.

The 2017 film felt like a lot of short stories I’ve read over the years and loved. The ghost stories of George Eliot, Daphne du Maurier, Shirley Jackson, and Virginia Woolf come to mind. Sin is insinuated rather than fleshed out and laid on the table. (sorry) You’d get more of that from the 1971 version. While I appreciated the camera angles from Eastwood’s perspective and the manual pull in and out of the lens from Dan Spiegel, the occasional harpsichord felt like you were in a Vincent Price film. Not that that’s bad, just dated. However, the acting was much better in the 1971 version especially the “hussy” Carol played by Jo Ann Harris.

The biggest contrast between both versions was the matchup between Miss Martha the headmistress and Corporal McBurney. The 1971 version is better because of Geraldine Page. The motivating events propelled her performance to a higher, memorable plateau while validating the decisions of the others. I felt Sofia’s screenplay softened and blurred the characters. Since this is a film about relationships, Coppola’s characters paled by comparison. If you took Sophia’s directing and inserted the 1971 cast into her Southern setting, you’d have an outstanding film. As it is, I’d rate the 2017 version as a 3.5 and the 1971 version a 4.

July 10, 2017 41

L13FC: Religion and Violence in Irish Films

Welcome back to the Lucky 13 Film Club. Traditionally, a co-host joins me and we share an angle into the film industry and talk to people all day long. It’s great to hear from one and all, so add to the conversation. Would you like to lead a discussion you are passionate about? Let’s figure out a topic together and select a month that works for you. It’s easy and fun. Email me with your idea: cbruchman@yahoo.com.

It probably has occurred to you that if there’s a movie about the Irish whether it was filmed in Ireland or contains Irish characters, invariably, elements of Catholicism and violence follow. Is this a stereotype? Why are the Irish depicted as scrappers, alcoholics, boorish and profane? A sign of the cross in one breath, a hard right sent or received in the next? As an ethnic group, the Irish and Catholicism are intrinsic, and in films, the priests and nuns usually misbehave behind their cloisters and vestments? Tis a gray line between their luck and their paddy-whacked explosive history. If the violence isn’t with the Catholic church, a mob, a brawl or bout in the ring, the violence likely happens between the IRA and the feud between Northern Ireland Protestants and their Southern Catholic counterparts. Need a quick reminder of Northern Irish History? READ THIS. Can you think of a film set in Ireland or containing Irish characters which don’t feature religion and violence? The only two exceptions I can think of are Brooklyn (2015) and Waking Ned Devine (1998). (Well, Eilis did emigrate and establish herself with the help of Father Glynn, didn’t she?)

Boston

If it’s a film set in the Boston area, the Irish family is revered, Catholicism is followed, violence is worshipped, and the culture is packaged with an indiscernible vernacular and enough profanity to make a sailor blush.

Would you consider Good Will Hunting a violent film?

Daniel Day-Lewis

He loved Ireland so much he became a citizen. Some of his best films include him playing an Irish character.

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Favorite Irish Characters in Films

Violence and Religion are the cornerstones of Irish history and those values are reflected in film. Have the stereotypes worn thin? What’s the fascination and glamorization of violence, alcohol, and the perversion of faith? My favorite stereotype is that they’re funny.

March 13, 2017 51

Winter Project: The Final Five of Steve McQueen

Thanks to everyone for joining me while I explored the filmography of actor Steve McQueen. The 60s and 70s movie icon had a slew of great films to his credit. Since both parents had died at age fifty, with a sardonic sense of humor, he was sure he wouldn’t pass the half-century mark. His prediction came true. He died at 50 from Mesothelioma on November 7, 1980. Breathing the asbestos filaments located in several workplaces and in his racing helmets and suits, the industrial disease raced throughout his body in the final months of his life. He never thought he’d live long. That helped explain his drive and insatiable hunger for life. He negotiated and made millions per film including a percentage of the gross proceeds. He had full control of the directors, actors, and say of his films. Most know he was stubborn and egotistical, but his generosity and kindness extended in equal measure to his two children who loved him unconditionally and to friends with whom he had established long relationships.

