Starring Ruth Gordon and Bud Cort

Death-obsessed Harold has his life changed forever when he meets Maude, an elderly widow, at a funeral.  Maude shows Harold want it means to live life without fear or restraint.

—

This is truly one of the most inspiring films I have seen in a long time.  It’s not often in film that we come across an elderly person like Maude.  She is optimistic, carefree, quirky and at times philosophical.  More active then some people in their twenties, Harold and Maude presents us with an elderly character (Maude) who defies the stereotypes of what it means to grow old.  And I think that is what I liked most about this film.

In a world full of plastic surgery and products guaranteed to help one stay wrinkle-free, Maude doesn’t let old age stop her from being her self.  In fact, she even embraces death and knows that one cannot go on living forever.  Aging is natural and all living things grow old.  And the best thing that we can do, is embrace it instead of deny it. Of course, that is easier said than done.  There are moments in the film when the viewer gets a glimpse of Maude’s past and we learn it has not been easy for her. But even with all the loss and hardships, she never gives up on life.

“Give me an L. Give me an I. Give me a V. Give me an E. L-I-V-E. LIVE!” – Maude

Maude: A true free spirit.

I’m still pretty young and while I have many decades ahead of me, I can only hope that I have at least a fraction of enthusiasm that Maude has when I’m in my twilight years.

Harold and Maude is a unique story of life, love and death that dares the viewers to live.

A scene from Harold and Maude. Also want to add that the soundtrack by Cat Stevens is wonderful throughout the whole film.

]]> http://strictlycinema.wordpress.com/2010/08/30/harold-and-maude-1971/feed/ 0 amandaclairedaus Harold and Maude Maude http://strictlycinema.wordpress.com/2010/07/22/the-black-swan-1942/ http://strictlycinema.wordpress.com/2010/07/22/the-black-swan-1942/#comments Fri, 23 Jul 2010 02:35:25 +0000 amandaclairedaus http://strictlycinema.wordpress.com/?p=96 Continue reading →]]> Directed by Henry King

Before the Pirate of the Caribbean movies, matinee idols such as Errol Flynn and Tyrone Power starred in many swashbuckler tales during the 1930s and 1940s.   And one of my favorite pirate movies from that period is King’s The Black Swan.

The English Crown pardons one of the most notorious buccaneers, Henry Morgan (played by Laird Cregar), and appoints him governor of Jamaica in the place of corrupt Lord Denby (played by George Zucco).  Once governor, Morgan, asks all pirate activities to stop in the area.  Captain Billy Leech (played wonderfully by George Sanders) and his crew refuse to follow Morgan.  Jamie (Power) and his sidekick, Tommy Blue (Thomas Mitchell), are asked to go after Captain Leech.

What I like most about watching these classic pirate movies, is the incredible detail put into the sets and battle scenes without having the convenience of CGI.  Tyrone Power is delightful to watch and George Sanders is also extremely fun to watch as Captain Leech. While there are tedious points in the storyline and it may not be on the same par as 1935′s Captain Blood (which I highly recommend as well), this is an “escapist” movie, which means it’s suppose to take the audience to another time and place. And The Black Swan does this perfectly and it deserves the attention.

Rich technicolor, a fantastic cast, impressive sets and battle scenes, The Black Swan gives the audience an adventurous ride on the high seas.

]]> http://strictlycinema.wordpress.com/2010/07/22/the-black-swan-1942/feed/ 0 amandaclairedaus The Black Swan The Black Swain http://strictlycinema.wordpress.com/2010/07/17/close-up-ronald-colman/ http://strictlycinema.wordpress.com/2010/07/17/close-up-ronald-colman/#comments Sat, 17 Jul 2010 17:09:24 +0000 amandaclairedaus http://strictlycinema.wordpress.com/?p=80 Continue reading →]]>

February 9, 1891 – May 19, 1958

Originally from the United Kingdom, Ronald Colman started his Hollywood career in 1923 after having been on the London and New York stage. His first film was The White Sister, in which he played opposite Lillian Gish. He would become a highly popular silent film actor, who starred in many romantic and adventure roles, often doing his own stunts.  While his silent film career was very successful, his cross-over into “talkies” would make him even more popular due to his “bewitching, finely-modulated, resonant voice.”

In 1930, he was nominated for two Academy Awards for his work in Condemned and Bulldog Drummond.  Colman would go on to star in such films as, Raffles, A Tale of Two Cities, The Prisoner of Zenda, Lost Horizon and The Talk of the Town. In 1948 Colman would win Best Actor at the Academy Awards for his role in A Double Life.

During his film career, Colman and his second wife, Benita Hume, appeared on the radio. They were frequent guests on The Jack Benny Program and the Colmans also had their own radio show, The Halls of Ivy, from 1950 to 1952. It centered around Colman’s character who was the president of an American college in the Midwest.  The Halls of Ivy was then made into a television show and aired from 1954 to 1955.

