Film Review: The Pursuit of D.B. Cooper (dir by Roger Spottiswoode and Buzz Kulik)

Posted on January 5, 2025 by Lisa Marie Bowman

The story of D.B. Cooper has always fascinated me.

D.B. Cooper is the name assigned to a man who, in 1971, hijacked an airplane, demanded $200,000, and then jumped off the plane after he got the money. Reportedly, he was well-dressed and unfailingly polite during the entire hijacking. When he jumped off the plane, he was about 10,000 feet over the Washington wilderness. After he jumped, no further trace was found of him. Over 50 years after the incident, the identity and the location of D.B. Cooper remains a mystery.

It’s been said that, even though Cooper had a parachute with him when he jumped, there’s no way that he could have survived the jump. And yet, no body has ever been found. (Of course, finding a body in the wilderness is not as easy as some people assume.) Nine years after the the skyjacking, some of the money that Cooper received was found on the banks of the Columbia River, which was several miles away from the area that Cooper jumped over. Did Cooper survive the jump and lose the money? No one can say for sure.

Over the years, many people have come forward to say that they know the identity of D.B. Cooper. Many distant fathers and secretive boyfriends and long lost friends have been accused of being D.B. Cooper. Some of those suspects are more likely than others. Even John List, the murderer who inspired the Stepfather films, was suspected at one point.

D.B. Cooper remains a fascinating character precisely because he’s never been captured and the mystery itself will probably never be solved. Because he remains an enigma, it’s easy to project your own pet obsessions on him and his story. Myself, I always imagine D.B. Cooper as being some sort of clever, fun-loving international rogue, even though there’s not really any evidence to back that up. But, the fact of the matter is that I have a weakness for clever, fun-loving international rogues so, of course, that’s who I’m going to imagine D.B. to be.

I certainly would never imagine him to be like the character at the center of 1981’s The Pursuit of D.B. Cooper.

In this film, D.B. Cooper turns out to be Jim Meade (Treat Williams), a Vietnam vet and all around jackass who steals the money so that he can get back together with his estranged wife, Hannah (Kathryn Harrold). Hannah does take him back because, seriously, who is going to say no to that much money? Jim and Hannah spend the entire film running from one wilderness location to another. They steal cars. They steal trucks. Meade steals an airplane at one point. Hannah gets worried often and Jim tends to yell, “Woo hoo!” whenever he gets excited about anything. At one point, Jim and Hannah are chased across some white water rapids. When Hannah and Jim reach dry land, Jim gives the finger to the river. I will say that, as someone who grew up in the South, Jim is a type of character who seems very familiar to me. I’ve known a lot of Jim Meades and Treat Williams doesn’t do bad job playing Meade as being an impulsive, loud-mouthed good old boy. The only problem is that, at no point, does Jim Meade come across like someone who could have pulled off what D.B. Cooper pulled off.

Jim is being pursued by two old army buddies. The scruffier of the two is Remson (Paul Gleason), who somehow manages to keep popping up like a cartoon character at the most inopportune of times. No matter what bad thing happens to Remson, he still shows up good-as-new a few minutes later. Paul Gleason gives an energetic performance as Remson, a character who has little in common with the uptight authority figures that Gleason later played in The Breakfast Club and Die Hard.

The other person chasing Jim is Bill Gruen (Robert Duvall), who served with Meade in Vietnam but who is now working as an insurance investigator. Gruen says that he knew Meade had to be D.B. Cooper because only Meade could survive jumping out of a plane over wilderness terrain. Gruen wants some of the money for himself. Despite his greed, it’s hard not to like Gruen because he’s played by Robert Duvall. The best scene in the film is one where Duvall and Williams, exhausted from chasing each other, have a weary but friendly conversation. It’s the one moment where Williams actually calms down and provides some hint that there’s actually something going on underneath Meade’s manic exterior. Acting opposite Duvall brings out the best in him.

The Pursuit of D.B. Cooper had a notoriously troubled production and apparently, there was never a completed script during shooting. Reportedly, bits of the film were directed by Robert Mulligan, John Frankenheimer, and Buzz Kulik before Roger Spottiswoode took over. It’s a film that was obviously inspired by 70s chase films like Smokey and the Bandit but it also somehow managed to attract actors like Robert Duvall, who does his best to class up the joint. The action quickly gets repetitive and the movie never seems to know if it wants to be a comedy or a drama. On the plus side, Treat Williams and Kathryn Harrold make for a cute couple.