The Cincinnati Kid (1965) After Papillon, this would be runner up as my favorite Steve McQueen film. Edward G. Robinson is Laney “The Man” who teaches “The Kid”(McQueen) a few lessons about life. In the game of 5 Card Stud, what are the odds two men are dealt a Straight Flush vs. a Full House? Read about THE LAST HAND here. Add Ann Margaret as the sexy temptress and Tuesday Weld as the good girl and stir in Karl Malden as Shooter, the puppet and chump into the mix. The music, the tension, and Steve convincing as “The Kid”, made it a thoroughly enjoyable film. 4.5/5

The Thomas Crown Affair (1968). Faye Dunaway and Steve McQueen are sizzling hot (It’s rated PG) in this billionaire bank caper. The split screen 60s technique, the dune buggy ride on the beach, the fashions, and that famous chess game scene full of sexual innuendos–it’s the stuff that made an Austin Powers parody possible. It was the first time McQueen broke away from his poor anti-hero to represent the high-class anti-hero. Alone on his own plateau, this film helped cement McQueen as an icon of alpha male coolness. 4/5

The Getaway (1972). This Sam Peckinpah film flows with interesting cinematography like close-ups, the loud machines grinding in the prison interior, the chase scenes, and the interior shot of a car with BBQ ribs, food fight. While Ali McGraw‘s performance left me cold, Sally Struthers and Slim Pickens were the best characters of the movie. 4/5

The Towering Inferno (1974). It was the highest-grossing disaster movies of the seventies. They came to see the cast: Steve McQueen, Paul Newman, Faye Dunaway, William Holden, Fred Astaire, Richard Chamberlain, Robert Vaughn, O.J. Simpson, Rober Wagner, Jennifer Jones, and Susan Blakely. The star power, the escape plans, the collapse of the skyscraper was engaging enough, but it can’t compete with The Poseidon Adventure (1972), the winner of the best disaster film of the decade. It took Steve fourteen years to beat out his blonde eyed rival, Paul Newman, for top-bill, but McQueen solved the problem of leading man by having his name listed first while Paul’s would be set slightly higher. 3/5

Papillon (1973). Franklin J. Schaffner was known as an innovative television director/producer in the early years of T.V. by employing film techniques within the new medium of television. He was known in the film industry for popular films like Planet of the Apes (1968), and for Patton (1970). Schaffner’s best contribution and my top prison film is the one and only classic, Papillon (1973). Listen to the Oscar-nominated score by Jerry Goldsmith. Lovely.

Almost all great films begin with great novels. Papillon (1969) was written as an autobiographical account by Henri Charrière. In 1931, he was sentenced in Paris for a crime he did not commit and exiled to a penal colony in French Guiana. Over the course of many years, Papillon, named for the butterfly tattooed on his chest, attempted to escape. Eventually, he was sent to the inescapable Devil’s Island surrounded by hungry piranhas, sharks, and crocodiles. Henri Charrière’s story is an audacious human account demonstrating what conviction and willpower can do. His book became an instant success.

Steve McQueen gives his best performance of his career as Henri. His relationship with the inmate, Dega, played by Dustin Hoffman, is dynamic and heartfelt. It’s the cinematography that wows me. The use of black and white or the lack of sound show the solitary confinement of Papillon’s situation perfectly. When Papillon hallucinates, his dreams are horrific and the camera angles portray a true nightmare.

I find it amazing this film was not nominated for anything at the Oscars in 1974 except for Best Score which did not win. What were the contenders that year? The Sting, Serpico, and The Exorcist. Yes, all great films, but, I still think Papillon is just as good. Certainly, Hoffman and McQueen deserved recognition for their roles. What an underrated film.5.5

“Blame is for God and small children.” – Dega

February 10, 2017 33

L13FC: The Extended Shot

On the 13th of each month, the L13FC analyzes an aspect of the film industry. Please welcome co-host, Jordan at epilepticmoondancer, who wanted to suggest the topic of the EXTENDED SHOT with all of you.

