A Movie A Day #326: MacArthur (1977, directed by Joseph Sargent)

The year is 1962 and Douglas MacArthur (Gregory Peck), the legendary general, visits West Point for one last time.  While he meets the graduates and gives his final speech, flashbacks show highlights from MacArthur’s long military career.  He leaves and then returns to Philippines.  He accepts the Japanese surrender and then helps Japan rebuild and recover from the devastation of the war.  He half-heartedly pursues the Presidency and, during the Korean War, gets fired by Harry Truman (Ed Flanders).

MacArthur is a stolid biopic about one America’s most famous and controversial generals.  It was produced by Frank McCarthy, a former general who knew MacArthur and who previously won an Oscar for producing Patton.  McCarthy was obviously hoping that MacArthur was do its subject what Patton did for George Patton and both films follow the same basic pattern. a warts-and-all portrait of a World War II general with all of the action centered around the performance of a bigger-than-life actor in the title role.  Though obviously made for a low budget, MacArthur is a well-made and well-acted movie but it suffers because Douglas MacArthur was just not as interesting a figure as George Patton.  Gregory Peck does a good job subtly suggesting MacArthur’s vanity along with capturing his commitment to his duty but he never gets a scene that’s comparable to George C. Scott’s opening speech in Patton.  The main problem with MacArthur, especially when compared to Patton, is that George Patton was a born warrior while Douglas MacArthur was a born administrator and it is always going to be more exciting to watch a general lead his men into battle then to watch him sign executive orders.

Insomnia File #31: Arsenal (dir by Steve C. Miller)

What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!

If you were having trouble getting to sleep last night around midnight, you could have turned over to Showtime and watched Arsenal, a film that had a brief theatrical run in January and which has now made its way to cable.

Arsenal tells the story of two brothers.  When we first meet them, they’re kids and they’re living with their uncle.  But then their uncle kills himself and the two brothers find themselves going down very different paths.  JP (who is played, as an adult, by Adrian Grenier) turns a part-time job mowing lawns into a full-time job as the owner of a construction company.  Meanwhile, Mikey (played, as an adult, by Jonathon Schaech) stumbles across gangster Eddie King (Nicolas Cage) while Eddie is busy killing a man.  JP heads for a life of respectability.  Mikey heads for a life of crime.  Much like the Bulger brothers, they remain close despite their differing lifestyles.

But who cares about the brothers?  Adrian Grenier and Jonathon Schaech both do the best that they can with these two underwritten parts but ultimately, neither JP nor Mikey is that interesting.  If anything, they’re like the guys who you keep around as backups in case the guy you really like never works up the courage to talk to you.  Instead, let’s discuss about Eddie King.

As I said before, Eddie King is played by Nicolas Cage.  As you can probably guess, Cage does not exactly show anything resembling restraint when he plays King.  That may not be surprising but what is surprising that, after twenty years or going totally overboard in almost every role that he’s played, Cage can still surprise audiences by just how far he’s willing to go.  Every time that you think Cage’s performances can’t get any more bizarre, something like Arsenal comes out and proves you wrong.

There is so much to love about Cage’s batshit crazy performance as Eddie King.  For one thing, it makes absolutely no sense.  If you look at real-life mobsters, one thing that becomes clear very quickly is that the best ones may have been sadistic but they were usually smart enough to know when to lay low.  Eddie, on the other hand, never lays low.  He’s so crazy that he might as well be wearing a shirt that reads, “I kill people and then laugh about it.”  So, not only do you have Cage giving one of his most over-the-top performances but, for some reason, he’s also wearing this extremely fake nose and the movie doesn’t really make much of an effort to disguise the fact that it’s a fake nose.  I mean, you can literally see the glue that’s holding the fake nose over the old nose.  And then there’s Cage’s haircut, which would appear to suggest that Eddie King shares a barber with every pervy humorist who has ever had a job working for Minnesota public radio.  When we first see Eddie, he’s gruesomely killing a man and Cage gets so into it and there’s so much blood flying that I was half-expecting Eddie to then turn into Pennywise the clown.  Eddie gets another scene where he writes a letter to his dead brother.  Cage acted the Hell out of that scene.  It’s as if he was saying, “You thought my Left Behind performance was strange?  CHECK THIS OUT, DAMN YOU!”

Of course, Cage isn’t the only good actor acting weird in Arsenal.  John Cusack plays a cop.  He always wears sunglasses and a cap and he also keeps his shoulder slouched.  Was it a character thing or was Cusack sincerely hoping no one would recognize him in the movie?  I’m not really sure but it’s still fun to try to figure out.

Anyway, Arsenal is your typical low-budget gangster film, where there’s a lot of yelling and people getting shot and tortured and all the rest of the usual crap.  There are thousands of these films and they tend to blend together into one tedious mass of pointless mass of sadism.  One of the brothers gets kidnapped.  The other one has to shoot a lot of people.  Bleh.  Boring.  Outside of the people who need something to watch while at the Russian mafia sleepover, who cares?  WAKE ME WHEN THE BULLETS HAVE STOPPED FLYING AND IT’S ALL OVER!  But at least Cage and Cusack are around to keep things kind of interesting.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run
  27. Remember My Name
  28. The Arrangement
  29. Day of the Animals
  30. Still of The Night


Pull Up A Stool For “Happy Hour In America” With Bartender Tim Lane

Ryan C.'s Four Color Apocalypse

Not to sound too grandiose right off the bat, but Tim Lane is more than just a cartoonist, he’s a medium — his mind, his pencils, and his brushes channeling a message from the past, yet one that’s somehow timeless, of an America that maybe never really was, but is no less “real” for the fact that it only “exists” in the same “place” that conjured it forth : the morass of our collective national subconscious.

To be sure, what Lane calls “The Great American Mythological Drama” is peppered with genuine personages, places, and events, many of which he relates with as much historical accuracy as is possible, but the way in which he weaves them together into something like a seamless tapestry is the stuff of pure legend — a legend he’s been constructing in his sporadically self-published comics series, Happy Hour In America, since 2003, as…

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Music Video of the Day: Sometimes It’s Enough by Lara Snow (2016, dir by Jonatan Harpak and Vadim Mechona)

For today’s music video of the day, we have the video for Lara Snow’s Sometimes It’s Enough.

Why do I like this video?  To a certain extent, I relate to it.  Abandoned buildings have always fascinated me, just the idea that a structure that was once full of life can suddenly be so … dead.  It’s hard to resist.  Just a few years ago, my sister and I had a lot of fun when we came across an abandoned house with an open door.  I mean, on the one hand, it was the perfect set-up for a horror movie.  On the other hand, that kind of made it fun.  That may or may not make sense to most people but it makes perfect sense to me.

This video also reminds me of the films of Jean Rollin.  That’s always a good thing.

Requiem for a Vampire (1971, dir by Jean Rollin)

Anyway, enjoy and welcome to December!