When this picture first came out, Universal Pictures offered a million dollar reward for any information that would lead to the capture and arrest of the real D.B. Cooper. No one collected.

January Positivity: Escape (dir by Paul Emami)

Posted on January 4, 2025 by Lisa Marie Bowman

2012’s Escape tells the story of two men who meet in Thailand.

Paul Jordan (C. Thomas Howell) is a doctor who came to Thailand with his wife, Kim (Anora Lyn). Paul and Kim are both working in a clinic, trying to bring healthcare to the poor and the downtrodden. They specifically left America because of the death of their newborn. Paul says that they need to make a clean break and start new lives for themselves. Paul is an atheist, both because of the death of his child and all of the misery that he sees around him. Kim is secretly religious. Though she doesn’t discuss it with Paul, she brings a bible with her and she regularly asks the people back home to pray for them.

Malcolm Andrews (John Rhys-Davies) is a former tech boss who has retired and has been exploring the world with his wife (Puttaya Chaimongkolepetc). Malcolm is extremely wealthy but also very humble, a kind man who always tries to treat people with decency. Unlike Paul, he is very religious and has no problem with accepting the idea the God can exist even when the world itself is a complete mess.

When Paul and Malcolm first meet, Paul initially distrusts Malcolm but that soon changes due to the circumstances of their meeting. They’ve both been kidnapped by outlaws and they’re being held in a bamboo cage in the middle of an island jungle. Paul has been kidnapped because one of the outlaws has been wounded and is dying. Paul is expected to keep the man alive, with the understanding being that if the man dies, Paul dies as well. Malcolm has been kidnapped because the outlaws are hoping to get a huge ransom for him. Despite their differing views of the world, Paul and Malcolm become friends because, when you’re stuck in a bamboo cage with someone, you really don’t have much of a choice but to become friends. In a situation like that, there’s only so long someone can go without making eye contact.

While Paul and Malcolm debate theology and wait for an opportunity to make their escape, their wives try to get the authorities to search for their husbands. Unfortunately, it turns out that the authorities are almost as incompetent as the outlaws.

Lately, there have been a lot of faith-based films that have attempted to duplicate Hollywood gerne films. Escape has a religious message but it’s also a thriller about two men trapped in the middle of the jungle. It’s fairly well-done, though the action does occasionally drag. (There’s only so many ways that you can film two men talking in a cage.) The film makes good use of C. Thomas Howell’s bland niceness and the jungle scenery is both beautiful and ominous. That said, John Rhys-Davies is the main attraction here and he gives a strong and compelling performance as Malcolm. Regardless of whether you agree with his beliefs or not, you really do want to see him make it back to his wife.

Escape ends on a bit of an abrupt note but it’s still an effective thriller.

Lisa Reviews An Oscar Winner: The Life of Emile Zola (dir by William Dieterle)

Posted on January 4, 2025 by Lisa Marie Bowman

The Life of Emile Zola, the winner of the 1936 Oscar for Best Picture of the Year, opens with two French artists living in a drafty apartment.

Emile Zola (Paul Muni) is destined to become one of France’s most popular and important writers. Paul Cezanne (Vladimir Sokoloff) will eventually become one of the most important artists of the post-impressionist movement. But for now, they’re just two struggling artists who have sworn that they will never sell out their principles. They are poor but they’re happy. That changes for Zola after he meets a prostitute named Nana (Erin O’Brien-Moore) and he uses her life story as the inspiration for a novel. The book is controversial and its frank content scandalizes France. The public censor comes close to banning it. But it also becomes a best seller. It’s the book everyone secretly owns but claims to have never read.

Zola writes several more books, all about the conditions of the working class in France. Eventually, he becomes what he claimed he would never be, a wealthy man living in a mansion and having little contact with the poor and oppressed. Cezanne sees Zola one last time, calling him out for having sold his talent for money. Cezanne explains that, on general principle, he can no longer be Zola’s friend.

Meanwhile, a quiet and rather meek family man named Captain Alfred Dreyfus (Joseph Schildkraut) has been arrested and accused of being a spy for Germany. There’s little evidence that Dreyfus is a spy. Indeed, most of the evidence seems to point to a Major Walsin-Esterhazy (Robert Barrat). But, because Dreyfus is considered to be an outsider, he is convicted in a show trial and exiled to Devil’s Island.

