Reviews

I've just viewed this superb documentary - it brings forth the remarkable life and man that is Harry Belafonte in a vivid and compelling manner. Sadly, however the entire widescreen (16x9) framed production presents it's archival clips and sequences (from early TV, movies, and news footage) in a hodgepodge of correctly re-adapted but otherwise visually distorted ways with no rhyme or reason. Much of the production is from archival sources - and so it's horribly distracting to see much of the footage in a vertically challenged way - stretched to fit the 16x9 frame. There is actually a shot of the sun that appears oval !!!! This is the sort of thing that is maddeningly now prevalent in so much of what is produced today -- but I didn't expect to see so much of it in a fine professionally produced and prestigious documentary such as this one.

Just caught the premiere of this on TCM. There have easily been better overviews of Eastwood's career (the 2000 American Masters documentary 'Out Of The Shadows' is an excellent example) and it's easy to tear apart Richard Schickel's often sloppy style. But just to focus on a technical/aesthetic aspect of this production - who the hell was in charge of actually assembling the clips from the films? Eastwood's filmography includes films produced in just about every aspect ratio from full-frame to scope - and it's a TOTAL crap-shoot here whether a scene from a film will be properly letter-boxed or miserably pan-and scanned - or something in-between! (sometimes in a montage using scenes from the same film!) There were scenes from DIRTY HARRY that were pan-and-scanned, slightly letter-boxed and in full letterbox (it's a scope film) while others like A PERFECT WORLD (also scope) were in total, horrendous pan-and-scan - ruining not only the composition of the shots - but the beauty and impact of the scenes shown. These are just two of numerous examples throughout this production. This kind of oversight was simply inexcusable - especially from a man (Schickel) who is entrusted with how contemporary audiences see Clint's cinematic legacy. Next time hire somebody (like me!) who knows and cares that the examples shown are presented and represented correctly! Amateurish hack work beyond belief!

Just ran this in 35mm.....and found it to be a lot more enjoyable than the dreary and misery-ridden BICYCLE THIEF (with a very unlikeable, desperate lead character) by the same director. The two leads (the newly married couple) were naturalistic and very likable, and you really could identify with their plight - which became no less desperate than that of the BICYCLE THIEF. Their brief moments of love and affection for each other were very moving - and believably touching when alongside scenes of their unhappiness and desperation. Their desperate race to build a squalid little structure to live in is incredibly involving and pulls you in to the very last moments of the picture. Will they make it? You'll have to see the picture to find out.

An absorbing chronicle of the fabled history of the landmark film, HEAVEN'S GATE. The documentary is fairly well researched and clever in its technique (particularly the imaginative use of the extensive production stills taken - most never seen before.) The interviews with two of the film's stars (Kristofferson and Bridges) are great in that they are still on good terms with and champion Michael Cimino. Interviews with cinematographer, Vilmos Zsigmond and Penelope Shaw are also wonderful and give you a taste of what it must have been like to work alongside Cimino. Even the interviews with former UA executives, Bach & Field - who hired and later rued the day they engaged Cimino are fascinating and surprisingly balanced. One major disappointment is that of the hundreds of hours of film that was shot - and which is talked about and discussed extensively - no actual rushes or outtakes are shown (The terrible rumor is that they were scrapped at some later point.) Also - it's maddening for a fan of this film to hear Steven Bach speak of the 5+ hour rough cut that Cimino originally showed him - and that this version is unavailable for screening or study (if it even still exists.) Interestingly, the second cut of the film, released in 1981 is not just shorter but markedly different in many places (placement of scenes - different takes, etc.) and is now very hard to see or get access to (a little known DVD of this version is available in Europe and is well worth tracking down -- the transfer has a very different look and a much clearer dialog mix.)

Nicely photographed...Mature does some of his worst most wooden acting....while the rest of the Brits are solid. Anthony Newley as a corporal is a panic and provides understated comedy relief throughout. My favorite scene is when Newley wanders into an ammo storehouse during the climatic battle and calmly asks for some dynamite. The man in charge gives him a hard time - sighting the requirement of paperwork. Newley then explains that there is a war going on outside - to which the man in charge then dryly states in that case he'll also need another piece of paperwork as well ! Newley finally talks the fellow into letting him have a single small case - so long as he doesn't tell anyone else - lest everyone come in asking for some. This one scene was worth the price of admission !