Left to Right: Benita Hume, Jack Benny, Ronald Colman

]]> http://strictlycinema.wordpress.com/2010/07/17/close-up-ronald-colman/feed/ 1 amandaclairedaus Ronald Colman Radio days http://strictlycinema.wordpress.com/2010/07/14/what-makes-a-beautiful-film/ http://strictlycinema.wordpress.com/2010/07/14/what-makes-a-beautiful-film/#comments Wed, 14 Jul 2010 19:32:32 +0000 amandaclairedaus http://strictlycinema.wordpress.com/?p=68 Continue reading →]]>

The Night of the Hunter (1955)

Lists of the best films are always fascinating to read and can be counted on to stir up [heated] discussions. In 2008, Cahiers du Cinema, the influential French film magazine, put out a list of the “100 Most Beautiful Films in the World”.  What I find interesting about this list is that it’s not about the “best films,” but “beautiful films.”  So before I go any further, click through the link to see the list: 100 Beautiful Films

Some films on the list are no surprise, and then there are other films that you think could be taken off.  The word “beautiful” I think presents a bit of a problem for this list. “Beautiful” can have a different meaning for each individual. One person may find Citizen Kane a beautiful film and another person could feel completely differently about that movie. As the cliche saying goes, “Beauty is in the eye of the beholder” and this can easily be applied when discussing films.

What constitutes a beautiful film? Is it the cinematography? The sweeping music (or perhaps lack thereof)? The acting? Or does a beautiful film have to have a combination of everything? That a beautiful film is when every aspect of the movie is in sync.  It’s definitely something to think about. And I’ll leave it at that for now.

Debbie Reynolds and Gene Kelly

Singin’ in the Rain being in the number one spot should be no surprise.  I think it’s a film that should be required viewing for everyone.  It contains great dialogue, physical comedy, dancing, music and also early Hollywood history. When one mentions Gene Kelly, Singin’ in the Rain immediately follows. Leonard Bernstein once said that after viewing the famous singing in the rain number that it was like “the reaffirmation of life.” And I think Bernstein is right. Of all the movies that try to capture that defining moment when one realizes they are falling in love, that iconic dance number does it effortlessly.

2. On the Town (1949)

Left to Right: Frank Sinatra, Jules Munshin & Gene Kelly

Three sailors on leave in New York City for one day. There are a couple of things that put this movie at the number two spot. The first factor is the on-location shooting used in the opening sequence of the film. On the Town was the first musical to shoot on-location. Kelly had demanded that the opening song (“New York, New York”) be shot in New York City.  This on-location shooting would have a huge influence on later musicals such as West Side Story. While Kelly had experimented with a dream sequence ballet in The Pirate, it’s in On the Town that we see a dream sequence ballet that would be later refined in An American in Paris and Singin’ in the Rain.

3. An American in Paris (1951)

While the plot is predictable and the chemistry between Leslie Caron and Kelly is awkward at various times, An American in Paris is a technicolor love letter (think Meet Me in St. Louis). The art direction and sets are beautiful and something movie goers will never see anything like again. And it’s the 17-minute ballet at the end of the film that makes this movie famous. Taking inspiration from French Impressionists, each set in the ballet sequence is based off a famous Impressionist painter (i.e. Utrillo, Van Gogh, Manet, etc.). The sets come to life as Kelly and Caron dance through them to the music of Gershwin’s “An American in Paris,” which lends the film title. If you need one reason to watch this film, its to see Kelly make an “on-screen art ballet” accessible to American audiences.

4. The Pirate (1948)

Gene Kelly and Judy Garland

Let me be the first to say that this musical might not be for everyone. First off, no one wants to see Kelly in a mustache (he even said that) and the plot is a little bit ridiculous. But if you can leave all that behind and focus on the great comedy of The Pirate, you are in for a fun and somewhat campy movie.  Judy Garland is at her comedic best and has fantastic timing. It shows viewers that she could do awesome comedy, if given the chance. Gene Kelly hams it up by parodying early swashbuckler actors like Douglas Fairbanks and Errol Flynn. This is a cult musical with excellent dance numbers that is definitely worth watching.

5. Summer Stock (1950)

At first glance, Summer Stock might be another “lets put on a show!” musical, but this a bright musical with several fantastic dance numbers.  This was to be Garland’s last movie at MGM. Her poor physical and mental health were now affecting her films. Kelly was reluctant to star in the film, due to just coming off from the highly successful On the Town. But Kelly did it for Garland. Kelly’s first film was with Garland in For Me and My Gal and she helped him get through his first movie. They would become great friends and co-stars. And it’s in Summer Stock that Kelly helps Garland through her last MGM musical.  Containing some great dance scenes (i.e. Garland’s famous Get Happy number) and comedy from Eddie Bracken and Phil Silvers, Summer Stock is a simple but highly enjoyable musical that deserves attention.

