1936 - Random Cinematic Year in Review

Random Cinematic 

Year In Review

1936

 

 By: Emery Martin-Snyder

Preface: I have decided to write this series at least in part because I don't make it out to see new films very often and I've found that I spent too much time at the end of the year attempting to see all the big releases (many of which I'm not even interested in) for no other reason than to make an obligatory 'year end list'... This is a way that I can continue writing about films without feeling the pressure to see a bunch of stuff that I wouldn't otherwise take the time to. I'll still see most of them eventually, just on my own time. I use a random number generator to pick a year and I use letterboxd.com to determine the actual release year.

In January of 1936, American nightmare and serial killer Albert Fish was executed in Sing Sing Prison in New York. Do you ever catch yourself thinking, “What’s this world coming to?”Maybe you’re watching some Fox New coverage of their Missing White Woman of the Week and harkening back to a simpler time… you know, before bath-salts and immigrants were staining the streets with the blood of their victims… Albert Fish was from way back when America was “great”. I won’t detail here what he did but his Wikipedia page (do not click on this link) is the most disgusting thing I’ve ever read (seriously don’t read it). I’d like to tell you about all the great serial killer films that were inspired by Fish but the vast majority of fictional cinematic serial killers give credit to Ed Gein and Ted Bundy, among others. There have been a few films based on Fish’s true story. I haven’t seen them and they don’t seem to be very well received. I’m not really sure if Hollywood would actually finance an accurate retelling of his story (you’ve been warned) it’s just too gross.

Meanwhile across the pond, another better documented serial killer was busy hosting the Summer Olympics (XI) in Berlin, Germany. This was the first time a sporting event was covered on live television and Hitler thought of this as a great opportunity to showcase the superiority of the Aryan race. Unfortunately for Adolf, a young African American track star from Alabama by the name of Jesse Owens had other plans. He won 4 gold medals. Hitler reportedly replied:

“People whose antecedents came from the jungle were primitive; their physiques were stronger than those of civilized whites and hence should be excluded from future games."

Nazi translation: “I’m taking my ball and going home…”

The footage from these games would eventually be used by Nazi propagandist filmmaker, Leni Riefenstahl in her 2-part documentary, OLYMPIA. This would prove to be a groundbreaking cinematic effort. The film would be finalized and released 2 years later and it featured some of the groundbreaking and unprecedented cinematography and editing techniques that would later become a staple of modern filmmaking. I think it’s important for us to acknowledge the fact that artistic, technological and even cultural advancements can sometimes be born of the most nefarious of intentions.

Emery's Notable Five 

5 – SABATOGE  (Directed by Alfred Hitchcock)

 

I think this is one of Hitchcock’s most underrated films, especially among his earlier British work. There’s no reason that this shouldn’t be talked about in the same breath as THE 39 STEPS or THE MAN WHO KNEW TOO MUCH. It runs in the same paranoid vein. This film is a great example of Hitchcock’s “bomb theory” in which he illustrates the difference between horror and suspense. We see the absolute most literal example of it here.

4 – OSAKA ELEGY  (Directed by Kenji Mizoguchi)

 

This gives us a glimpse of some of the cinematic greatness to come later from one of Japan’s most prolific filmmakers.Though not nearly as substantial as some of his later work like UGETSU, THE LIFE OF OHARU or SANSHO THE BALIFF, this film works on a much softer, Ozu-esque level of melodrama. We are also treated to the beginning of actress, Isuzu Yamada’s 3 decade long career as Ayako, a woman who becomes her boss’ mistress in order to keep her embezzling father from prison. She is rewarded for her sacrificial act with the disdain of her family and the man she loves. 