Jordan’s thoughts:

Each time there was an extended take, I find myself leaning forward, as the style seems to be near-extinct within the confines of popular American cinema. How effective is the decision to the narrative? For example, Luzbeki dazzled most with his flamboyant style in Birdman, using a little trickery to make the entire film feel like it was done in one long shot. While this enhanced the experience, it compromised the story it was telling, and upon the third viewing, the camerawork was nothing more than a distraction. (If anyone cares to see a film shot in a single take, one that takes us through the streets of Berlin while also adding to the story and plot, please check out 2015’s Victoria.)

Unlike Birdman, during the early scenes of The Revenant, this swinging, stylistic style of shooting enhances the experience and the story, as not only do we feel right in the middle of the action, with arrows flying in everything direction, we consequently feel the fear and the sense of feeling trapped. In this sense then, the camera almost functions as an unseen, unnamed character.

Moving away from Luzbeki, Orson Welles’s famous crane shot from Touch of Evil (1958) immediately establishes tension within the busy streets as we wait for the car bomb to explode.

It seems then that these extended takes with a lot of movement work better outdoors than they do within. An exception is Son of Saul (2015). A simple hand-held camera follows Saul’s every move in the Auschwitz crematorium and the defocused, claustrophobic horror is captured effectively. Son of Saul was praised for its unique visual presentation. We rarely see anything other than his face or the back of his head, and consequently, we see his reactions to other stimuli. Does this visual approach affect the way the story is perceived by the audience? It is the camerawork itself that tells us the story, that puts us in the shoes of Saul. It is a Holocaust film like no other, where we again feel right in the action.

I could obviously go on with endless examples, such as action films like The Raid or Tony Jaa films where the lack of cut after cut after cut means we can actually see the fighting, blow for blow. We can see that these guys know how to fight, and most importantly, we can see who is hitting who! Compare this to Hollywood, which has long been fond of using innumerable cuts to hide the fact that their actors have not been properly trained.

While such extended, moving cuts will consistently capture my attention, how much do you think it adds to a film? Does it distract you from the story in any way? Or, like me, can it draw you further in, adding another layer of immersion?

Cindy’s Impressions:

One film that stands out recently for me is Hou Hsiao-Hsien’s, The Assassin (2015). The use of the long shot is used throughout the narrative, and it’s one of the more visually striking films I’ve seen.

I agree with Jordan that the choice of the extended cut adds an authentic element to the story-telling. Certain directors are heralded in part because they make good use of the long shot:

Stanley Kubrick, Paul Thomas Anderson, Martin Scorsese, Alfred Hitchcock, and Alfonso Cuarón. Whether to move the action like Children of Men (2006) or to maximize the dialogue like director Steve McQueen’s Hunger (2008), their decision creates a film where the audience is trapped; it is voyeurism heightened and felt. The film becomes an experience rather than a passive attempt at engagement.

Would you like more examples? I thought this article by Jessica Kiang in 2014, which ranked 20 of the best long shots, was interesting. You can read it here on INDIEWIRE.

Thank you, Jordan, for suggesting this interesting topic. You all have an opinion, so please feel free to join the discussion.

February 9, 2017 82

Are You Not Entertained?

I was. Here continues a monthly series featuring the music, the books, and the movies that occupied my time.

MUSIC

Bach’s six Brandenburg Concertos epitomized the Baroque period. Introduced to them twenty years ago, and despite my leaning toward the passionate Russian romantics, I learned to appreciate the symmetrical beauty of Bach’s piano works. In the 1950s and 60s, no one denied Glenn Gould the title of genius when performing them. A quirky man in a world of his own, humming on his own recordings, I highly recommend the unusual, artistic film of 32 vignettes by Director François Girard (The Red Violin) and Colm Feore starring as Gould.