(In real life, it’s generally agreed that Dreyfus was a victim of anti-Semitism. As the only Jewish member of the army’s General Staff, Dreyfus was viewed with suspicion by his colleagues even before anyone knew that there was a German spy. The Life of Emile Zola doesn’t specifically state that Dreyfus was a victim of anti-Semitism, with the exception of a brief moment when one of his accusers looks at his personnel file and says, “He’s not one of us,” while pointing at the word “Jew.” Otherwise, the fact that Dreyfuss was Jewish is never mentioned in the film. It’s as if the film is going out of its way to avoid offending the very people that the movie is criticizing.)

After speaking to Dreyfus’s wife (played by Gale Sondergaard, who would later become the victim of a show trial herself when she was blacklisted as a suspected communist), Zola decides to take up Dreyfus’s case. He publishes an open letter — J’Accuse — in which he states that Dreyfus was not given a fair trial and that Dreyfus is innocent of the charges against him. Zola finds himself in court, accused of libel. Zola uses his trial to give Dreyfus the hearing that he never received. While the army boos his every utterance, the people of France rally to his side.

The Life of Emile Zola is an early example of the type of prestige production that today is often referred to as being an “Oscar picture.” It tells a true story. As a film that condemns the treatment of Alfred Dreyfus but avoids stating the obvious reason why Dreyfus was targeted in the first place, it’s political without being radical. And it features a performance from the most acclaimed actor of the era, Paul Muni. Muni gives a powerful performance as Zola, holding the viewer’s attention even during the lengthy trial scenes that take up most the second half of the film. That said, the true star of the film is Joseph Schildkraut, who plays Dreyfus as being a kind and trusting soul who finds himself caught up in a Kafkaesque nightmare. At one point, Dreyfus is given a gun and told that there’s one way that he can avoid being put on trial for treason. Schildkraut played the scene so well that I wanted to cheer when he refused to surrender.

The Life of Emile Zola is a big and, at times, self-consciously important production. It was clearly designed to win a bunch of Oscars and it certainly managed to do that. Compared to some of the other films nominated that year — The Awful Truth, Dead End, A Star is Born, Lost Horizon, Stage Door, In Old Chicago — The Life of Emile Zola can seem a bit stodgy. However, the performances of Muni and Schildkraut continue to make the film worth watching.

Scalplock (1966, directed by James Goldstone)

Posted on January 4, 2025 by Jedadiah Leland

In this comedic western, gambler Benjamin Calhoun (Dale Robertson) wins big in a poker game. Not only does he walk away with several thousand dollars but he also now owns his own railroad, the BP;S&D. Calhoun celebrates the biggest win of his career by tossing ten dollar bills at the townspeople, recruiting a worshipful young assistant (Bob Random), and commandeering a private railcar that belongs to wealthy Burton Standish (John Anderson). In the car, he finds Marta Grenier (Diana Hyland), a “working woman,” who has been hired to provide company for Standish.

Calhoun and Marta ride off to check out Calhoun’s new railroad. What he discovers is that the railroad that he won is not only not completed but the workers are striking because they haven’t been paid in two weeks. The quick-thinking Calhoun offers to make all of the workers part-owners of the railroad. With construction once again starting, Calhoun tries to figure out how to keep his new business open. He also meets a strong-headed storekeeper named Joanna Royce (Sandra Smith).

When Standish finally shows up, it turns out that he was originally planning on buying the BP;S&D. Will Calhoun hold onto the railroad and honor the promise he made to the workers or will he sell out to Standish?

For all the talk about completing the railroad, Scalplock ends with most of the work undone. That’s because Scalplock was a pilot for The Iron Horse, a television series that lasted for two seasons in the 60s. Scalplock (and The Iron Horse) is mostly a showcase for Dale Robertson, a low-key but always convincing actor who specialized in westerns. Usually, Robertson was cast as an upstanding citizen and law enforcement agent. In Scalplock, he’s playing the type of genial rogue that James Garner played on Maverick and later in The Rockford Files. Robertson is likable in Scalplock and even convinces us that Calhoun would choose his workers over a quick payday. Fan of the genre will enjoy Scalplock, as long as they don’t get too invested in witnessing that last track of rail laid into the ground.