3 – THE LOWER DEPTHS  (Directed by Jean Renoir)

 

This is my favorite Renoir film… of 1936 (I had 3 to choose from), and probably my 3rd or 4th favorite of his entire filmography. What I’m trying to say is: I’m a big fan of his, especially his films from the 30’s. Based on the Gorky play of the same name, this was one of Renoir’s first jabs at the bourgeoisie. It beautifully illustrates the widening chasm between the haves and the have-nots and it does so with the sense of humor a Renoir screenplay would come to be known for. If you are unfamiliar with his work, I would actually suggest starting here. It’s not quite as poignant as some of his other work but it may prove to be more accessible and relatable.

2 – MODERN TIMES  (Directed by Charles Chaplin)

 

I think you could watch this film as a metaphor for how Chaplin himself felt in the brand new world of “talkies”. It’s probably the only film in which he actually turns into The Tramp as the story unfolds. This happens because of advancements in modern technology that his skill set just can’t seem to keep up with. But fear not, complex follies give way to triumphs of simplicity as the film rolls on. We are finally rewarded with the solace that, although he may have to get by with less, The Tramp will be alright.

1 – FURY  (Directed by Fritz Lang)

 

I bet you thought I was done talking about Hitler…. Sorry, I can’t talk about Fritz Lang’s first American film without mentioning how it was obviously inspired by the Nazi party that he had fled from three years prior. Lang was offered a position as the head of German Film Studios by the Minister of Propaganda, Joseph Goebbels. He replied by fleeing Germany to Paris and eventually making his way to Hollywood. This film works amazingly as an indictment of the fragility of man’s conviction that give way to the mob mentality that makes fascism possible. Misinformation mixes with communal insecurities to create a toxic blend of fervor and zeal. All it needs is a place to direct its energy and foreigners traditionally make the best scapegoats. So yeah, I find the conflict of this film to be relevant today. But I also find its resolution to be just as relevant. I won’t give it away but to say that the truth in 1936 was far more elusive than it is in 2017… and we should be thankful for that.

Raw Review

Raw

Dir: Julia Ducournau

Starring: Garance Marillier, Ella Rumpf, Rabah Nait Oufella, Joana Preiss, and Bouli Lanners 

It was a Friday afternoon. The group of people from the office I worked at were going to get lunch at a new sushi place. At this point I wasn't a big fan of sushi but was willing to give it another try. One of my co-workers had never had it before either. The introduction for us was sashimi, a Japanese delicacy of very fresh raw meat. I hated it, my co-worker absolutely loved it. I remember him calling the meal "life changing".

The awakening of emotions and instincts in a young female veterinary student in director Julia Ducournau's new film "Raw" also brings about life-changing events, more than just finding a new favorite food. The experience in this film is so much more than just the visceral imagery you might connect to a film about cannibalism. Instead, the connection to the title of the film holds a deeper and more thought-provoking meaning, one that evokes a strong look at feminism, sexuality, and maturity. Ms. Ducournau has crafted a bold and confident dramatic horror film.

Justine (Garance Marillier) is a young vegetarian woman who is on the fast academic track to veterinary school. However, after a carnivorous hazing ritual that the upperclassmen impose on all new students, in which they must eat raw meat, Justine begins to have strong cravings.

At the core of "Raw" is a coming-of-age story about a young girl thrown into maturity. In the film she is basically kidnapped in a cruel hazing ceremony that ends up with her at a wild party that feels like something out of "The Warriors". Ms. Ducournau does an exceptional job of displaying Justine's confusion and frustration with people around her but also how the new experience naturally entices her inquisitive nature. It's within this maturation that Justine begins to find herself, where she begins to find her true self. Regardless of how strange and unusual that person might be, the film never flinches during these awkward and startling moments.

 Also interwoven into the film is a story about family, specifically the bonds of sisterhood. Justine's older sister Alexia (Ella Rumpf) is naturally perturbed that her younger, annoying, know-it-all sister is in school with her. Early in the film you get a sense that these sisters both love each immensely, however you also understand that the sisters are naturally competitive with each other. This leads to interesting moments that display the heartfelt and the cruel nature that siblings can have with one another, specifically in the way that they communicate with each other. The aggression builds, but so does the compassion and understanding. It's a complex relationship, and as aspects of cannibalism begin to take hold you can feel that these two siblings understand that the only way they will survive is to help each other. It's a fascinating narrative undertone that provides a depth to challenge the intense aspects of the film.

