The McFreeds report on the weekend's activities...

We finished up the 6 month long Hitchcock film retrospective that Baltimore's The Charles Theatre held this year with Cary Grant and Grace Kelly in To Catch A Thief. Our friend Julie again tagged along. This clip gives you a great hint at what to enjoy when you catch it on DVD or a theatre near you. This was the first time Stefan had seen this one!  We were sad to see this go, but we really enjoyed the retrospective and so did a ton of other people. We saw Rear Window, Vertigo, Dial M for Murder (in 3D no less!), and To Catch A Thief together; and Sean caught The Birds with our friend Julie (who also saw Vertigo and Thief with us). We can't wait to see what is next!

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Sean mourns the passing of a legend...

Her name was Tula Ellice Finklea when she was born in Amarillo, Texas, on March 8, 1922. From her earliest years she was called Sid, because her older brother couldn't say "sister." She was a sickly girl who started dancing lessons to build up her strength after a bout with polio. She took up ballet to strengthen her body. The skills she took her from Texas to around the world. She got a big break dancing in Singin' In The Rain and never looked back through the hey day of the Hollywood musical, all on the best legs in the business. Cyd Charisse has danced her last dance for us. She passed last night after a heartattack at the age of 86.

Here is her first big impression on the silver screen, Singin' In The Rain's "Broadway Melody" sequence. Wait for  the 4:46 minute where the beautiful pairing of Gene Kelly and Cyd in a ballet duet with a 25 foot scarf will just amazes you. (9:02 minutes)

Cyd could dance with the best of them!  Here she is in my favorite dance with her. Her partner? Fred Astaire. This is the "Dancing in The Dark" sequence from The Band Wagon. This was later famously remade with Steve Martin and Gilda Radner on Saturday Night Live. The choreography of this is timeless and romantic. (4:32 minutes)

Cyd excelled in many of her films. This little seen film, It's Always Fair Weather, contains my third favorite dance by her - "Baby You Knock Me Out." Never a singer really, her voice is dubbed here by Carol Richards. How they got all those very old guys to dance so well I will never know. Watch her skirt. They weighted it to make the skirt flow as it did. Great movie by the way and worth your time, if you love musicals. (2:40 minutes)

I hope she is dancing her way up to heaven now. Thanks Cyd!

Bonus Video! Here is Cyd (at 67!) doing a cameo at the 2:58 minute of this Janet Jackson video for the song "Alright." This was the first time I ever saw Cyd and I never forgot it. Enjoy! (8:24 minutes)

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Sean and Stefan say...

Vertigo - Sean's Favorite Film Scene

Yesterday we spent a great and (what turned out to be) beautiful day with our friend Julie (sporting a lovely hair-do we might add)!  We saw Sean's favorite flick EVER, Alfred Hitchcock's Vertigo in a revival at what is becoming our favorite theatre pastime The Charles.  And then we continued on to Cafe Hon in Baltimore's Hampden area.  The theatre was packed and the film got a round of applause at the end. As we drove over to Cafe Hon, we debated the reasons why the film ended the way it did and whether the ledges of Spanish mission bell towers are really that wide. Stefan later proved himself by remembering what Sean's favorite Vertigo scene was without prompting as well as showing sympathy for poor Midge (Barbara BelGeddes), Jimmy Stewart's character's pining ex-fiance who obsesses in her own way. Stefan led us on a shopping tour after a late brunch. This all felt like it happened before but it really didn't. It was great to see Julie; she always gives us welcome and sage advise!

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Sean adds...

Here is a list of what I think are the best of Oscar's Best Pictures and the worst.  Now this does not mean that what was left off was not good or bad. This does not mean that I don't like some of the worst listed. This is to indicate taht the films here either desereve the title now that time has passed or not.

The Best

1. Casablanca

2. Lawrence of Arabia

3. The Bridge on The River Kwai

4. Unforgiven

5. West Side Story

6. Annie Hall

7. All Quiet On The Western Front

The Worst

1. The Greatest Show On Earth

2. Around The World in 80 Days

3. My Fair Lady

4. Rain Man

5. Forrest Gump

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Sean opines...