Dale Robertson, who started his career in the 40s, continued to act through the 90s, though usually as a guest star instead of a series lead. Robertson eventually retired to Oklahoma where he owned a ranch that was home to over 200 horses. He passed away in 2013 at the age of 89.

Film Review: Voyage of the Damned (dir by Stuart Rosenberg)

Posted on January 4, 2025 by Lisa Marie Bowman

In 1939, an ocean liner named the MS St. Louis set sail from Hamburg. Along with the crew, the ship carried 937 passengers, all of whom were Jewish and leaving Germany to escape Nazi persecution. The ship was meant to go to Havana, where the passengers had been told that they would be given asylum. Many were hoping to reunite with family members who had already taken the voyage.

What neither the passengers nor Captain Gustav Schroeder knew was that the entire voyage was merely a propaganda operation. No sooner had the St. Louis left Hamburg than German agents and Nazi sympathizers started to rile up anti-Semitic feelings in Cuba. The plan was to prevent the passengers from disembarking in Cuba and to force the St. Louis to then return to Germany. The Nazis would be able to claim that they had given the Jews a chance to leave but that the rest of the world would not take them in. Not only would the Jews be cast as pariahs but the Germans would be able to use the world’s actions as a way to defend their own crimes.

Captain Schroeder, however, refused to play along. After he was refused permission to dock in Cuba, he then attempted to take the ship to both America and Canada. When both of those countries refused to allow him to dock, Schroeder turned the St. Louis toward England, where he planned to stage a shipwreck so that the passengers could be rescued at sea. Before that happened, Belgium, France, the Netherlands, and the United Kingdom jointly announced that they would accept the refugees.

Tragically, just a few days after the passengers disembarked, World War II officially began and Belgium, France, and the Netherlands all fell to the Nazi war machine. It is estimated that, of the 937 passengers on the St. Louis, more than 600 of them subsequently died in the Nazi concentration camps.

The journey of the St. Louis was recreated in the 1976 film, Voyage of the Damned, with Max von Sydow as Captain Schroeder and a collection of familiar faces playing not only the ship’s passengers and crew but also the men and women in Cuba who all played a role in the fate of the ship. In fact, one could argue that there’s a few too many familiar faces in Voyage of the Damned. One cannot fault the performances of Max von Sydow, Malcolm McDowell, and Helmut Griem as members of the crew. And, amongst the passengers, Lee Grant, Jonathan Pryce, Paul Koslo, Sam Wanamaker, and Julie Harris all make a good impression. Even the glamorous Faye Dunaway doesn’t seem to be too out-of-place on the ship. But then, in Havana, actors like Orson Welles and James Mason are awkwardly cast as Cubans and the fact that they are very obviously not Cuban serves to take the viewer out of the story. It reminds the viewer that, as heart-breaking as the story of the St. Louis may be, they’re still just watching a movie.

That said, Voyage of the Damned still tells an important true story, one that deserves to be better-known. In its best moments, the film captures the helplessness of having nowhere to go. With Cuba corrupt and the rest of the world more interested in maintaining the illusion of peace than seriously confronting what was happening in Germany, the Jewish passengers of the St. Louis truly find themselves as a people without a home. They also discover that they cannot depend on leaders the other nations of the world to defend them.

Defending the passengers falls to a few people who are willing to defy the leaders of their own country. At the start of the film, Nazi Intelligence Chief Wilhelm Canaris (Denholm Elliott) explains that Captain Schroeder was selected specifically because he wasn’t a member of the Nazi Party and could not be accused of having ulterior motives for ultimately returning the passengers to Germany. Canaris and his fellow Nazis assume that anti-Semitism is so natural that even a non-Nazi will not care what happens to the Jewish passengers. Instead, Schroeder and his crew take it upon themselves to save the lives of the passengers. It is not Franklin Roosevelt who tries to save the passengers of St. Louis. Instead, it’s just a handful of people who, despite unrelenting pressure to do otherwise, step up to do the right thing. Max von Sydow, who was so often cast in villainous roles, gives a strong performance as the captain who is willing to sacrifice his ship to save his passengers.

Flaws and all, Voyage of the Damned is a powerful film about a moment in history that must never be forgotten.