And then, for a musical treat, I got a kick out watching an old television program which featured some fabulous icons–Leonard Bernstein, Glenn Gould, and Russian composer, Igor Stravinsky. You can watch Glenn Gould play around the 18:00-minute mark.

BOOKS

It’s been all about Steve McQueen in my house this past month. For the winter project, I’ve immersed myself in Marshall Terrill’s biography. As a cultural icon of the 1960s and 70s, I was reminded how free-flowing the sex, drugs, fast cars, and fashion mattered. McQueen loved it all and was an international star, commanding at his zenith almost a million dollars a film. In 1980, he died at the age of 50 of Mesothelioma from his days as a Marine, scraping asbestos off the walls of a ship. Did I like Steve McQueen after reading all about him? Not particularly, but he was cool to watch on the screen, and the biography was fast and fun, just like the man. 4/5.

MOVIES (TV)

Stranger Things, the Netflix series starred a shrilled, hyperventilating Winona Rider, an ensemble of geeky pre-teens, stereotypical high schoolers, and two actors whose characters were interesting: Chief Hopper (David Harbour) and the fantastic Eleven (Millie Bobby Brown) who reminded me of a young Natalie Portman. Nostalgic, dripping with Steven Spielberg tricks, it is my new guilty pleasure. 4/5

Controversial director, Roman Polanski, has a gift for making beautiful films, and this political thriller is no exception. You may think you are on Martha’s Vineyard in Massachusetts, but not so. The sand dunes, bulbous gray clouds, and windy spray was located on the North Sea island of Sylt. The Ghost Writer matched style with substance. Ewan McGregor and Pierce Brosnan lead a fine ensemble cast with enough twists and turns to keep you engaged. And that closing shot is one of the best I’ve seen in a while. 4/5.

Quiz Show(1994). Directed by Robert Redford. Stars Ralph Fiennes, John Turturro, Rob Morrow, and Paul Scofield. It’s funny. It’s smart. Based on true events, Ralph Fiennes plays Charlie Van Doren, a WASP, a professor of literature, whose ivy-league-Brahmin-of-a-father has basked in fame and respect for decades and junior sets out to make a name for himself. Unfortunately, his moral dilemma piques the journalistic interest of a brilliant investigative reporter played by Rob Morrow. The acting is outstanding and Paul Attanasio‘s adapted screenplay is an English major’s dream. Who wouldn’t want to sit at the family picnic table with academian greats and listen to them recite Hawthorne and Shakespeare while munching on corn on the cob? Okay, well, I would. Robert Redford warns us of television’s manipulative power, run by executives, who will do anything for ratings. Sound familiar? Mark Van Doren: Cheating on a quiz show? That’s sort of like plagiarizing a comic strip.” 4.5/5.

For the Love of Spock (2016). Even if you aren’t a Star Trek fan, I forgive you; everyone should watch this outstanding documentary for the cultural-historical relevance (breaking television boundaries with interracial mixing and science fiction influencing the leading scientists of today) and insight as to why Star Trek fans are a loyal bunch. On Netflix, it’s perfect entertainment during a work week evening when you are loafing on the couch with not much going on. Nimoy’s son chronicles his father’s life with balance and grace. I vividly remember as a girl lying on the floor in front of the TV mesmerized during all 79 episodes. Then came the movies. That’s a lot of emotional bonding and why creator Gene Roddenberry and Leonard Nimoy are tops in my book. 4.5/5

The Innocents (2016). At first, I wondered if this was a remake of the 1961 Jack Clayton film with the same title starring Deborah Kerr during Victorian England. Looks great! However, this is not the case. This French film directed by Anna Fontaine is about a young French Red Cross doctor (Lou de Laâge) who is sent in 1945 Poland to assist the survivors of the German camps and discovers several nuns in advanced states of pregnancy during a visit to a nearby convent. It is a fantastic based-on-true-events effort by Fontaine. My only criticism is the space between the doctor and the nuns. The nuns remain “others” and in spite of the intimacy of delivering baby after baby; the nuns remain foreign entities other than a couple of brief conversations. On the plus side, I thought it a good call in the script to avoid flashbacks of the rapes. 4/5.

