Review: "Crossfire" is a Timeless Social Film (Remembering Robert Ryan)

TRASH IN MY EYE No. 123 (of 2004) by Leroy Douresseaux

Crossfire (1947)
Running time: 86 minutes (1 hour, 26 minutes)
DIRECTOR: Edward Dmytryk
WRITER: John Paxton (based upon the novel The Brick Foxhole by Richard Brooks)
PRODUCER: Adrian Scott
CINEMATOGRAPHER: J. Roy Hunt (D.o.P.)
EDITOR: Harry Gerstad
COMPOSER: Roy Webb
Academy Award nominee

CRIME/DRAMA/FILM-NOIR

Starring: Robert Young, Robert Mitchum, Robert Ryan, Gloria Grahame, Paul Kelly, Sam Levene, Jacqueline White, Steve Brodie, George Cooper, George Cooper, William Phipps, Tome Keene (as Richard Powers), Lex Barker, and Marlo Dwyer

The subject of this movie review is Crossfire, the 1947 Film-Noir drama and murder mystery from director, Edward Dmytryk. The film earned a best picture Oscar nomination, the first B-movie to receive that honor. Crossfire is based upon Richard Brooks’ 1945, The Brick Foxhole, which dealt with the murder of a homosexual victim. The victim in the film is Jewish.

Edward Dmytryk’s film Crossfire is an excellent crime drama about murder that resulted from unchecked bigotry. The filmed earned five Oscar® nominations including nods for “Best Picture,” and “Best Director.” In the film, police Captain Finlay (Robert Young) is trying to solve the murder of Joseph Samuels (Sam Levene), a man who befriended a group of soldiers at a bar. At first glance, the perpetrator would seem to be the drunk and depressed Cpl. Arthur Mitchell or “Mitch” (George Cooper), as his friends call him. However, Finlay and an Army Sgt. Peter Keeley (Robert Mitchum) believe Samuels was murdered because he was Jewish, so they set about trying to sniff out the anti-Semite who really committed the crime.

The film is very entertaining, and is also a quite-effective mystery. The characters, even the bit players, are excellent, engaging, and intriguing. Robert Ryan earned an Academy Award nomination for his supporting performance as the slyly genial, yet menacing Montgomery. Quite a bit of the credit for this film’s success must be given to the John Paxton’s adaptation of Richard Brooks’ novel. Paxton’s script (which changed the novel’s murder victim from a gay man to a Jewish man) is filled with witty and effective dialogue, most of it brief, yet efficient enough to color and to establish even the smallest character parts.

Dmytryk, a master film craftsman, gives the entire work a finish and polish that makes the film’s defects charming rather than distracting. Crossfire is a movie that has stayed with me, and I often find myself, for a few moments, remembering it.

8 of 10
A

NOTES:
1948 Academy Awards: 5 nominations: “Best Actor in a Supporting Role” (Robert Ryan), “Best Actress in a Supporting Role” (Gloria Grahame), “Best Director” (Edward Dmytryk), “Best Picture” ((RKO Radio), and “Best Writing, Screenplay” (John Paxton)

1949 BAFTA Awards: 1 nomination: “Best Film from any Source” (USA)

1947 Cannes Film Festival: 1 win: “Best Social Film” (Edward Dmytryk)

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Review: "Dirty Pretty Things" is a Pretty Movie Thing (Happy B'day, Chiwetel Ejiofor)

TRASH IN MY EYE No. 140 (of 2004) by Leroy Douresseaux


Dirty Pretty Things (2002)
- U.S. release in 2003
COUNTRY OF ORIGIN: United Kingdom
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R for sexual content, disturbing images and language
DIRECTOR: Stephen Frears
WRITER: Steven Knight
PRODUCERS: Robert Jones and Tracey Seaward
CINEMATOGRAPHER: Chris Menges
EDITOR: Mick Audsley
COMPOSER: Nathan Larson
Academy Award nominee

DRAMA/MYSTERY/THRILLER with elements of romance

Starring: Chiwetel Ejiofor, Audrey Tautou, Sergo López, Sophie Okonedo, Benedict Wong, and Zlatko Buric

The subject of this movie review is Dirty Pretty Things, a 2002 British thriller from director Stephen Frears. This drama about two illegal immigrants in London was released in the United States in 2003 and went on to earn an Oscar nomination.

In Stephen Frears’ wonderful Dirty Pretty Things, Okwe (Chiwetel Ejiofor), an illegal Nigerian immigrant, discovers the unsavory side of London life. He works at a posh London hotel that is especially popular with men who frequent prostitutes. Okwe stumbles across evidence of a bizarre murder committed in one of the hotel rooms – a human heart clogging up the commode. Okwe is also involved in an awkward relationship with his roommate, Senay (Audrey Tautou), a Turkish chambermaid who is also on shaky footing with immigration. Okwe’s discovery in the hotel room and his connection with Senay eventually collide, and the manner in which he resolves both problems is this film’s centerpiece.