What Lisa Marie Watched Last Night #228: Dressed to Kill (dir by Lindsay Hartley)

Posted on January 4, 2025 by Lisa Marie Bowman

Last night, I turned over to the Lifetime Movie Network and I watched Dressed to Kill!

Why Was I Watching It?

Because it was on Lifetime! It’s been a while since I’ve really gotten a chance to enjoy a good Lifetime film. I was planning on getting back into my Lifetime viewing habit last year but 2024 had other plans. This year, though, I hope to once again get to enjoy my weekly Lifetime fix.

What Was It About?

When Vanessa (Suzanne R. Neff) dies after someone steals her asthma inhaler, she leaves her clothing company not her spoiler daughter Blair (Annie Sullivan) but instead to her loyal and kind-hearted assistant, Amy (Brianna Cohen). Amy tries to figure out who killed Vanessa. Was it Blair? Was it disgruntled seamstress Wanda (Monanik Dugar)? Or was it Amy’s own boyfriend, Kevin (Moe Sehgal)?

What Worked

First, and most importantly, this film fully embraced the melodrama. When it comes to Lifetime films, the promise of melodrama is essential and the best films are the ones that shamelessly embrace it. Director Lindsay Hartley kept the action moving and didn’t waste too much time trying to convince the viewer that they were watching a realistic portrait of life in the fashion industry.

This film actually did keep me guessing as far as who the murderer was. It’s obvious that the filmmakers understood who most veteran Lifetime viewers would automatically suspect and, wisely, they played around with those expectations.

Monanik Dugar’s performance was Wanda was wonderfully unhinged. I also liked Annie Sullivan’s performance as the hilariously entitled Blair. As played by Sullivan, Blair was the influencer from Hell.

What Did Not Work

I probably would have taken the fashion aspect of the movie more seriously if the clothes hadn’t been so …. uhm, well …. ugly. Of course, it’s all in the eye of the bolder but let’s just say that I would not have worn any of the outfits.

This movie did feature a fashion show but it looked so low-rent that, again, it left me wondering whether it would be better to just let the company go out of business.

“Oh my God! Just like me!” Moments

I have asthma so, as soon as I saw Vanessa grabbing her inhaler, I knew how she was going to die. That made me go “Agck!” because, seriously, asthma attacks are always scary.

When I was 18, I had a friend who got a job at a clothing company in Dallas. At first, I thought that was really exciting but then I visited her at work and discovered that it was a place that designed polyester cabana wear for senior citizens. Admittedly, that doesn’t have much to do with this movie but I still found myself thinking about it as I watched Dressed To Kill. At least the company in Dressed to Kill could afford to put on a fashion show. This place where my friend worked wasn’t even willing to do that,

(For the record, my friend only worked there for two weeks before walking off the job. Some of that was my fault because I had lunch with her on her final day and, as her lunch hour came to a close, I said, “What if you just didn’t go back?” Having never had a job before, I was shocked to discover that people still get a final paycheck even if they just leave for lunch and then never come back. Hmmm, I thought, maybe I’ll get a job someday….)

Lessons Learned

Be careful with those scissors!

So, I Watched Stealing Home (1988, dir. by William Porter and Steven Kampmann)

Posted on January 4, 2025 by Dazzling Erin

Back in December, Lisa agreed to watch a baseball movie with me to make up for making me watch The Catcher in 2023. The one we picked was Stealing Home, because it starred Mark Harmon and Jodie Foster and it looked like it would be a sweet movie.

Stealing Home opens with Billy Wyatt (Mark Harmon), a minor league baseball player who is getting ready to take the field and who is standing for the National Anthem. I immediately liked Billy because he was standing for the Anthem and not taking a knee. I also like aging minor leaguers because they’re still playing the game even though they know they’ve probably missed their window to move up to the majors. Billy Wyatt loves both the game and his country.