A Man Called Ove (2016) This Swedish gem directed by Hannes Holms and his screenplay adapted from Fredrik Backman‘s novel of the same name was a surprise treat. This dark comedy affected me to tears which I wasn’t expecting. The grumpy old man, Ove, (Rolf Lassgård) who can’t come to terms with his wife’s death, discovers there’s still meaning in life. He seems like the dull model of mediocrity, but his love story told through flashbacks about his beautiful wife Sonja (Ida Engvoll) provides depth and surprises. The grumpy old man stereotype turns into a complex character when the people in his present like the Middle Eastern young wife (Bahar Pars) who helps him realize that life has a purpose even when you think you’re done with it. Touching and beautiful. 4.5/5.

February 2, 2017 48

Film Spotlight: Denial

Guest Review: DENIAL (2016) by Cinemusefilms

The nature of truth and the power to manipulate it have long been contentious themes in history and cinema. The outstanding film Denial (2016) resonates loudly in today’s post-truth world where power is often used to create alternate realities. It is a film that portrays denialism as a dangerous and perverse form of moral corruption, something that may be contained but can never be eliminated.

The story is based on the celebrated 1996 legal case fought between eminent academic Deborah Lipstadt, an American professor of Holocaust Studies, and David Irving, a historian of Nazi Germany. A book published by Lipstadt (Rachael Weisz) accuses Irving (Timothy Spall) of being a Holocaust denier and falsifier of history, and Irving sues for defamation. In the British justice system, the burden of proof is on the accused so Lipstadt must prove that the Holocaust did happen to establish that Irving is a liar. She engages a top legal team led by senior barrister Richard Rampton (Tom Wilkinson) who insists that neither Lipstadt or Holocaust survivors should present testimony against Irving because of his history of promoting himself by humiliating victims. Lipstadt and her lawyers visit Auschwitz to gather evidence of the existence of gas chambers but the bulk of the story is played out on the legal battlefield at court.

Modern audiences are desensitised to the atrocities of war. It is glorified in movies and video games and feeds the entertainment and amusement industry. Today’s filmmakers struggle to find ways of remembering the Holocaust without alienating viewers. The extraordinary Son of Saul (2016) takes audiences right into the flames, whereas Denial (2016) explores the moral issues in a courtroom. In reality, this was a high-stakes legal battle that could have potentially delegitimised the entire history of the Holocaust. It is an outstanding achievement that this film can capture the tension and the burden of moral responsibility carried by the Lipstadt legal team.

The casting and characterisation in this film are brilliant. Rachael Weisz’s American brashness presents a stark cultural contrast with the conservative traditions of British justice. She convincingly portrays a principled academic and scholar of truth, showing restrained emotion beneath her loathing for Irving’s anti-Semitism. Tom Wilkinson gives a masterful portrait of wisdom and conviction, while Timothy Spall plays Irving with subdued Satanic malice. The other support cast makes up a strong ensemble. The narrative unfolds at a sweeping pace and the script is both intelligent and instructive in the legal nuance of courtroom manoeuvers. The footage of Auschwitz is emotionally harrowing and the film treats its subject matter with utmost reverence.

If you want light entertainment, do not see this film. It is for audiences prepared to confront the dark side of humanity as well as those interested in the intricacies and triumphs of the British legal system. But more than that, it’s an essay on the nature of truth in history and it exposes the moral abhorrence of those who manipulate facts to suit their prejudices It is also a warning that manipulators of truth will always be among us. 4/5

Director: Mick Jackson

Stars: Rachel Weisz, Tom Wilkinson, Timothy Spall

Thanks, RICHARD, for contributing to my blog today!

January 30, 2017 25

Category: Film Spotlight

The Beguiled ’71 vs The Beguiled ’17