 The performances from Garance Marillier and Ella Rumpf are exceptional. They embody the difficult aspects very well, but that isn't very hard to do considering the graphic nature of the theme. Instead it's the subtle progression of these two women and how they change, you get insight into what is shaping Justine and what has already shaped Alexia.

 "Raw", as the title implies in many ways, is a film that can be uncomfortable and difficult to watch, but not simply because of the intense scenes of gore and violence but rather the emotional turmoil that many of the characters in the film are dragged through. This isn't a film for every film fan, this includes horror fans. Still, director Julia Ducournau has crafted an impressive debut film that challenges how filmmakers are utilizing genre film to tell stories. Whether a commentary about gender and sexual empowerment, a coming-of-age film that displays the fragility of the process, or a film about family and how unique the definition is to everyone; its quality that I hope continues within the genre.

Monte's Rating

4.25 out of 5.00

Beauty and the Beast Review

 

Beauty and the Beast

Dir: Bill Condon

Starring: Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Ewan McGregor, Ian McKellen, Stanley Tucci, Audra McDonald, and Emma Thompson

“Tale as old as time”. In 1946 French artist, playwright, and filmmaker Jean Cocteau brought a classic of storytelling to stunning, visionary life. “Beauty and the Beast” has since been retold and reimagined, though it wasn’t until 1991 that a film would come close to matching the magical quality of Cocteau’s film. Disney animation crafted a children’s musical that would become a beloved staple for a generation of young people.

Director Bill Condon, “Mr. Holmes” and “Dreamgirls”, adapts the Disney animated film in near shot-for-shot fashion, lovingly recreating many of the moments fans will remember from the classic animation. Add a group of talented live action actors, computer generated household items like the candelabra “Lumière” and the teapot “Mrs. Potts”, and a digitally composed beast, and it would seem like all the pieces are present to make another beloved film for a new generation. To a large extent this rendition of “Beauty and the Beast” works just fine, supplying enough uplifting tunes and beautiful imagery to arouse a sense of nostalgia or make you forget that you’ve seen this film many times before. 

 Emma Watson plays the confident Belle with wit, charm, and tenacity. Belle has always been one of the more interesting of the Disney princesses, a maturing girl raised by her father in a village that she has outgrown. Her escape ultimately comes in the form of a capture. Ms. Watson fits the role perfectly, her look and handling of the character’s defining qualities, the empathy and intelligence especially, is the glue that holds the film together.

Dan Stevens plays the Beast, a performance composed with a motion capture suit that is then transformed digitally into the towering, roaring monster. This method works half the time, mostly when Ms. Watson is there to support and react to the performance. Whenever the Beast is left to portray dramatic moments, and sing on a few occasions, some of the digital seams are revealed and the emotion that should come through, as it did with the beautiful performance by Jean Marais in Jean Cocteau’s film over 70 years ago, is lost. 

Still, Mr. Condon builds such a spectacle of song and dance that even a talking pot, voiced by Emma Thompson who accomplishes the giant charge of replacing Angela Lansbury, and a mannerly candelabra, voiced by Ewan McGregor and tasked with singing “Be Our Guest”, are provided opportunities that will undoubtedly sweep the viewer into all the fun.

As for all the controversy that has produced anger and boycotts from different groups, these scenes are so minuscule, so slight, so simplistically woven into minor moments in the film that unless you go into this film specifically looking for controversy, you will hardly recognize it. For a film that displays a character living in a world that attacks difference, it seems so foolish to think that some viewers wouldn’t recognize the moral of the journey of Belle, which is empathy, acceptance, and knowledge above all can change anything.

 “Beauty and the Beast” spends more time, over two hours, building a display of lavish digitally composed atmospheres than it does trying to establish a better narrative or deeper connections to the interesting characters found in this fairytale. Still, the loyal and dutiful allegiance to the original animated feature may be enough to overlook the blemishes. 