Paul Thomas Anderson is a director I rarely find fault with. His films Boogie Nights (one of my top 100 of all time) and Magnolia are two that I regularly visit and many of this flawed attempts like Hard Eight and Punch Drunk Love still are full of great moments.  That is why his attempt at the great American epic is painful to call a failure.

There Will Be Blood is an attempt to emulate Citizen Kane and The Godfather in so many ways. A strong male figure of notable success is the center of the film. Most of the man's life is taken on during the course of the film.  All have strained relationships with their sons.  Family does not necessarily mean kin. A preoccupation with greed over family is paramount to the direction of the man's life.  Citizen Kane succeeded because it truly was the first grand attempt and it has been emulated by all that followed. The Godfather, although not a favorite of mine, is a sage that led to devotion of billions around the world. There Will Be Blood collapses under the maniacal nature of its main character Daniel Plainview and the absurdity of the script's attempt to parallel the rise of Daniel and that of Eli Sunday (Paul Dano).  It is the battle of absolute corruption that noone wants to watch. You feel no sympathy for the character Daniel Day-Lewis commits to absolutely here.  Daniel's pure evil and insanity ultimately leaves the audience unenthused for the character's progression.  The famous scene of Lewis screaming about drinking Eli's milkshake just becomes laughable and puzzling - which is what a viewer walks away with. I would rather hear Kelis sing her famous song instead!

The film also is flawed in its pacing and attempts to move the story forward even in frame. I basically felt that I was watching the a documentary on how oil is drilled. The move begins with Daniel Plainview mining. No narrative hook, just a boring view of how to mine. This continues throughout. Sometimes it catches your interest but editing should have focused more on story and not on the how to. The score is a total failure. The score just made the film plod even in scenes! the cinematographer tried so hard to make this film visually stunning, but the score, script and director basically framed a scope that was dull.  I found myself leaving the theatre wondering why my director went wrong?

This is not a fun or interesting film to watch in my review. Daniel Day-Lewis' (a phenomenal actor) performance will be the Rain Man of our age if he wins the Oscar... lampooned more for its absurdity then his talent.  All and all 2 and 1/2 hours I wish I had back.

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Sean opines...

Joel and Ethan Coen are one of the best director/writer teams ever. Their films have become ones that everyone remembers even though not always universally celebrated. Raising Arizona caught my attention first. "Son, you got a panty on your head." and "Now you take that diaper off your head and you put it back on your sister!" are quotes I regularly have walk through my mind on occasion because of that fun trip the bizarre mind of these two brothers created. Fargo was the next. Frances McDormand (Joel's wife) captured the attention of America in the bloody yet quirky film. Her "Thanks a bunch" is a staple in my day to day life. And I just caught O' Brother Where Art Thou? the other night, which was a pleasant surprise. Always the right amount of dark humor and brilliant cinematography from mainly Roger Deakins.  So why did I not like No Country For Old Men as much?

No Country For Old Men is a simple story about a man (Josh Brolin, in a great performance) who finds money in the desert and the clean up man who wants it back on principle. A modern western that pulls no punches when its time to kill and attempts to work off the addage that times have changed and with it the way and vigiliance of crime.  In a mixture of spaghetti and Sam Peckinpah westerns and Igmar Bergman reflection, No Country For Old Men pays homage to the Coen brothers inspiration.  They personify evil in Anton Chigurh (Javier Bardem).  Bardem quietly and methodically walks and murders through this film with perfection. A villain for the ages, down from heaven almost to wreak God's vegeance or Hell reclaiming its lost souls. The first coin flip scene is a classic. No conscience only signs from God as to who deseves mercy and who deserves death are his leading indicators.  A performance worthy of honor. But does the movie deliver the entire goods? No.

