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Old Movies - November 2006

Paint Your Wagon

November 30th 2006 08:51
Paint Your Wagon (1969)


The freakiest-deakiest, all-singing, all-prancing, wife-swapping tough-guy western you've ever seen! 'Paint Your Wagon' is probably best known to modern-day audiences as the video picked up by Homer in an episode of the Simpsons. Homer sees the name Lee Marvin on the western film's front cover and assumes it will automatically be violent... he and Bart are extremely disappointed to find that it is in fact a Musical-Western. A few years after I saw this episode of the Simpsons I came to the realisation that this was actually a real film. I saw it sitting on a shelf in the Video Ezy Western section. I couldn't believe it. I had to see it. And yes, it was every bit as 'unique' as that sequence in the Simpsons led me to believe it would be.


Initially based on a 50s Broadway-musical, the film took quite a departure from the text and decided to do it's own thing. The producers, inspired by the success of 'The Sound of Music', were desperate to find a hit musical of their own, and so the long road to production was started. Unfortunately, by the time 'Paint Your Wagon' made it to the screen, both the Musical and Western genres were all but dead. Not a whole lot of people were all that interested to see the film. Looking at it now, it's hard to imagine it as a smash-hit in any era. It's just too odd.

Anyway, the film is about the collaboration of Ben (Marvin) and his partner, 'Pardner' (Clint Eastwood), in the old west and their part in the creation of 'No Name City' - a debauched town of gambling, sex and violence. My kind of town! Anyway, they also fall in love with the same woman - and rather than have their friendship destroyed by it, they decide to share the woman. When the goldmines run out, Ben and Pardner also hit upon a scheme to collect all the loose change and gold dust that falls between the floorboards of the local shops and bars by digging a network of tunnels under the town. These comical shenanigans are indicative of the film's overall feel - it's an irreverant, knee-slapping tale of morality gone askew.


At two hours and forty minutes it's probably a little overlong, and the film is a little slow to start. The most amazing aspect of it though would have to be hearing Eastwood and Marvin sing! Eastwood is actually half-decent, and Marvin is hilarious. Incredulously, the song Marvin sings - 'I Was Born Under a Wandering Star' - went to Number 1 in England!

This is worth seeing just for the oddity-factor. If it wasn't for the presence of Lee Marvin and his energetic, whiskey-soaked, long-johns-wearing performance there would probably be little to reccomend it. As it stands though, it's just one of things you have to see!
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Lawrence of Arabia

November 29th 2006 07:38
Lawrence of Arabia (1962)


This was one of the films I’d avoided for a while - fearing it would be a bloated, dated epic – but I was pleasantly surprised and impressed with this film when I finally saw it, despite the fact that it clocks in at a weighty and disparaging 217 minutes. Luckily, it came complete with one of those old-school intermissions (a common practice of it’s era), and I feel that such a break in the film is just as important to it’s structure as it is to the viewer’s concentration. This was back when I was a fledgling film-nerd, but by any rate I’m glad I finally overcame my reservations and watched it as it’s now one of my favourite films.

“Lawrence of Arabia” tells the tale of the enigmatic British WWI officer, T. E. Lawrence, who led the Arabs to freedom from Turkish and British oppression. I was wary of how frank and realistic such a film could be, considering it was made in the early 60s, but I was relieved to find it unafraid to shy away from the brutal violence inherent in the subject matter. More impressive, perhaps, is the attention the film pays to the complexity and ambiguity that is T. E. Lawrence. Peter O’ Toole does much in the way of suggesting the confused sexuality of his character; something that is never really addressed, apart from the way he moves or delivers his lines, and given over in a few subtle hints from the script.

Don’t be afraid to check this film out like I was – I was a very silly boy! O’Toole is marvellous, and the supporting cast of familiar faces are great too, and it’s some of David Lean’s most iconic and memorable direction. It also tells the seldom-heard story of a remarkable and fascinating historical figure, and of events that are probably unknown to a lot of people these days, so it’s every bit as important as a piece of narrative as it is as a piece of cinema.

HIGHLIGHTS: After the intermission the film picks up a few months down the track, and we are re-introduced to Lawrence out in the desert, blowing up trains. Also, Lawrence, perhaps unnecessarily, leads the Arabs to massacre a party of wounded Turkish soldiers.