As Billy waits to play ball, he thinks about another type of love, the love that he had for Katie Chandler (Jodie Foster). Katie was six years older than him and encouraged him to always pursue his dreams, whether it was in baseball or love. The movie flashes back to Billy living in a motel with a cocktail waitress and getting a phone call from his mother who tells him that Katie has committed suicide and she wants Billy to spread her ashes at a special place. Billy then flashes back to his childhood and his teen years, in which he’s played by William McNamara who does not look like he could ever grow up to be Mark Harmon. Billy’s best friend is Alan Appleby, who is played as a teenager by Jonathan Silverman and as an adult by Harold Ramis. Jonathan Silverman growing up to be Harold Ramis seems even more unlikely than William McNamara becoming Mark Harmon. Billy remembers losing his virginity to Appleby’s prom date, losing his dad to a car wreck, and a Fourth of July weekend that he spent on the beach with Katie and his mom (Blair Brown).

Only Jodie Foster plays Katie Chandler and we only see Katie thorough Billy’s eyes. Jodie Foster gives a lively performance as Katie but she always more of a plot device than a fully rounded character. We never find out why Katie killed herself. Her father says that Katie was unhappy during her adult life but why? Even after Billy gets her ashes and tries to figure out where she wanted him to spread them, he never thinks about why she killed herself. In fact, he hadn’t even talked to her for years. That really bothered me.

The movie ends with Billy stealing home during a game and proving that he’s still got it as far as baseball goes. I love baseball but I still felt like Katie’s untold story was probably more interesting than Billy’s. I liked Mark Harmon’s performance and I really wanted to like Stealing Home more than I did. I wish the movie had been more about who Katie was instead of being about who Billy thought Katie was.

Film Review: Tucker: The Man and His Dream (by Francis Ford Coppola)

Posted on January 4, 2025 by Lisa Marie Bowman

First released in 1988, Tucker: The Man and His Dream is a biopic about Preston Tucker.

Tucker was an engineer in Detroit who went from designing vehicles for the Army during World War II to trying to launch his own car company. His ideas for an automobile don’t sound particularly radical today. He wanted every car to have seat belts. He wanted a windshield that popped out as a safety precaution. He want brake pads and he also wanted a car that looked sleek and aerodynamic, as opposed to the old boxy cars that were being pushed out be Detroit. He wanted a car that got good mileage and he wanted one that could be taken just about anywhere. Unfortunately, Tucker’s dreams were cut short when he was indicted for stock fraud, a prosecution that most people agree was a frame-up on behalf of the Big Three auto makers. Tucker was eventually acquitted but his car company went out of business. Of the 50 cars that Tucker did produce, 48 of them were still on the road and being driven forty years later.

The film stars Jeff Bridges as Preston Tucker, Joan Allen as his wife, Christian Slater and Corin Nemec as two of his sons, Lloyd Bridges as the senator who tried to take Tucker down, Martin Landau as Tucker’s business partner, and Dean Stockwell as Howard Hughes, who shows up for a few minutes to encourage Tucker to follow his dreams regardless of how much the government tries to stop him. One gets the feeling that the film was a personal one for director Francis Ford Coppola, a filmmaker who has pretty much spent his entire career fighting with studios while trying to bring his vision to the screen. Tucker fought for seat belts. Coppola fought for a mix of color and black-and-white in Rumble Fish. Tucker stood up for his business partner. Francis Ford Coppola stood up for Al Pacino when no one else could envision him as Michael Corleone. As is the case with many of Coppola’s films, Tucker: The Man And His Dream is a film that Coppola spent years trying to get made. It was the film that Coppola originally intended to be the follow-up to The Godfather, with Marlon Brando projected for the lead role of Tucker. After watching the Tucker, it’s hard not to feel that it worked out for the best that Coppola was not able to make the film in 1973. It’s impossible to imagine anyone other than Jeff Bridges in the role of Preston Tucker.

“Chase that tiger….chase that tiger….chase that tiger….” It’s a song that Tucker sings constantly throughout the film as the camera spins around him and how you react to Tucker: The Man And His Dream will largely depend on how tolerant you are of Coppola’s stylistic flourishes. Coppola directs the film as a combination of Disney fairy tale and film noir. The opening of the film, with Tucker running around in almost a manic state and excitedly telling everyone about his plans, is presented with vibrant colors and frequent smiles and an almost overwhelming air of cheerful optimism. As the film progresses and Tucker finds himself being targeted by both the government and the other auto companies, the film gets darker and the viewer starts to notice more and more shadows in the background. The moments of humor become less and less and there’s a heart-breaking moment where Martin Landau, in one of his best performances, reveals just how far the government will go to take down Tucker’s company. But, in the end, Tucker refuses to surrender and Jeff Bridges’s charming smile continues to fill the viewer with hope. The film becomes about more than just cars. It’s a film that celebrates all of the innovators who are willing to defy the establishment.

