Lisa Reviews An Oscar Winner: Amadeus (dir by Milos Forman)


The 1984 film Amadeus is about a man who learns, after it’s a bit too late to really do anything about it, that he is thoroughly mediocre.

When we first meet Antonio Salieri (played by F. Murray Abraham), he’s an old man who has been confined to a mental asylum because he attempted to slit his own throat.  What should drive Salieri — a respected, if not particularly beloved, composer in 18th Century Vienna — to attempt to take his own life?  As he explains it to Father Vogler (Richard Frank), it’s the guilt of knowing that he’s responsible for death of the greatest composer of all time, Wolfgang Amadeus Mozart.

When Mozart (Tom Hulce) first showed up in Vienna, Salieri was already the court composer to the thoroughly vacuous Emperor Joseph II (Jeffrey Jones).  At the time, Salieri believed himself to be a genius touched by God.  As he recounts to Father Vogler, he prayed to God when he was a boy and he struck what he believed was an ironclad deal.  God would make Salieri a great composer and Salieri would remain a faithful believer.

But then Mozart shows up and, from the minute that he first hears one of Mozart’s compositions, Salieri realizes that Mozart is the one who has been blessed with genius.  Mozart is the one who is writing the music that will be remembered for the rest of time, long after Salieri and all of his other rival composers have been forgotten.  Upon first hearing Mozart, Salieri suddenly realizes that he has been betrayed by God.  He is a mediocre talent and he’s always been a mediocre talent.

The worst part of it is not just that Mozart’s a genius.  It’s also that Mozart knows he’s a genius.  He’s a bit of a brat as well, with a remarkably annoying laugh and vulgar manners that scandalize proper society.  Despite the efforts of his rivals to dismiss his talent, Mozart is beloved by the common people.  He’s an 18th century rock star and it seems as if no amount of scandal and petty jealousy can slow him down.  Even worse, the emperor takes a interest in Mozart and commissions him — and not Salieri — to write an opera.

Rejecting a God that he feels has betrayed him, Salieri plots Mozart’s downfall….

Goddamn, this is a great movie.  Seriously, everything about Amadeus works.

The ornate sets and the costumes not only wonderful to look at but they also actually tell us something about the characters who inhabit them.  One look at the beautiful but cluttered home that Mozart shares with his wife, Constanze (Elisabeth Berridge), tells you almost everything you need to know about not only Mozart’s tastes (which are expensive) but also his talent (which is undisciplined but also limitless).  The empty-headedness of Emperor Joseph is perfectly mirrored by the pretty but uninspired decor of his court while the grubby chaos of the mental asylum seems to have sprung straight from Salieri’s tortured soul.  As visualized in Amadeus, there’s a cold beauty to Vienna, one that is fascinating but, at the same time, menacing.  As for the costumes, Mozart’s powdered wig somehow seems to be brighter than everyone else’s and his colorful wardrobe demands your attention.  Meanwhile, when a costumed and masked Salieri shows up at Mozart’s door, he’s like the Grim Reaper coming to collect a soul.

The witty script is full of sharp lines and director Milos Forman does a wonderful job of balancing comedy and drama.  The scenes involving Joseph II are frequently hilarious and Jeffrey Jones does a great job of portraying Joseph as essentially being a very influential dunce.  The scene where Joseph tells Mozart that he liked his latest composition but that “there are simply too many notes” is a classic and one to which any artist, whether they’re Mozart or not, will be able to relate.  (“Just cut a few and it will be perfect.”)

The film is dominated by the performances of F. Murray Abraham and Tom Hulce.  Hulce is wonderfully flamboyant in the early part of the film and, bravely, he doesn’t shy away from portraying Mozart as occasionally being a bit of a spoiled brat.  It’s not just that Mozart can be annoying.  It’s also that he’s often deliberately annoying.  When we first see Mozart, it’s easy to understand why his very existence so grated on Salieri’s nerves and why Salieri considers him to be an “obscene child.”  But as the film progresses, Hulce lets us in and we come to see that Mozart is actually a very vulnerable young man.  When his disapproving father (Roy Dotrice) comes to visit, we suddenly understand both why Mozart is so driven to succeed but also why he is so instinctively self-destructive.