Stephen Frears’ filmography is a wonderful collection of eccentric and quirky films that are more than surface peculiarity. Most are very good films, and a few a truly great, including this one. Frears’ weaves a picture show of palatable drama that is also a convincing romance (although a sad one), a riveting, gritty, urban drama and a mesmerizing tale of mystery and intrigue. He is however blessed with Steven Knight’s Academy Award-nominated script (“Best Original Screenplay”). Knight gives the film a solid plot that, instead of overwhelming the film, allows the story to expand beyond genre intrigue. His writing also gives the characters (another element that is strong in his script) the chance to play at being more just chess pieces in a thriller.

The cast gives outstanding performances, especially Chiwetel Ejiofor. Although Miramax’s marketing for the film’s U.S. release emphasized the ethereal, haunting beauty of Audrey Tautou and her melancholy character, Senay, this is Okwe’s story. Chiwetel is the foundation of this movie’s success, guiding and holding the film with his hypnotic and penetrating gaze and steady strength. He strides this production like a cowboy in a western epic, holding the dark forces at bay and saving the damsel in distress. All in all, Ejiofor highlights a fine film presentation in which all hands did top notch work. I heartily recommend Dirty Pretty Things.

9 of 10
A+

NOTES:
2004 Academy Awards: 1 nomination: “Best Writing, Original Screenplay” (Steven Knight)

2003 BAFTA Awards: 2 nominations: “Alexander Korda Award for Best British Film” (Tracey Seaward, Robert Jones, and Stephen Frears) and “Best Screenplay – Original” (Steven Knight)

2004 Black Reel Awards: 1 win: “Film: Best Actor” (Chiwetel Ejiofor)

Review: Tom Hanks' Magic Touch Energizes "The Da Vinci Code" (Happy B'day, Tom Hanks)

TRASH IN MY EYE No. 109 (of 2006) by Leroy Douresseaux

The Da Vinci Code (2006)
Running time: 149 minutes (2 hours, 29 minutes)
MPAA – PG-13 for disturbing images, violence, some nudity, thematic material, brief drug references, and sexual content
DIRECTOR: Ron Howard
WRITER: Akiva Goldsman (based upon the book by Dan Brown)
PRODUCERS: John Calley, Brian Grazer and Ron Howard
CINEMATOGRAPHER: Salvatore Totino
EDITORS: Dan Hanley, A.C.E. and Mike Hille, A.C.E.

MYSTERY/THRILLER

Starring: Tom Hanks, Audrey Tautou, Ian McKellen, Alfred Molina, Jürgen Prochnow, with Paul Bettany and Jean Reno, Jean-Yves Berteloot, Etienne Chicot, and Jean-Pierre Marielle

The subject of this movie review is The Da Vinci Code, a 2006 American mystery thriller from director Ron Howard and starring Tom Hanks. The film is based upon Dan Brown’s 2003 novel, The Da Vinci Code, which was a worldwide bestseller.

The French police summon famed Harvard Professor of Religious Symbology, Robert Langdon (Tom Hanks), to the world renown Paris museum, the Louvre, to assist them in a murder investigation in which the victim, curator of the Louvre, Jacques Sauniere (Jean-Pierre Marielle), has left behind a bloody trail of symbols and clues, including a bloody pentacle Sauniere drew on his own body before he died. However, police cryptologist, Sophie Neveu (Audrey Tautou), also arrives at the crime scene and surreptitiously informs Langdon that the lead investigator, Captain Fauche (Jean Reno), has pegged him as the first and only suspect in the murder.

Together, Langdon and Neveu unveil a series of stunning secrets hidden in the works of Renaissance painter Leonardo Da Vinci housed at the museum, all of which lead to a legendary secret society that has been guarding a secret nearly 2000 years old. Barely escaping the museum with the police hot on the tracks, Langdon and Neveu race from Paris to the French countryside to London, collecting clues as they attempt to crack Da Vinci’s code and reveal a conspiracy that may shake the very foundations of mankind. There, are however, sinister forces determined to stop them – personified in the form of a murderous albino monk, Silas (Paul Bettany).

Ron Howard’s latest film, The Da Vinci Code, is adapted by screenwriter Akiva Goldsman from author Dan Brown’s insanely popular novel of the same name. In fact, at 60 million copies sold worldwide, Brown’s book is the biggest selling hardcover work of fiction in history, and it has courted controversy because of its mix of conspiracy theory and pseudo history about the origins of Christianity virtually since the day it was published. Howard’s adaptation opened the 2006 Cannes Film Festival, where many of those who saw it allegedly panned the movie. By the time it opened theatrically worldwide on May 19th, U.S. film critics were either damning the movie with faint praise or simply skewering it.