There’s a tendency to dismiss the majority of Coppola’s post-Apocalypse Now films. However, Tucker: The Man And His Dream is a later Coppola film that deserves to be remembered.

Film Review: The Valiant (dir by William K. Howard)

Posted on January 4, 2025 by Lisa Marie Bowman

In the days after World War I, a man (Paul Muni) stumbles out of an apartment building and then walks down to the local police station. He informs the officer on duty that he just shot a man. He refuses to explain why he shot the man and, when asked for his name, he identifies himself as James Dyke. The office notices a poster for “Dyke & Co.” on the wall and realizes that the man made up his name. The man is convicted and sentenced to be executed.

The years pass as the man waits for his execution date. He is a model prisoner, working hard in the garden and writing editorials for the newspapers in which he warns young readers about pursuing a life of crime. The money he makes, he puts into Liberty Bonds. He continues to refuse to tell anyone his first name.

In a small town, an old woman (Edith Yorke) sits in her rocking chair and has visions of all the men who went to war and never returned. When the woman sees a picture of James Dyke in a newspaper, she thinks that he looks like her son, Joe, who long ago went missing. The woman’s daughter, Mary (Marguerite Churhill), realizes that her mother is planning to make the trip to the prison to see him before he is executed. Mary decides to go herself. She tells her fiancé (John Mack Brown) that she could never get married if it turned out her brother was a murderer. Meanwhile, the old woman continues to have visions of soldiers marching to war.

At the prison, James Dyke tells Mary that he has no family and he has no past. But he did serve in World War I and during that time, he met her brother and he saw him die heroically in battle. Dyke tells her to write to the army for the details of her brother’s death but to be aware that they might not even know whether or not he actually served because the war was such a confusing time that “they don’t know what happened to half the men out there.” Dyke and Mary continue to talk as the hour of execution draws near….

An adaptation of a one-act play, The Valiant was released in 1929, at a time when America was still coming to terms with the horror of the Great War and Hollywood was still trying to adjust to the arrival of sound. Though many had assumed that sound films would just be a fad, it turned out that audiences really did like to hear the dialogue as opposed to just reading it. The Valiant is the type of melodrama that was popular during the silent era and the film does feature title cards that appear between scenes. “A city street — where laughter and tragedy rub elbows,” one card reads. Another one announces, “Civilization demands its toll.” At the same time, it is a sound picture. The first five minutes of the film are just the Man walking through the city and listening to the sound of cars honking and people talking. Like many of the early sounds films, it’s obvious that the majority of the cast was not quite sure how they should handle delivering their dialogue. Some people talk too loudly. Some talk too softly. Quite a few deliver their dialogue stiffly and without emotion. Others use way too much emotion.

The only actor who seems to be fully confident in his ability to perform with sound is Paul Muni, making his screen debut in the lead role. Muni gives a strong and empathetic performance, one that makes even the most melodramatic of dialogue feel naturalistic. Muni shows an instinctive knowledge of how to deliver his lines with emotion without going over the top, which was a skill that many of the actors who tried to make the transition to sounds films never learned. Paul Muni was the first great actor of the sound era, as well as one of the first screen actors to use what would eventually become known as the Method. Among the actors who were directly inspired by Muni were John Garfield, Montgomery Clift, and Marlon Brando. Much of modern acting owes a huge debt to the work of Paul Muni.

Seen today, the contrast between Paul Muni’s performance and the film’s staginess can make The Valiant seem like a rather surreal film. While Muni captures the screen and confidently delivers his lines, everyone else seems hesitant and unsure of how to reply. The end result is that, to modern audiences, The Valiant can almost seem like a filmed dream. From the shot of Muni walking down the noisy city street to the sudden appearance of a swing band playing in the prison cafeteria, the film can seem almost Lynchian in its oddness.

The Valiant was a box office success and, according to the notes in the Academy archives, Paul Muni was among the actors considered for the second Best Actor Oscar. (That year, there were no official nominations and only the winners were announced.) The Oscar went to Warner Baxter for In Old Arizona but Muni would go on to have an amazing career.