Meanwhile, F. Murray Abraham — well, what can I say about this performance?  In the role of Salieri, Abraham gives one of the greatest film performances of all time.  In many ways, Abraham has a tougher job than Hulce.  If Hulce has to convince us that Mozart has been touched by genius despite the dumb things that he often does, Abraham has to make petty jealousy compelling.  And somehow, Abraham manages to do just that.  Whereas the role of Mozart allows Hucle to wear his emotions on the surface, Abraham has to play a character who keeps most of his thoughts and impulses hidden and the fact that we end up understanding Salieri (if never actually sympathizing with him) is a testament to F. Murray Abraham’s skill as an actor.  Abraham won the Oscar for Best Actor for his work in Amadeus and it was more than deserved.

At the end of the film, Salieri declares himself to be the patron saint of mediocrities and, to a large extent, that’s what sets Amadeus apart from other biopics.  Most people are mediocre.  Most people are not going to end their life as a Mozart.  They’re going to end their life as a Salieri or worse.  This is one of the few films to be made about a runner-up.  It’s interesting to note that, even though the film is more about Salieri than Mozart, it’s still called Amadeus.  It’s not named Antonio or Salieri.  Even in a film made about Salieri, Mozart is advertised as the main attraction.

(It should also be noted that many historians believe that Salieri and Mozart were actually fairly friendly acquaintances and that, beyond the normal rivalry that any two artists would feel, neither held any significant ill will towards the other.  In other words, enjoy Amadeus as an outstanding piece of cinema but don’t necessarily mistake it for historical fact.)

Along with Abraham’s victory, Amadeus also won Best Picture of the year.  Of the nominees, it certainly deserved it.  (My pick for the best film of 1984 is Once Upon A Time In America with Amadeus as a close second.)  It’s a great film and one that definitely deserves to be watched and rewatched.

Outlaw Justice (1999, directed by Bill Corcoran)


During the closing days of the old west, the evil Holden (Sancho Garcia) guns down retired outlaw, Tobey Naylor (Waylon Jennings).  Tobey’s son, Bryce (Chad Willett), is determined to get revenge so he teams up with three members of Tobey’s old gang, Lee Walker (Willie Nelson), Jesse Ray Torrance (Kris Kristofferson), and Sheriff Dalton (Travis Tritt).  They ride into Mexico, searching for one final shootout.  Along the way, they befriend the locals, find time to rebuild a burned-out church, and bicker like aging gunslingers in a Larry McMurtry novel.  Chad Willett and Willie Nelson also find time to fall in love with local women because, obviously, the entire film can’t just be gunfights and church-building.

Outlaw Justice is a standard western, which is distinguished only by the casting of the pioneers of outlaw country music as actual outlaws.  Since this was made during the Lonesome Dove-Unforgiven era of westerns, there’s some talk about how Lee and Jesse Ray are past their prime but otherwise, it’s an angle that largely left unexplored.  Of the singers, Kris Kristoffeson and Travis Tritt are probably the best actors but Willie Nelson seems to be having the most fun.  (Nelson has enough natural charisma that he can get away with a lot.)  If you’re a fan of westerns who doesn’t demand too much from the movie you’re watching, Outlaw Justice will probably be entertaining enough.  Otherwise, it’s pretty forgettable.

Music Video of the Day: Boneless by Steve Aoki, Chris Lake & Tujamo (2013, dir by Peter Falloon)


Watch this video and learn from it!

When these two fashionably-clad gangs had a disagreement in the 1980s, they didn’t settle things with violence.  Well, okay — they probably did sometimes.  In fact, things get a little bit heated in this video and I’m sure some people would argue that the only reason things didn’t get bad (I mean like, West Side Story bad) is because everyone knew that they were being filmed for prosperity.

Anyway, instead of having a rumble (which may sound silly but is still a lot of fun to say), they had a skate-off!  And then they all jumped up into the air!  Yay!  Everyone’s a winner even though we know that can’t be true because, just by definition, no one can win unless someone else loses.  That’s just the way it goes.

Anyway, this is a fun little video and all the gang members look crazy hot with their skateboards and their headbands and their whole neon attitude.  This video was shot in Venice Beach and the director was Peter Falloon, who apparently directed a lot of skating videos back in the 80s.  My favorite thing about this video is that it really does look like something that was taken off of a crappy VHS tape.  You can even tell when the tape’s owner rewound certain scenes and then watched them over and over again.

Anyway, what more can I say about this one?  It’s fun and really, for me, that’ the most important thing about any music video.  Did I enjoy watching it?  Did I actually force myself to concentrate on only doing one thing for three minute so that I could enjoy the video?  In this case, the answer is yes.

So, yay!

Enjoy!