Some critics have said that Tom Hanks and Audrey Tautou have no screen chemistry, but their characters certainly connect the first time they meet one another in the narrative. Some said that Hanks was miscast as novelist Dan Brown’s cerebral version of Indiana Jones, Robert Langdon, and Hanks is certainly older than the Langdon in Brown’s books (Langdon is also the star of Brown’s Angels and Demons) who is 30-something. However, Hanks is one of the most popular actors of his generation and of the last two decades, not to mention that he is a stellar movie actor. Regardless of the roles he takes, audiences take to Hanks and willingly live vicariously through his characters – seeing the movie through his eyes. He could sell salvation to the devil. So if he’s not like the Langdon of the book, it hardly seems to matter in the context of the movie.

Some critics have said that Howard’s direction is slow and makes The Da Vinci Code clunky. The film is riveting from beginning to end, and Howard, who has a Spielberg-like penchant forgetting audiences to respond favorably to the emotional cues he sets for different points in his films, takes us on an thrill ride that is equal parts intellect-engaging mystery tale and pulse-pounding, action/adventure flick. Some critics have also said that Howard’s film buries us in exposition. Much of the novel amounts to page after page of endless (but interesting) discussion of philosophy, religious history, art history, Middle Ages history, symbols, codes, Catholicism, etc. Goldsman screenplay only retains the exposition that is necessary for the turning the central plot of Dan Brown’s book into a film. Howard takes much of the novel’s historical discussion and turns it into flashbacks for the movie, so (for instance) we see snippets of The Knights Templars’ history rather than just be told about it.

The Da Vinci Code is simply a grand adult thriller that more than retains the spirit of Brown’s both controversial and internationally beloved book. The filmmaking on the part of writer and director is superb. The art direction and set decoration is top notch, all of it filmed in a cool and comforting photography that creates a sense of great mystery – an atmosphere that recalls Raiders of the Lost Ark. The acting is just right, with the performers knowing how to play up or down the fantastical and preposterous notions from Brown’s books – how to make their characters make the outlandish seem worth the effort to unravel it. The best at that is Ian McKellen as the jovial, bon vivant of alternative and wacky history, Sir Leigh Teabing. It all makes The Da Vinci Code one of the truly exceptional film mysteries to come along in many a year.

9 of 10
A+

Tuesday, May 23, 2006

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Avengers App Takes Viewers Deeper into the World of "Marvel's The Avengers"

I just got this press release about the "Avengers Second Screen App."  If I understand correctly, you can use it now to get more information on the Avengers, including behind the scenes stuff.  When Marvel's The Avengers comes out on Blu-ray, you can sync the app to the Blu-ray to get even more extras.

App Overview: Second Screen transforms the movie watching experience by allowing viewers to explore the story behind the film perfectly synched on a second device, like an iPad™ or laptop, without interrupting their enjoyment of the movie. By accessing the Second Screen companion application on their Internet-connected device, consumers are able to dive deeper into the film by engaging with key elements of the movie.

This groundbreaking new application allows users to interact with their Blu-ray™ player by simply starting the Blu-ray movie, and then syncing Second Screen to the film automatically by following the easy on-screen instructions. Once connected, they can explore interactive galleries, play games, and learn interesting facts about the scenes they’re watching.

Features: Enter the S.H.I.E.L.D. database on your second screen device accessing personnel files, comic book origins andexclusive interactive content with The Avengers Initiative: A Marvel SecondScreen Experience. By downloading the app, you can:

- Become a S.H.I.E.L.D. agent and participate in the Item 47 Comic-Con experience either remotely or in the field.

- Examine the confidential files of the Avengers including heroes, agents and villains.

- Sync to the movie and explore exclusive behind-the-scenes interactive content such as visual effects labs where you can explore sequences layer by layer.

- Seamlessly link the characters, stories, and scenes of the movieback to their comic book origins through the interactive Marvel digital reader.

- View the major events of the Marvel Cinematic Universe – Phase 1 on the definitive timeline of all 6 movies.

Devices: iPad or PC/MAC computer with FLASH

Formats: Optimized for Blu-ray™ and included in Combo Pack releases.

NEW – Now works with iTunes Extras

Access: Visit http://itunes.apple.com/us/app/avengers-initiative-marvel/id539555261?mt=8
Select your version (either iPad™ or Web)
Sync to the movie or explore on your own

Currently only available in US and English-speaking Canada

Truthout.org Talks to Josh Fox About "The Sky is Pink"

Josh Fox, the Oscar-nominated director of the documentary, Gasland, has a new film out, The Sky is Pink.  This new documentary, like Gasland, looks at the natural gas extration process known as "fracking."