Lisa Reviews An Oscar Winner: Unforgiven (dir by Clint Eastwood)

Posted on January 3, 2025 by Lisa Marie Bowman

The 1992 Best Picture winner, Unforgiven, begins as a story of frontier justice.

In Kansas, a young and cocky cowboy who calls himself the Schofield Kid (Jaimz Woolvett) rides up to an isolated hog farm. He’s looking for Will Munny (Clint Eastwood), a notorious outlaw with a reputation for being a ruthless killer. Instead, he just finds a broken down, elderly widower who is trying to raise two young children and who can barely even manage to climb on a horse. Will Munny, the murderer, has become Will Munny the farmer. He gave up his former life when he got married.

The Schofield Kid claims to be an experienced gunfighter who has killed a countless number of men. He explains that a group of sex workers in Wyoming have put a $1,000 bounty on two men, Quick Mike (David Mucci) and his friend, Davey Bunting (Rob Campbell). Quick Mike cut up one of the women when she laughed at how unimpressively endowed he was. While Davey didn’t take part in the crime, he was present when it happened and he didn’t do anything to stop it. The local sheriff, a man named Little Bill Daggett (Gene Hackman), had Davey give the woman’s employer several horses as compensation. The Kid wants Munny to help him collect the bounty.

At first, Munny refuses to help the Kid. But, when he realizes that he’s on the verge of losing his farm, Munny changes his mind. He and his former partner, Ned Logan (Morgan Freeman), join with the Kid and the three of them head to Wyoming. Along the way, they discover that the Kid is severely nearsighted and can hardly handle a pistol.

Meanwhile, in the town of Big Whiskey, Wyoming, Little Bill ruthlessly enforces the peace. He’s a charismatic man who is building a house and bringing what many would consider to be civilization to the Old West. When we first meet Little Bill, he seems like a likable guy. The town trusts him. His deputies worship him. He has a quick smile but he’s willing to stand his ground. But it soon becomes apparent that, underneath that smile and friendly manner, Bill is a tyrant and a petty authoritarian who treats the town as his own personal kingdom. Little Bill has a strict rule. No one outside of law enforcement is allowed to carry a gun in his town. When another bounty hunter, English Bob (Richard Harris), comes to town to kill the two cowboys, Little Bill humiliates him and sends him on his way but not before recruiting Bob’s traveling companion, writer W.W. Beauchamp (Saul Rubinek), to write Bill’s life story. Bill’s not that much different from the outlaws that he claims to disdain. Like them, Bill understands that value of publicity.

Unforgiven starts as a traditional western but it soon becomes something else all together. As the Schofield Kid discovers, there’s a big difference between talking about killing a man and actually doing it. Piece-by-piece, Unforgiven deconstructs the legends of the old west. Gunfights are messy. Gunfighters are not noble. Davey Bunting is the only man in town to feel guilty about what happened but, because he’s included in the bounty, he still dies an agonizing death. Quick Mike is killed not in the town square during a duel but while sitting in an outhouse. Ned and Munny struggle with the prospect of going back to their old ways, with Munny having to return to drinking before he can once again become the fearsome killer that he was in the past. And Little Bill, the man who says that he’s all about taming the west and bringing civilization to a lawless land, turns out to be just as ruthless a killer as the rest. A lot of people are dead by the end of Unforgiven. Some of them were truly bad. Some of them were good. Most of them were in the wrong place at the wrong time. Everyone’s got it coming, to paraphrase Will Munny.

With its violent storyline, deliberate pacing, and its shots of the desolate yet beautiful western landscape, Clint Eastwood’s film feels like a natural continuation of the Spaghetti westerns that he made with Sergio Leone. (Unforgiven is dedicated to both Leone and Don Seigel.) Unforgiven was the first of Eastwood’s directorial efforts to be nominated for Best Picture and also the first to win. It’s brutal meditation on violence and the truth behind the legends of the American frontier. Eastwood gives one of his best and ultimately most frightening performances as Will Munny. Gene Hackman won his second Oscar for playing Little Bill Daggett.

Unforgiven holds up well today. Hackman’s Little Bill Dagget feels like the 19th century version of many of today’s politicians and unelected bureaucrats, authoritarians who claims that their only concern is the greater good but whose main interest is really just increasing their own power. Unforgiven remains one Clint Eastwood’s best films and one of the best westerns ever made. Leone would have been proud.