 

Ghosts of Sundance Past #1: Brittany Runs A Marathon (dir by Paul Downs Colaizzo)


As we all know, this year’s Sundance Film Festival started last week on Thursday.

To me, Sundance has always signified the official start of a new cinematic year.  Not only is it the first of the major festivals but it’s also when we first learn about the films that we’ll be looking forward to seeing all year.  It seems like every year, there’s at least one successful (or nearly successful) Oscar campaign that gets it start at Sundance.  This year, for instance, people are already intrigued by Zola, Minari, Shirley, and Ironbark and it’s almost entirely due to how those films have been received at Sundance.

My initial plan for this year was to spend the last few days of January looking at some of the films that have won awards or otherwise created a splash at previous Sundance Film Festivals.  I was planning on starting last Thursday but then I came down with a terrible cold, from which I’m still recovering.

So, instead, I’m starting today.  It happens.  In the past, I would have beaten myself up over not starting on time but, if I’ve learned anything from my 10 years of writing for TSL, it’s that sometimes you just have to accept that life can be unpredictable.  Sometimes, you just have to embrace the mystery.

Anyway, to start things off, I want to take a look at one of my favorite films from last year, Brittany Runs A Marathon.

When we first meet Brittany Forgler (Jillian Bell), she is a 28 year-old New Yorker who works at a theater.  She’s single.  She’s funny.  She’s irresponsible.  She usually either drunk or hungover.  In many ways, she’s the ideal friend.  You wouldn’t necessarily want her to be your best friend, of course.  But she’s still someone who seems like she’d be the perfect member of a group, in that she can make a joke but, at the same time, she doesn’t have much of a life so you don’t have to worry about her attracting attention away from you.  Add to that, Brittany has an Adderall prescription, which she tends to abuse.  (It happens.)  Everyone loves someone who can provide them easy access to prescription medication.

In fact, it’s while she’s trying to get her prescription updated that Brittany is given some very serious news.  Her doctors informs her that she’s not very healthy.  She’s overweight and rarely gets any exercise.  Her doctor tells her that she needs to change that.  And since Brittany can’t afford to be a member of even the cheapest of gyms, it seems like the only option left is to start running.

In public.

In New York City.

Now, you can probably guess from the title that Brittany eventually comes to love running and decides that she wants to run in the New York marathon.  And you can probably guess that, about halfway through the movie, Brittany faces a crisis that causes her to consider just giving up.  As far as the running is concerned, this is a likable but occasionally predictable film.

Fortunately, Brittany Runs A Marathon is about more than just running.  It’s about growing up and taking responsibility for your life but it’s also about loving who you are, regardless of who that might be.  What makes this film so special is that Brittany doesn’t automatically become an Olympic class runner.  Nor does her life magically come together just because she manages to complete a 5k.  Instead, what makes this film so special is that it’s about Brittany finding her own happiness and accepting who she is.  When Brittany struggles, it’s impossible not to feel for her.  When Brittany succeeds, it’s impossible not to cheer.

It helps that this is also a terrifically funny film.  The dialogue is sharp and witty and Jillian Bell is one of those actresses who can make even the simplest of lines hilarious.  (She can also make them heart-breaking when she needs to.)  While Brittany is running, she’s also working as a pet sitter.  When she discovers that another pet sitter, Jern (Utkarsh Ambudkar), is essentially squatting in their employer’s house while she’s out of town, Brittany ends up moving in with him.  Everyone tells Brittany that she’s eventually going to end up sleeping with Jern.  Brittany says it will never happen.  Jern says it will never happen.  We know it will happen because Bell and Ambudkhar have such a wonderful chemistry.  They’re like a 21st century version of Tracy and Hepburn.

I wasn’t expecting much from Brittany Runs A Marathon but it’s a good film, a funny comedy with a good heart and serious points to make.  Not surprisingly, it was also loved at Sundance, where it won the Audience Award.

Rambo: Last Blood (2019, directed by Adrian Grunberg)


John Rambo (Sylvester Stallone, of course) is back!

He’s in his 70s now.  He talks a little slower.  He moves a little stiffly.  He wakes up every morning and takes a hundred different pills.  He says that he has finally given up his anger but, deep down, he’s still the same Rambo who blew up the town of Hope, Washington before becoming an international problem solver.  He still likes to dig underground tunnels and make weapons.  When he’s not doing that, he and Maria Beltran (Adriana Barraza) run his father’s old horse ranch in Arizona.

