In The Cut (2003)

"FILMED 100% IN NEW YORK CITY". I really liked the often drifting handheld photography in this urban thriller directed by Jane Champion (of 1993's The Piano). Although the film’s general structure fits the thriller genre, it’s strongest impressions were made by the lead character’s melancholia; Frannie’s stream of consciousness is the central mystery. Therefore, it is also a character film, one that references Virginia Woolfe on several occasions: Frannie’s fruitless effort to teach the novel “The Lighthouse” & Frannie’s intimate relationship with her sister Pauline (Jennifer Jason-Leigh). The on-location Manhattan settings, the subdued lighting & prevalent use of shadows, the narrow focal depth of long lenses, and the floating camera eye provides a unique voyage into Frannie’s state of being and family history.

Meg Ryan plays the protagonist as if in a state of sustained hallucination; an impressively subdued performance.

It struck me that the tattooed-forearm “film device” is not explicitly acknowledged by other characters besides the lead until 45 minutes into the film; another sign of how the thriller structure is incidental. This film will appeal to women more than men despite its overt sensuality & the graphic sex scenes. It does not follow a “female structure”, but the climax is more cathartic than explosive.
http://us.imdb.com/title/tt0199626/

Midnight Cowboy (1969)

An unexpected coming-of-age buddy film with two memorable characters of cinema, Ratso (Dustin Hoffman) & Joe Buck (Jon Voight), "Midnight Cowboy" collides small-town innocence with city drudgery. But is Joe Buck really innocent after having experienced the betrayal revealed in the fragmented flashbacks? Perhaps his charms and optimism seem untainted.

"Midnight Cowboy" is the street-smart version of "The Graduate" (1967). It is a testament to the dispossessed.
http://us.imdb.com/title/tt0064665/

The Bride Wore Red (1937)

Despite missing the first 18 minutes of the film, I am still able to piece together the set-up of this engaging Joan Crawford vehicle & appreciate its typical "Hollywood ending". Crawford plays an ambitious working class girl who impersonates a fictional socialite in order to catch a rich husband at a resort. Crawford’s Anni is introduced as a performer, maybe a dancer, at a club where opportunity came around in the form of a well-dressed older gentleman who probably burns Benjamins to light his cigars. This minor character is only the first of many to portray class distinction in “The Bride Wore Red”, a narrative about the pursuit of social class in a blissful community consisting of working peasants and wealthy guests. Perhaps, this is the Switzerland that Hollywood knew at the time.

The characters in the film, such as Giulio (Franchot Tone) and Rudi Pal (Robert Young of the “Canterville Ghost”) acknowledge the difference in social class at every turn; they do so with a smile. Crawford, fully in command of her allure, goes through a series of wardrobe changes that reflect her character’s social climbing progress, and also foretell her character’s turn at the conclusion with her charming and unabashedly low-cut, regional frock. The glimmering dress that screams “classy ‘ho” at the climax certainly lives up to the film’s title, even in monochrome. The height of her achievement in elevating her class status and deepening her self-hate, is represented by the flamboyant but cheap material tightly wrapped around her body.

The theme of the determined working girl marrying into riches reminded me of “I Know Where I’m Going” (1945), but the similarity ends there. “The Bride Wore Red” is neither comedic nor romantic; the lead character, the bride, schemes against a rich man and, above all, denies herself happiness in order to satisfy her prejudice against the have-nots. Being poor and not having money are two distinct situations, but Anni doesn’t quite figure this out. At the plot’s conclusion, Anni was shaped by circumstances, not her own mind. Crawford became a more active participant of her fate in “Mildred Pierce” (1945), a later film also about a working class woman, but her character was ultimately put in her own specific place in the social order.
http://us.imdb.com/title/tt0028661/

Out of Sight (1998)

I'll write more extensively about this film in the future. I had just lost some comments I've written from forgetting to hit "Save".

I had concluded a minute ago, prior to losing my material in digital limbo, that "Out of Sight" contains Jennifer Lopez's best role in a film. It made me want to watch more films with her playing lead. The Jennifer Lopez from the late 90s was slightly different: she was less skinny & more "realistic"-looking. Either in full lipstick & eye makeup or looking like she had truly just woken up from normal-person slumber (as opposed to movie-sleeping in makeup), Karen Sisco (Lopez) is stunning. Further, Karen exudes an undeniable, working-girl sexuality that has seldom graced the big screen, at least not lately.

After 3 to 4 viewings, I still find striking the scene of the first-meeting between Karen & Jack Foley (Clooney). In spite of memories of stardust & the two actors' on-screen chemistry, the success of this scene is mostly due to the mise en scene: the blinking red light (from the car breaking), the enclosed space (trunk of a car) & physical intimacy of the two actors, and Jack's hand casually placed on Karen's hip. It is an effective play on a relatively hostile situation (experienced by one party at least & the awful smell by both) in a romantic setting (lights & physical nearness).

I will have to comment on the amusing & descriptive DVD video commentary by Soderbergh & Frank (screenwriter) in future postings. http://us.imdb.com/title/tt0120780/

Heaven Can Wait (1943)

"Lubitsch in Technicolor", thought I, as the credits began. Not only is this his first color film, but also a first in which Lubitsch shows his sentimental side. The first half features his classic touch in sophisticated comedy (timing & dialogue), and sexual undercurrents (detectable by the discerning audience). The second half blossoms into a seasoned &, at times, nostalgic outlook at mortality.

I need a second viewing to fully appreciate this film because the "old man looking back" sentimentality of the second half really caught me by surprise & stands out as an unexpected narrative turn. In short, I don't know what to think of it. One thing's for sure: the film's portrait of a married couple, in it's essense, is undeniably realistic for a formalistic studio picture (Fox) from the Golden Age of Hollywood.

The theme in "Heaven Can Wait" is marriage. I feel that if my own marriage were to reflect some of the elements in the relationship between Martha (Gene Tierney) and Henry (Don Ameche), I'd be set for life. Truly laugh-out-loud funny & endearing too.

The DVD video release by The Criterion Collection is a gem. Gene Tierney is lovely in either color or monochrome (as audiences would witness that following year in Preminger's noir picture "Laura"). Don Ameche (ah-mee-chee) is a stand-out leading man & Chuck Coburn is perfect in his angelic matchmaker & elderly do-gooder (ala "The More The Merrier") persona. The most outstanding item on the DVD is the commentary about & by Samson Rafaelson, Lubitsch's close collaborator for almost a dozen films. Samson has some insightful recollections & inspiring advise for the budding screenwriter or filmmaker. Samson's screenwriting credit is an awesome list, plus his wrote the perfect romantic comedy "The Shop Around The Corner" (1940). "Note to self: procure this film immediately!" http://us.imdb.com/title/tt0035979/

Theodora Goes Wild (1936)

A delightful screwball comedy. Irene Dunne's performance as Theodora rivals Hepburn's screwy turns in Hawks's "Bringing Up Baby", arguably one of the best comedy films ever made. Melvyn Douglas co-stars & plays his fancy-free screen persona with the ocassional crack in his voice.

The film's structure is a 2-Act; an exercise in character reciprocity. In the first half, the man teaches the woman how to live & be true to one's self. In the longer second half, the woman returns the favour when she discovers the man's double life. Melvyn's character is not intensely hypocritical, just resigned & dispossessed, that is until Theodora came along & swept him off his feet! http://us.imdb.com/title/tt0028355/