]]> http://strictlycinema.wordpress.com/2010/07/13/top-5-gene-kelly-musicals/feed/ 0 amandaclairedaus Singin' in the Rain On The Town An American in Paris The Pirate Summer Stock http://strictlycinema.wordpress.com/2010/07/07/better-off-dead-1985/ http://strictlycinema.wordpress.com/2010/07/07/better-off-dead-1985/#comments Thu, 08 Jul 2010 02:24:08 +0000 amandaclairedaus http://strictlycinema.wordpress.com/?p=30 Continue reading →]]> Directed by Savage Steve Holland

The 1980s seemed like a golden age of teen movies. Films like The Breakfast Club, Pretty in Pink, Sixteen Candles and Ferris Bueller’s Day Off spoke to an entire generation of young people.  While I enjoy many of the movies previously mentioned, there is one 80s teen flick that deserves just as much attention, Holland’s bizarre comedy Better Off Dead.

Lane Meyer (played by John Cusack) loses his girlfriend, Beth, to the high school’s ski captain.  Heartbroken, Lane tries to commit suicide several times but always in failure.  With the help of his friend Charles (played by Curtis Armstrong), he realizes that if he could beat the ski captain at skiing the K-12, he might win Beth back. Along the way, he befriends a French foreign exchange student, avoids a maniacal newspaper boy and deals with his mother’s highly questionable cooking.

The plot is pretty predictable and sticks to a standard teen romantic comedy formula, but with a zany comedic twist. And it’s the surreal, bizarre humor that makes Better Off Dead such a cult 80s favorite.

For example, there is a scene early on in the film of Lane in his math class. Everyone in the class, except Lane, is engrossed with the words spewing from the teachers mouth. When the teacher asks for volunteers to come to the board, everyone raises their hands desperately wanting to be picked. And when assigned over 100 pages to read for homework, the class rejoices.  In any ‘normal’ class setting, such enthusiasm is practically non-existent.

The Meyer Family

Other zany and absurd aspects of the film include:

• Charles who will snort snow, Jell-O and just about anything else, because he can’t get a hold of  real drugs.  “This is pure snow! Do you have any idea what the street value of this mountain is?“
• Lane’s younger brother who makes a Laser gun, hosts a ‘party’ in his bedroom full of hookers and builds a rocket ship.
• The overly persistent paper boy. “Two dollars!“
• Lane’s Mother.
• Clay animated hamburgers singing Van Halen.
• Ricky trying to speak the “international language.”

The list goes on, but I don’t want to spoil everything that makes this movie so enjoyable to watch again and again.  John Cusack is fantastic as Lane Meyer as well as the supporting cast.  And it is the supporting oddball characters that really make this film unique and help separate Better Off Dead from other teen movies.

Everybody wants some!

Better Off Dead is full of energy and wacky comedic moments. It’s a teen movie that should be required viewing for all.

I thought I would start this film blog with a really horrendous movie, Manos: Hands of Fate.  Considered one of, if not, the worst film ever made, Manos is the cliche family vacation movie gone to hell.  Michael (played by the director) gets his family lost when he decides not to ask for directions. They end up at a mysterious inn and meet Torgo, who “takes care of the place while the Master is away.”  The Master is a devil-worshiper, who leads a cult that includes multiple wives.

Here’s an anecdote about the movie that might shed some light on why this film is so bad. Harold Warren was an insurance salesman (and later a fertilizer salesman) who made a bet that he could make a successful horror movie on an extremely small budget (about $19,000). Thus Manos: Hands of Fate was born and would set the bar for extremely bad movies.

Here’s the first ten minutes of Manos:

The entire film was shot with a hand-held camera without sound, so all the voices in the film were later dubbed by only three people, 2 men and 1 woman. The maximum take of the camera was only 32 seconds, which explains the choppy and jarring cuts between shots. The beginning driving scenes drag on with minimal dialogue and the so-called flute easy listening soundtrack runs on loop. Not until after 8 minutes of the film, do the characters finally meet Torgo.

The script is almost non-existent and when dialogue does arrive (at a snails pace) it doesn’t even make sense or they just repeat themselves.  Many times the characters end up just standing around looking at each.  Because the dialogue is so slow, it’s no surprise that the action in the film moves even slower. What’s suppose to feel like ten minutes ends up feeling like a hour.  It’s apparent that editing was not considered during the making of the film and I don’t think good editing could even save it.

The Master

Now there are some bad movies that are entertaining to watch, like The Final Sacrifice or Plan 9 from Outer Space.  But Manos seems to skip that category and go directly to the just plain awful to sit through.  Even Mystery Science Theater 3000, a show that prides themselves on watching atrocious pieces of celluloid, made a point of saying how painful Manos: Hands of Fate was to watch.

So if you are feeling brave and want to willingly subject yourself to bad film making, Manos: Hands of Fate can satisfy your appetite, maybe more than you want.  I’d definitely recommend the Mystery Science Theater 3000 episode of Manos, the riffs from Joel and the bots make the film a little more tolerable.