When Maria’s granddaughter, Gabriela (Yvette Monreal), sneaks down into Mexico to search for her biological father, Rambo goes after her.  When he discovers that Gabriela has been kidnapped and drugged by a Mexican cartel, Rambo announces that he’s going to rescue her and get revenge, even if it means blowing up the entire southwest to do it.

There’s a scene in Last Blood where Rambo literally rips a man’s heart out of his chest and holds it in front of his face while he dies.  That’s pretty cool and doubly impressive when you consider that Rambo’s not that young anymore.  I’m 40 years younger than Rambo and I can’t do that.  Other than that, though, Last Blood is a disappointment.  The cartel makes for a forgettable group of villains and too much of the plot depends on otherwise intelligent people suddenly doing something stupid.  The Rambo films have never been known for their carefully constructed storylines but, even by the standards of the previous films in the series, Last Blood feels as if it was hastily slapped together.

The main problem, though, is that John Rambo doesn’t feel like Rambo.  There are references to the time that Rambo spent in Vietnam and Rambo does use several VC-style booby traps to take out most of his enemies but otherwise, Sylvester Stallone might as well have just been playing John Smith.  I spent the whole movie waiting for Rambo to at least say something along the lines of, “A friend of mine from Nam — his name was Sam Trautman — taught me this,” but instead, the previous Rambo films go largely unacknowledged until the end credits, during which we see some scenes from our hero’s past adventures.  If you’re going to make a Rambo film, it should feature a story that could only happen to Rambo and a problem that only he can solve.  Last Blood felt like it had more in common with Taken than Rambo.

Rambo’s had a good run but, on the basis of Last Blood, I think it may be time to let the character enjoy his retirement in peace.  He’s earned it.

 

Lisa Reviews An Oscar Nominee: The Diary of Anne Frank (dir by George Stevens)


From 1942 to 1944, a teenage girl named Anne Frank lived in hiding.

She and her family lived in what was sometimes called The Secret Annex, three stories of concealed rooms that were hidden behind a bookcase in an Amsterdam factory.  At first, it was just Anne, her older sister Margot, and their parents.  Eventually, they were joined by another family and eventually a dentist, with whom Anne did not get along.  Life was not easy in the concealed space and tempers often flared.  As the months passed, Anne had a romance-of-sorts with Peter, the teenage son of the other family, but she wondered if she truly felt anything for him or if it was just because they were stuck together.  Anne looked forward to someday returning to school and seeing all of her old friends, again.  However, she knew that she could not leave the Annex until the Nazis had finally been forced out of the Netherlands.  She and the other occupants had to remain in hiding and they had to remain perfectly quiet eight hours a day because they were Jewish.  If they were discovered, they would be sent to the camps.  So, they waited and Anne kept a diary.

Tragically, the Nazis did eventually discover the Secret Annex.  Of the 8 occupants, only Anne Frank’s father, Otto, would survive the war.  The rest died in various concentration camps.  Anne Frank’s mother starved to death in Auschwitz.  Her older sister, Margot, was 19 when she fell from her bunk and, because she was in such a weakened state, was killed by the shock.  Anne Frank, it is believed, died a few days after Margot.  She died at the Bergen-Belsen Concentration Camp, one of the 17,000 prisoners to succumb to Typhus.  Before she died, Anne Frank spoke with two former schoolmates who were also being held at Bergen-Belsen.  She told them that she had believed her entire family was dead and that she no longer had any desire to go on living.

However, Otto Frank did survive and, at the end of the war, he returned to the Secret Annex.  That’s where he discovered Anne’s diary.  After editing it (a process that Anne, who aspired to be a journalist, had already started doing shortly before she was arrested), Otto arranged for the publication of the diary.  The Diary of A Young Girl (or, as it was titled in some countries, The Diary of Anne Frank) was a bestseller and has remained one ever since it was first published.  Along with being recognized as being one of the most important books ever written, it’s also been adapted for both stage and screen.

The first such screen adaptation was in 1959.  It was directed by George Stevens and it starred 20 year-old Millie Perkins as Anne.  (Perkins bore a great resemblance to Audrey Hepburn, who was reportedly Otto Frank’s preferred choice for the role.  Hepburn turned him down, saying she would have been honored to have played the role but believed that she was too old to believable as a 14 year-old.)  Joseph Schildkraut played Otto while Diane Baker played Margot and Gusti Huber played Edith Frank.  The Van Daans were played by Shelley Winters and Lou Jacobi while Richard Beymer played their son (and Anne’s tentative boyfriend), Peter.  Ed Wynn, who was best known as a comedian, played the role of Albert Dussell, the dentist to whom Anne took a dislike.  (The surviving family of Fritz Pfeffer — who was renamed Dussell in Anne’s diary — objected to the way he was portrayed in both the book and the film.)