In conjuction with the film's release, Truthout.org writer, Christine Shearerhas, interviews Fox.  In the interview, Fox also talks about "Gasland 2," which is scheduled to appear on HBO.

"Joyful Noise" is Joyful Indeed

TRASH IN MY EYE No. 55 (of 2012) by Leroy Douresseaux


Joyful Noise (2012)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – PG-13 for some language including a sexual reference
WRITER/DIRECTOR: Todd Graff
PRODUCERS: Joseph Farrell, Broderick Johnson, Andrew A. Kosove, Michael G. Nathanson, and Catherine Paura
CINEMATOGRAPHER: David Boyd
EDITOR: Kathryn Himoff
COMPOSER: Mervyn Warren

DRAMA/MUSIC/SPIRITUAL

Starring: Queen Latifah, Dolly Parton, Keke Palmer, Jeremy Jordan, Dexter Darden, Courtney B. Vance, Jesse L. Martin, Angela Grovey, Andy Karl, Dequina Moore, Paul Woolfolk, Kirk Franklin, and Kris Kristofferson

Joyful Noise is a 2012 music-driven film and Christian-theme drama from Todd Graff, the director of Bandslam. Joyful Noise stars Queen Latifah and Dolly Parton as rivals in a small church choir that is competing in a national singing competition.

The story is set in the small town of Pacashau, Georgia. Pacashau is going through some hard economic times, but the people take pride in Pacashau Sacred Divinity Choir. For quite a few years now, the choir has made it to the regional finals of Joyful Noise, a national amateur singing competition for church choirs.

The choir recently suffered a tragic loss. Now, G.G. Sparrow (Dolly Parton), a patron of Pacashau Sacred Divinity Church, faces off with the choir’s newly appointed director, Vi Rose Hill (Queen Latifah), over the choir’s direction as they head to the Joyful Noise regionals. To make matters more complicated, G.G.’s wayward grandson, Randy Garrity (Jeremy Jordan), is back in town, and he becomes immediately attracted to Vi Rose’s daughter, Olivia (Queen Latifah). As internal dissent begins to threaten the choir, can faith and determination combined with young talent keep the choir singing God’s praise? Will the choir win the Joyful Noise nationals in Los Angeles?

Joyful Noise is strange in that writer/director Todd Graff seems to have fashioned not one movie, but several mini-movies put together to form one patchwork film narrative. At its heart, Joyful Noise is two things. The first is a teen romance featuring former childhood friends reunited in the throws of teen angst. Surprisingly, although Olivia is black and Randy is white, this is not an interracial love story. Their race/skin color never comes up as an obstacle in their relationship or as a problem for other characters. Joyful Noise’s second identity is that of a modern dustbowl drama about a rural, small town suffering the deprivations of what is essentially our modern version of the Great Depression, except that we call it the Great Recession.

The problem is that the love story and the town-in-recession story never come together; normally, one would affect the other, but they remain separate, and not quite equal. They’re like two different dramas sharing the same stage.

Meanwhile, there are these other dramas competing for space. There is the Vi Rose/G.G. cat fight that goes on too long, although the script doesn’t really provide enough to convince me that they should be mad at one another. There is the marital discord between Vi Rose and her husband, Marcus Hill (Jesse L. Martin), which is well written and perhaps should have been at the center of this movie. Instead, it seems like a tacked-on subplot. There is some kind of conflict between G.G. and Pastor Dale (Courtney B. Vance), and while Graff drops hints about it, he largely ignores it.

Of course, the movie is supposed to be about Pacashau Sacred Divinity Choir’s quest to get to the Joyful Noise nationals in L.A., but Graff often loses that behind all the other melodramas. Still, it is the music and singing that make this movie soar. At this point in the review, dear reader, you probably think that I didn’t like Joyful Noise. Quite the contrary: this movie is made of parts that don’t always fit, but I love it because the great music brings it all together and turns Joyful Noise into something that tugs at my heart.

Joyful Noise is Tyler Perry + Hallmark Channel holiday special + Glee. I love the Hallmark Channel’s Christmas movies, and Joyful Noise seems to put a gospel theatre spin on that. Although this is not a Christmas movie, it felt like Christmas-time to me, as I watched these characters come together to make things good for one another in really bad times. As for the acting, it’s mixed, although Queen Latifah has a screaming-fit scene with Keke Palmer that could pass as a pitch for an Oscar nomination. But Joyful Noise is about the noise and it is joyful. I want get that soundtrack.


6 of 10
B

Friday, July 06, 2012

Rise of the Guardians Character Posters: Pitch

Rise of the Guardians is an upcoming computer-animated feature film from DreamWorks Animation (November 21 2012).  The film is based on William Joyce's book series, The Guardians of Childhood.  Pitch AKA The Nightmare King is The Bogeyman and is the film's antagonist.  Jude Law provides Pitch's voice.