The weakness of the film is the ruminations of the Tommy Lee Jones character, the sheriff of the county that all the violence began.  He stands back and observes the action from afar, relating his sage maturity and in the end abandoning the fight because it is too intense for his old sensibilities. Granted the expectation at a much more interesting ending led to the disappointment; but, the ending given just is unitelligible.  The film plugs along though only to be killed in the last 4 minutes that caused the audience I saw it with to audibly say "WHAT???"  It might deserve a second viewing but the mystery is gone and from what I can gather I am not alone in my anger with the chosen finish. In addition, the editing of the film allows for drama to unfold but in some areas it seems to linger to long and bore the viewer.  Am I being to critical? Sure!  Did I have expectations? Of course! But what I received was a film that is 4/5ths great with the last 1/5th spoiling the whole barrel.

Ultimately, this is a flawed film that just can't get me to like it.

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Sean opines...

The legal thriller is something that has always intrigued us as movie goers. Since the 1970s legal thrillers have since added the threat of something larger than just an unknown killer after our villain. The villain now is the multi-national corporation, the government, or a criminal/lawyer network.  George Clooney's thriller places morally neutral lawyer Michael Clayton in a position where he has to look into his soul for a solution. One of his dear friends (an incredible and Oscar-nominated Tom Wilkinson) is going crazy so he can feel his own humanity. Clayton (Clooney) is realizing that his safety net of a side business and his victory over his own addiction to gambling are lost or being lost. His relationship with his son is deteriorating because of his own disinterest. It is this moment in time that fate has given him the choice to make it all go right. However, he is an anti-hero because his own self-preservation is what motivates him finally to take on the windmill and attempt to slay his dragons. But is this an original film worthy of celebration or a repeat of similar plots and situations?

Although a quality production technically, the story suffers again from deja vu. Haven't we seen this film in say The Firm and other screen adaptations of John Grisham novels?  Isn't this The Parallax View, The Star Chamber, and most recently A Civil Action? The film does not make the villain everyone around him or at least culpable accomplices like in most thrillers. The symbolic villain in Tilda Swinton's character is a flawed one to say the least, unworthy of past corporate villains.  In the end the film is quite predictable and not as suspenseful as others.

Worthy of a view, but one for the ages.

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Sean opines...

Juno is one of those quirky teen comedies that has the sharp quotable dialog but also respects the decisions teenagers must make as they realize adulthood is around the corner. Juno MacGuff (Ellen Page) is a mature girl who in her race for it ends up getting pregnant after a one time sexual exploration with her friend and crush Paulie Bleeker (Michael Cera). She decides to have the baby and offer it up for adoption. Mark and Vanessa Loring (Jason Bateman and Jennifer Garner) look like the best balance of a couple for her child so she arranges a contract with them. As the movie progresses she learns that life is hard and that love is not always possible, but in the end belief in yourself (no matter what the situation or judgment of others) trumps perfection. At least that is what I got out of it. 

Juno is a film that I could see my self watching over and over. It is the only one of the 2008 Best Picture nominees that I personally will be waiting for on DVD.  Sure the dialogue is fun but the heart of the film as well as the acting is top notch. The chemistry between Page and Cera really made me enjoy this film most of all. Like Atonement, this couple has a restrained romance. But this one works and is enjoyable because no matter what the hurdles these two remain hopeful in themselves. You know that they may not make it as a couple once the film is over but they will always have a fondness that is everlasting.  The two films that best sit side by side with this film are Say Anything..., Dazed and Confused, and Fast Times At Ridgemont High. The comparison here is that although quotable and visually memorable films, these teen comedies took note of the maturation of teens and their attempts at obtaining love with failure a likely result. But what does result are films that are entirely watchable.

The ensemble behind Page and Cera do add to the strength of this film as well. Allison Janney is the most quotable of them all. Garner and Bateman both give three dimensional performances that keep you on your toes when trying to figure out what the twist of the plot will be. J.K. Simmons does a great job as Juno's Dad. All the adults show Juno that life is complicated in their own way and nothing is perfect no matter how you make it. To a humorous degree the scene that best explains that to me at least is the exchange between Janney and Page on why they don't have a dog even though Janney's character is obsessed with them.  

Stefan and I encourage you heartily to check out this enjoyable little film that could and let us know what you think!  