TRIVIA: Winner of 7 Academy Awards; Best Director, Best Colour, Best Cinematography, Best Sound, Best Musical Score and Best Editing
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Anger Management

November 28th 2006 08:57


Adam Sandler has had his shares of hits and misses. After the badly-received 'Mr Deeds' and 'Little Nicky', he came right back around with some back-to-back eye-raisers such as 'Punch-Drunk Love' and this film, 'Anger Management'.

Unlike 'Punch-Drunk Love', 'Anger Management' is an 'Adam Sandler movie', in the sense that it was produced by his company and features many of the supporting actors he's previously employed (Allen Covert, John Turtorro), as well as many of the staple characters/situations that often frequent his films. What makes 'Anger Management' special though, is the presence of Jack Nicholson. It's as if his presence alone has opened a doorway for the film, attracting all sorts of big names to small roles, and encouraging a higher level of quality than usual. It's also notable that his involvement with the movie has brought a whole other level of film-fans to an 'Adam Sandler movie'.

'Anger Management' benefits immensely from a strong, original and hilarious script. It's "out there" but resists the unrealistic wackiness that can sometimes undermine Sandler's films. Nicholson and Sandler make for an interesting duo, and their unpredictable interplay is what drives the film so strongly.

It’s just a good comedy. It's great to see big-name dramatic actors mixing it up with the comedy-genre's top players, and it'd take a tough nut to not find anything worthwhile about this film. Yes, I'm aware that I didn't say anything about the plot... you don't need me to tell you the nitty-gritties of what it's about, just go watch it.

HIGHLIGHTS: Rollcall! As I mentioned, a surprisingly large amount of celebrities and respected actors turn up in this film, some uncredited... Heather Graham, Luis Guzzman, Johnny McEnroe, New York Mayor Rudy Giulini (as himself), Woody Harrelson, John C. Reilly, Harry Dean Stanton various American TV and sports celebrities playing themselves.
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El Cid

November 27th 2006 06:34
El Cid (1961)


'El Cid' is one of those grand epics of the 60s. Sweeping panaromic visuals, rippling chests, thrusting swords, castles, courtly intrigues and hordes of bloodthirsty warriors. This film is from right in the thick of the genre, back when it was at it's strongest and most popular, and it still stands up today as one of the less-dated and more entertaining stories of historical heroism


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Catch Me If You Can

November 24th 2006 04:31


I'm prepared to say that this is Steven Spielberg's greatest film in recent times, and easily in his top 5 best films all up. It's probably one of his most enjoyable films... I mean, sure, 'Saving Private Ryan' and 'Schindler's List' were knee-slapping gagfests all the way, but 'Catch Me If You Can' runs with the fun a little more than the usual fare


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A Place in the Sun

November 23rd 2006 06:34
A Place in the Sun (1951)


Montgomery Clift was a rising star who looked like he was headed for the top. He was Marlon Brando's Golden Twin, the proto-James Dean, he was Montgomery fucking Clift! The man on the crest of the new wave of sensitive actors. He made a series of memorable films with memorable performances, but behind the scenes his private life was one of anguish and torment fuelled by self-loathing, alcoholism and closeted homosexuality. In 1956 he almost wiped himself out in a car accident and needed extensive facial reconstruction - his delicate and beautiful features were gone forever, and over the next ten years he drowned his sorrows in alcohol and pain-killers until he died in 1966. A promising legacy of films cut short by tragedy. 'A Place in the Sun' is just one of the classic films he made before his career stalled in that car crash, and is every bit the American Dream-gone-sour that his life would become too


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The Cup

November 22nd 2006 02:03


Every now and then a foreign film comes along; a foreign film in a video case glossy enough for me to think 'this might not be so boring'. Sometimes I regret picking up some films, some times I don't. 'The Cup' is Tibetan film (filmed and set in Bhutan out of political necessity) about monks and soccer. Not your average Hollywood fare, I admit, but I guess that's what makes it all the more appealing


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Key Largo

November 21st 2006 05:38
Key Largo (1949)


'Key Largo' is a masterful thriller from masterful director and all-round legend John Huston. Rounding out an all-star cast is Humphrey Bogart as the ever-reluctant hero, Edward G. Robinson as the vile gangster, Lauren Bacall as the next door girl-type love-interest, Lionel Barrymore as the crusty and spirited wheelchair-bound father, and Claire Trevor as the alcohol gangster's moll


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The Private Life of Henry VIII

November 19th 2006 12:36
The Private Life of Henry VIII (1933)