Monte’s Rating

3.50 out of 5.00

Kong: Skull Island Review

 

Kong: Skull Island

Dir: Jordan Vogt-Roberts

Starring: Brie Larson, Tom Hiddleston, Samuel L. Jackson, John Goodman, John C. Reilly, Corey Hawkins, Tian Jing, Toby Kebbell, Thomas Mann, Shea Whigham, and Jason Mitchell

Kong is king!! And since 1939, Kong has been one of the iconic movie monsters. Nearly 80 years, which included numerous films, and the giant ape has gone from a stop-motion puppet to a spectacle of computer-generated effects. Kong isn’t the only super charged element in director Jordan Vogt-Roberts new monster movie "Kong: Skull Island", a rather fun and never too serious action adventure film.

Monsters are real. Well, at least that’s what scientist Bill Randa (John Goodman) believes. He has spent his entire life hunting for evidence of monsters and he believes that proof exists on Skull Island, an undocumented island that is kept hidden by a massive storm that surrounds it. Randa is finally given permission to explore the island with the help of a military platoon led by Lt. Col. Preston Packard (Samuel L. Jackson). Knowing that something beyond imagination could exist on the island, Randa employs a tracker named James Conrad (Tom Hiddleston) as well. It doesn’t take long for the team to realize whose toes they stepped on by invading the island. Kong is king.

 You get a sense early on that Mr. Vogt-Roberts is not trying to emulate the past incarnations of the famed ape. A majority of the past films have kept the introduction of Kong a secret, waiting until  the midway point of the film before we finally see the monsters full image and size. With "Kong: Skull Island" we are introduced to Kong in the first few minutes of the film, even the first full battle sequence with a striking image of Kong blocking the sun happens before the 20 minute mark. 

The film takes place in 1973 with the United States stumbling out of the Vietnam War. The sentiments felt by incorporating a military team at the end of their tour in Vietnam, waiting happily to go home, offers a nice compliment to the story and the ultimate battle with Kong. Leading the charge is Lt. Col. Packard, a famed war hero, who is looking for one more chance to prove himself in a war he refuses to believe was a failure. 

Lt. Col. Packard, played with wild eyed and stern toned aggression by Samuel L. Jackson, leads the charge via helicopter into the uncharted island. Again, it doesn't take long for Kong to make an impact. The swarm of helicopters are blindsided by Kong, even with all of their gun power they are no match for massive monster. Losing many of his men during this attack, many of whom we never get a chance to meet, sends Packard into madness and on a journey of vengeance that has him touting man's superiority over animal. It's hard not to feel the influence of other war films during these moments with the soldiers, "Apocalypse Now" and "Platoon" most recognizably hold a strong influence over the creative choices in the narrative. These moments work when they function in the vein of something like "Predator", however this is not always the case as the film also shifts to a serious tone in some awkward places. 

What helps immensely with the clumsy script and at times terrible dialogue is the acting team collected here. They are all exceptionally talented. When you have actors like Tom Hiddleston, Brie Larson, Samuel L. Jackson, and John Goodman, you're bound to make terrible dialogue have some kind of power. Mr. Jackson is just fun to watch, from the beginning moments his character is intriguing mostly because of Mr. Jackson's bravado. The most interesting of the group is Brie Larson's photographer Mason Weaver; the moments that she has with Kong are less "beauty that killed the beast" and more beauty that helps the beast. There is also a nice cameo by a familiar actor who always seems to be having the most fun in whatever role he gets to play. Unfortunately, with so much talent in the film, some characters are only given a few moments to really shine.

 "Kong: Skull Island" is fun when it doesn't take itself too serious, the kind of monster action that emulates epic battles you may have had in the sandbox with your toys as young kids. The acting is better than expected and the action is loud, fast, and aggressive. It's already been revealed that this is just the beginning for the monsters, "Kong: Skull Island" is a good start. 