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Sean opines...

Atonement is the inheritor of the drawing room romance where the main characters are faced with many obstacles to their love. Girl and boy love each other from afar despite their station, yet use class status to restrain their love. Girl enjoys her friendship with her sister unaware of her younger siblings puppy love for the man of her longing. Misunderstanding ensues. Someone pays for it all and the girl and boy end up searching for each other while the cataylst of the misunderstanding is haunted by her guilt. Beautiful clothes are worn. English estates and war are used as back drops. And a classical score swoons to it all.

We have seen it many times before, all tied up in a beautiful package. Clothes and sets are impeccable and throw us back into the films of the 1940s where suffering in restrained beauty was a staple and star crossed romance filled the seats. We still celebrate these films today even though they have been copied and copied in scope and drama as the years have gone on.  If I had to select two to check out I would recommend Brief Encounter and Now, Voyager as the best examples of this style.  A few modern classics have continued this restraint by bodice or suffering in mink style.  Mechant and Ivory perfected it in their great run with A Room With a View, Howards End, and The Remains of The Day (and for the gay set Maurice).  Anthony Minghella's (who makes a cameo in this film) stab with his trilogy of films The English Patient, The Talented Mr Ripley, and Cold Mountain emulated this style with mixed success.  A more modern success would be Sophia Coppola's Lost In Translation.  

Unfortunately, Atonement strains under this history.  Keira Knightly and James McAvoy are brilliant as the star crossed lovers in what they are given to do with the material. The scene I would most recommend is when the two meet in the middle of the film as the WWII is beginning; she is a nurse and he is about to be shipped to France. The delicate body language in this scene is incredible between the two.  These two stars, especially Knightly, are worthy successors to the golden age of restrained lovers.  But they are given such corny and overused lines as "Come back to me" that you just fly back to the disaster of Cold Mountain (if you saw it) and cringe or are quickly reminded of where you saw their scene before in black and white or the Merchant and Ivory set. The crisp color and vaseline of the cinematography helps ease the pain with a beautiful gloss, but the complication of story and situation has been done better. No fault to the actors or craftsmen mind you. As the clip above can show, the film breathes lovers' restraint and enormous visual scope. Saorise Ronan makes you believe in her character as the rival sister with such talent it makes her entirely worthy of her Oscar nomination.  The green dress Knightly wears at a critical point in the film is stunning and worthy of its own award.  And my favorite (only because it makes a huge impact but can be said by the most ladylike of women) and most horrible of curse words is a star in the film. But alas the film really doesn't deserve the celebration. It will be forgotten I believe as film history continues and be a brief "he/she was in that?" comment as the stars in the film move on to better things.

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Sean says...

As many of my long time friends and family know, I am a film addict.  And maybe foolishly I am doubly an Academy Awards addict.  Some hate the pageantry and the idea of choosing a "winner," but I enjoy it for what it is supposed to be - a celebration of film. They don't always get the "winners" correct, but in the long run people debate and find their favorites when they might not have found one before. Sure the whole process is getting old and the distribution of film in theatres is quickly being surpassed (or has been surpassed for a while) by home DVD viewing, on demand services on-line, or on your cable provider, and download. But to me the power of watching a film in a theatre is an amazing experience...cue creepy clip from Sunset Boulevard!

Now, five films have been selected from 2007 for the coveted and infamous Best Picture prize. I am not going to make a prediction here like I usually do because predictions this year for me have pretty much gone down in flames. And many of you will read this way after the prize is announced so why not focus on the film rather than the prize. So here is my take on all five (YES! I did get to see all five this year!) and a few samples of what each one has to offer. The next subsequent blog entries will capture my thoughts on each. Believe it or not I managed to personally see all five during the week of Feb 17 - 23, 2008!  Stefan saw two - Juno and Michael Clayton with me, the others just didn't catch his interest. Separate entries have been made to brake up my opinions so it is easier to read and manage by you.

The nominees are...

Atonement

Juno

Michael Clayton

No Country For Old Men

There Will Be Blood

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