A fascinating (yet flawed) film which displays obvious affection for and knowledge of the work and lives of the great silent comedians. Van Dyke, who actually knew Stan Laurel personally, is wonderful. However, director/writer Carl Reiner for some reason decided to take the worst personal problems from the lives of Chaplin (womanizing), Keaton (drinking), Langdon (ego), etc. - and bestow them all on Van Dyke's character, Billy Bright. Why this was necessary and the approach decided upon for this picture is still a mystery.

I just saw this picture screened in an old 35mm release print. I thought this would be a companion piece to that other WWII Van Johnson bore-fest, THE ENEMY GENERAL. However, this one was hysterical! Right from the get-go the acting, as well as the tone of the production was broad and inept (verging on HOGAN'S HEROES territory) all the while parading as a serious WWII yarn. Watch for Dick York and a scenery chewing Larry Storch (pre-"Bewitched" and "F-Troop" respectively.) And BTW, the stark black and white photography was excellent (when not resorting to stock footage of the actual war.) Definitely a "so bad it's good

I've just seen the laserdisc "POP GOES THE CORK" (mis-titled "Pop Goes The Comic" on the jacket and label.) It would appear to be the same exact film compilation as the above. It is a masterful hour and half of some of the cleverest gags ever - both in conception and execution. Max Linder is one of the true unsung heroes and pioneers of classic comedy and everyone from Chaplin to Benigni owes him a great debt. How sad that this wonderful comic genius suffered such depression resulting in his and his wife's suicide. Luckily his daughter put together this loving encapsulation of some of his last works! Do yourself a favor and discover the brilliant artist MAX LINDER!

I have very fond memories of this film, as I saw it with my two younger sisters when it first shown theatrically in 1977 and I was eight years old. Apparently it was deemed a failure - and is now practically forgotten (the pan-and scan videocassette - which never did justice to the picture or it's ambitious Panavision compositions is now out-of -print.) The film is very stylized (shades of YELLOW SUBMARINE) and admittedly uneven. Some of the characters and sequences are exquisite while others are somewhat juvenile and undistinguished. The sad discarded blue camel (shades of Eeyore) and his blue song are truly heartwarming. Joe Raposo's songs are for the most part simply beautiful. Definitely a worthwhile curiousity that will probably (sadly) fall into total obscurity.

Just saw this film at a private screening - based on the life of a real gangster - featuring a young "Spence" who is absolutely dynamite. He plays a charming scoundrel who works his way up financially within the underworld via running a gambling joint - fixing fights helping wealthy businessmen out of fixes, etc. And Alice Faye is "Harlowlike" in her second screen role. If you like or love Spencer Tracy - this is a must see film. Sadly, the film survives from a pieced together reconstruction - based on a work print - and thus is a little rough around the edges - with numerous splices which mars some of the dialogue. Nonetheless - a real treat.

I forgot to mention the wonderful haunting score by Georges Delerue. The main theme has a sad music box quality to it - gives a sort of a longing childhood feeling....VERY effective.

Every once in a while an star/director will make a perfect film. Mel Gibson did it with BRAVEHEART and now Roberto Benigni has done it with this film. It's no secret that Benigni is the spiritual successor to Chaplin (and Keaton as well) but he has now made a film that is worthy of Chaplin. In fact, while Chaplin's THE GREAT DICTATOR is uneven - thanks to it being ahead of it's time - Benigni has managed to complete the work and convey the message that Chaplin attempted valiantly with that film. Benigni's heart, humor, intuition and artistry has resulted in a miracle - a comic masterpiece set in the holocaust.

A whimsical bittersweet tale with quirky characters, charming moments and which is quite enchanting as a whole. Griffin O'Neal (Ryan's son) as the young lead character showed great promise in this film. Raul Julia is at his most vibrant as the spoiled son of a mayor (played by Desi Arnaz!) who befriends O'Neal's character. This film is HIGHLY under-rated and desperately needs to be remastered and reissued on video.

A surprisingly fluid talkie that blows the theory that

widespread primitive filmmaking returned after the coming of

sound. The long opening tracking shot down a street populated

with colorful characters ending within the interior of a saloon

is a real jawdropper when one realizes that this gutsy melodrama

is from 1930. It also boasts superb camerawork and is a sheer

joy to watch. This film is NOT easy to see as of this writing (I

viewed a rare print in a private collection) and I fear is in

desperate need of preservation.