Monte's Rating 

3.50 out of 5.00

Logan Review

 

Logan

Dir: James Mangold

Starring: Hugh Jackman, Patrick Stewart, Dafne Keen, Boyd Holbrook, Stephen Merchant, and Richard E. Grant

Hugh Jackman has played the Marvel Comics character “Wolverine” since 2000, with the inclusion of “Logan” this would be the eighth time (ninth if you include a cameo) Mr. Jackman has played the clawed mutant superhero. Seventeen years and the role is coming to an end for Mr. Jackman in “Logan”, a gritty and violent fond farewell that wraps up the journey of the beloved character. 

 It’s been an interesting trip for the Wolverine in all these films, especially in the standalone films, which have had a difficult time successfully composing the complicated character. The Wolverine is unlike other superheroes, a somewhat reluctant loner of few words who is powerful enough to be an asset to both the good guys and the bad guys. “Logan” explores something the other films haven’t emphasized, that even though this character has the ability to heal the worst physical wounds what kind of emotional wounds has he sustained from a life of fighting the good fight.

Logan (Hugh Jackman) has outlived his superhero counterparts; he has seen the efforts for peace amongst mutants fail. In the future the mutants have been all but eradicated, leaving those remaining forced into hiding. Two of the most powerful mutants in history, the Wolverine and Professor Charles Xavier (Patrick Stewart), are aged and fragile. Professor Xavier is suffering with dementia, leaving the most powerful mind in mutant history a ticking time bomb. Logan is also sick, his healing properties are weakened and his emotional state is on the verge of crumbling. A mysterious young girl (Dafne Keen) is thrown into the lives of these two iconic mutants, leading to one final battle to protect the future.

Director James Mangold, who helmed 2013's "The Wolverine", returns and from the first moments of the film you can feel that "Logan" is going to be something different. This film, seemingly taking point off the success of "Deadpool", is rated R for "strong brutal violence and language throughout, and for brief nudity". However, these elements, albeit noticeable from the beginning, aren't what separates the film from the rest in the franchise. It's the tone, the bleak and grim atmosphere and the future that seems hopeless and, to a large extent, at the end of its life. Logan is lost, wandering desolate highways and dark corners of large cities. Professor Xavier is a mumbling and confused old man, forced into taking medication to prevent seizures that have the power to destroy entire cities. It's an existence that is difficult to watch but one that feels wholly realistic in terms of the social and political climate. The narrative does a fine job of underlining these concerns of separation and alienation, whether mutants verse humans, parents verse children, men verse women, black verse white, the film is clearly making an example. 

Logan, trying to keep a low profile, is still an icon of mutant support and resistance. Comic books featuring the tales of the X-men are the only pieces of history for new generations of mutants to learn from. This brings a young girl with exceptional, familiar talents into the lives of Logan and Professor Xavier. Laura (Dafne Keen) is on the run from a group of hired mercenaries lead by a mechanical-armed tough guy named Pierce (Boyd Holbrook). Newcomer Dafne Keen is fantastic in the role, offering a great counterpart to Logan, one that also provides a strong willed emotional quality that plays nicely, fiercely with the Logan character. 

While "Logan" leans more into the character study aspects than past films, it is still very much an action film. There are few stunning moments that let the character bring havoc and mayhem into the frame. However, even with the ramped up violence, you actually get to see the full extent that long adamantium claws have when challenged against the human body, and the occasional strong moments with adult language, the R-rating doesn't play much of role in making the narrative feel anymore critical than it would have if it remained PG-13. That's actually a compliment to the script, which instead of engaging in overindulgence of the spectacle that can come with an adult rating composes strong characters that make the story compelling and provides an emotional quality that may have some fans dropping a few tears. 

Hugh Jackman has always owned this role but here the character is really given something to build upon, offering moments that allow Logan to be affected by the life that he has lived but also affected by how he will live the remaining time that he is given. If this is the end for The Wolverine, it's the best way that it could have ended.  

Monte's Rating

4.00 out of 5.00