I don't know what it is, but for some reason I've found the few films I've seen from the 1930s to be a whole lot more entertaining than some of the stuff from the 1950s that is often given 'classic' status. Maybe it's because it's pre-Hayes Code, or maybe the films are less melodrammatic or something? I can't quite pinpoint it. Just an odd thought I thought I might air


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Wayne's World

November 17th 2006 05:01


Another adolescent favourite of mine, and it still stands up to re-watching (so far). 'Wayne's World' launched the career of Mike Myers as an international movie-star and helped invent a whole new style of comedy, it's also very fast and funny


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Dirty Rotten Scoundrels

November 15th 2006 05:01


'Dirty Rotten Scoundrels' sees the dream-teaming of Michael Caine and Steve Martin, in a comedy of dubious ethics and con-artist shenanigans. The set-up goes as thus... two con-artists, one resort. They make a bet to see who can swindle a woman out of 10 grand first, with resulting lunacy


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Red Dragon

November 13th 2006 09:21


Based on the first (and what is supposedly to be the best) of Thomas Harris’ three Hannibal Lector novels, ‘Red Dragon’ is also the second film version of said book. The style of the direction… is satisfactory. Obviously, this film could never be a patch on ‘Silence of the Lambs’, in any way whatsoever. Anthony Hopkins plays Hannibal Lector for the third time, chewing up the screen whenever the plot deigns to let him appear. Ed Norton does what he can, and Harvey Keital is almost a non-entity. It just seems like there was a lot of book, and the film does it’s best to fit it all in, and we’re given enough information to make certain assumptions and connections, but it’s just not as tight as it should be


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The Italian Job

November 10th 2006 09:53
The Italian Job (1969)


Michael Caine roots his way through a pack of incredibly desirable women, sneaks back into gaol to report to a Britannia-loving crimeboss, assembles a motley team of crooks and drivers (including fatty-chasing Benny Hill and purple-wearing Camp Freddy), tangles with the Mafia, and runs riot through Rome in one of the most entertaining chases ever committed to the screen


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Insomnia

November 9th 2006 09:50
OBLIGATORY DISCLAIMER: I know it's not an old film, but it's a good one, so deal with it.

Insomnia (2002)

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Rabbit Proof Fence

November 8th 2006 09:44
OBLIGATORY DISCLAIMER: I know it's not an old film, but it's a good one, so deal with it.

Rabbit-Proof Fence (2002)

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The Beach

November 7th 2006 05:52
The Beach (1995)


It's strange. 'The Beach' seems to have two parts of reputation around it; one part is as a failure in terms of Leonardo DiCaprio's follow-up to Titanic, as if this in itself was meant to be a sequel to the highest-grossing film to date. The other part is that it seems to have an air of nonchalance about it. It's kind of hard to explain; it's as if any sort of general opinion about this film was drowned out by the stalling of DiCaprio's acting career


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Once Were Warriors

November 5th 2006 23:37
Once Were Warriors (1994)


Wow, who would've guessed that the Kiwis had more in them then the Finn brothers and a Phantom-loving dog? This is a brilliant and unique film (at the time of it's release, anyway), and gives the world a home-grown insight into New Zealand's native people and the changing cultural landscape they find themselves facing


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The Train

November 3rd 2006 11:11
The Train (1964)


Dedicated to the 'gallant french' for all the lives they gave to save a bunch of paintings from the Nazis, this sharp, black and white war actioner is one of director John Frankenheimer's babies from a rising age of cinematic realism


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Point Break

November 2nd 2006 10:55
Point Break (1991)


The greatest motherfucking action film of all time! I could watch Point Break over and over again... everything in it is so rad - the dialogue, the stunts, the characters, the ending. It's all tops. I would deadset say that of all the action films I have ever seen, and will ever see, this is the best. It doesn't matter how crazy the stunts get in future action films (or how much bullshit CGI they employ), nothing will ever top the adrenalin rush, fun times and tragic undertones of this film


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In The Heat of the Night

November 1st 2006 10:34
In The Heat of the Night (1967)


Just recently I reviewed another Sidney Poitier race relations-heavy film, 'Guess Who's Coming to Dinner', a well-meaning film that time has not been very kind to. This effort, 'In The Heat of the Night', stands up a lot better in today's day and age, being as the film-makers decided to let the racial aspects of the script co-exist with an actual story. It would be fair to say that racism and prejudice is an important part of the story, but that's not all that this film is about. It also happens to be a whodunnit


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