As a film, it has its flaws.  George Stevens specialized in big productions but that was perhaps not the proper approach to take to an intimate film about a teenage girl coming-of-age under the most difficult circumstances imaginable.  Because this was a 20th Century Fox production from the 50s, The Diary of Anne Frank was filmed in Cinemascope, which made the annex itself look bigger than it should.  Scenes that should feel claustrophobic often merely come across as being cluttered.

But, in the end, the story is so powerful and so important that it doesn’t matter.  Though the Annex was recreated on a Hollywood sound stage, the exteriors were actually filmed in Amsterdam.  When we see the outside of the factory where the Frank family lived, we are seeing the actual factory.  When we see repeated shots of the uniformed Nazi police patrolling the streets at night, we know that we’re seeing the actual view that Anne Frank undoubtedly saw many a night from the Annex.  And because we know the story, we begin the film knowing how it’s going to end and that adds an even greater weight to each and every scene.  It’s impossible not to relate to Anne’s hopes for the future and it’s just as impossible to not mourn that Anne never lived to see that future.

Stevens originally planned for the film to end with a scene of Anne at Bergen-Belsen.  To their discredit, 20th Century Fox removed the scene after preview audiences complained that it was too upsetting.  People should be upset while watching (or, for that matter, reading) The Diary of Anne Frank.  Even today, there are people who still seem to struggle with acknowledging the enormous evil that was perpetrated by the Nazis and their allies.  As a result, it’s not uncommon to find people who, when they don’t outright deny that it happened, try to minimize the Holocaust.  It’s a disgusting thing.  There was recently a viral video, which was released by NowThis that featured a student at George Washington University saying, “What’s going to happen if there’s another Holocaust? Well, we’re seeing what’s happening. We’re seeing people die at the border for lack of medical care. That’s how Anne Frank died. She didn’t die in a concentration camp, she died from typhus.”  NowThis later said that the student meant to say that Anne Frank “didn’t die from a concentration camp, she died from typhus,” and you really have to wonder just how fucking stupid someone has to be to think that 1) that’s somehow an improvement on what was originally said and 2) that typhus and the concentration camp were not essentially the same thing.  Even if one accepts that the student misspoke, it would seem that her main complaint was the the concentration camp didn’t have proper medical care, as opposed to the fact that it was specifically created to imprison and kill Jewish people.  It’s an astounding combination of ignorance and antisemitism.  NowThis later edited her comments out of the video, which again seems to miss the point of why people were upset in the first place.  Instead of just saying, “Hey, this idiot is a Holocaust denier and, regardless of whether she hates Trump as much as we do, we want nothing to do with her,” NowThis instead said, “Well, if that comment offends you, we’ll take it out and you won’t have to hear it.”  To me, that’s why The Diary of Anne Frank is still important and why it should still be read and watched and studied.  There are too many ignorant people and craven, weak-willed organizations out there for us to turn our backs on teaching history.

The Diary Anne Frank was nominated for best picture of the year.  While Shelley Winters won the Oscar for Best Supporting Actress, the Best Picture Oscar went to Ben-Hur.  Interestingly enough, Ben-Hur’s director, William Wyler, was originally interested in directing The Diary Anne Frank before George Stevens was brought on board.

Lisa’s Marie’s Top 26 Films of 2019


And now, without further ado, I conclude my look back at 2019 with my 26 favorite films of the years.  Why 26?  Because Lisa doesn’t do odd numbers!

(Want to see my previous picks?  Click here for 2018, 2017, 20162015, 2014201320122011, and 2010!)

1. The Souvenir
2. Once Upon A Time In Hollywood
3. Uncut Gems
4. Luce
5. The Irishman
6. Parasite
7. The Lighthouse
8. Crawl
9. Dragged Across Concrete
10. Doletmite Is My Name
11. Avengers: Endgame
12. 1917
13. Joker
14. The Two Popes
15. The Aeronauts
16. Hustlers
17. The Report
18. Brittany Runs A Marathon
19. Rocketman
20. The Last Black Man in San Francisco
21. Apollo 11
22. I Lost My Body
23. The Farewell
24. Us
25. Midsommar
26. Spider-Man: Far From Home