Film Review: La Dolce Vita (dir by Federico Fellini)


The great director Federico Fellini was born, on this day, 125 years ago.

He was born in Rimini.  That’s in Northern Italy.  (The Italian side of my family comes from Southern Italy and yes, there is a difference.)  Fellini was 19 years old when he enrolled in law school but records, which were admittedly spotty at the time, seem to indicate that he never attended a single class.  Instead, Fellini found work as a writer, working first as a journalist and then a screenwriter.  (He was one of the many credited for writing the screenplay for Rome, Open City.)  He began his directing career as a neorealist in the 50s but soon crafted his own unique style, one which openly mixed humor with drama and fantasy with earthiness.  Fellini established himself as one of the world’s best directors, a filmmaker who made art films that not only entertained but also provoked thought.  Fellini was a director who embraced life’s contradictions as well as being a strong anti-authoritarian who rarely commented on politics but did make known his distaste for communism.  He was also one of Mario Bava’s best friends.

My favorite Fellini film is 1960’s La Dolce Vita.

Ah, to be rich, decadent, and jaded in Rome in the early 60s!  Or maybe not.  Sometimes, being jaded is not as much fun as it seems.

La Dolce Vita is largely remembered for the scene in which actress Sylvia (Anita Ekberg) and journalist Marcello (Marcello Mastroianni) wade into Rome’s Trevi Fountain.  While that it is a great and sensual scene and justifiably famous (and, in fact, the film’s poster was originally a shot of Ekberg in the fountain despite the fact that the scene is only a small part of a 3-hour movie), it’s often overlooked that the scene itself does not have a happy ending.  When Marcello and Sylvia return to Sylvia’s hotel, Sylvia is slapped by her loutish boyfriend (played by Lex Barker).  Marcello, meanwhile, has a fiancée named Emma (Yvonne Furneaux) who is recovering from a recent overdose.  Even though Marcello swears that he loves Emma and that he would do anything for her, he is still compulsively unfaithful.

When we first meet Marcello, he’s in a news helicopter, watching as a statue of Jesus is flown over Rome.  However, Marcello is distracted by the sight of a group of women sunbathing on a nearby rooftop and he tries to get their phone numbers before returning to following the statue.  That pretty much sets the tone for most of what we see of Marcello over the course of La Dolce Vita.  He’s searching for the profound and transcendent but he frequently gets distracted by his own more earthy desires.

The film follows Marcello as he encounters different people in Rome and the surrounding area.  Some of them are rich and some of them are poor.  All of them are looking for something but none of them seem to be quite sure what it is.  A possible sighting of the Madonna brings a crowd of people to the outskirts of Rome, where everyone asks for something but the end result is only chaos.  A meeting with an intellectual friend of Marcello seems to offer a solution to Marcello’s ennui until a tragedy reveals that his friend was even more lost than Marcello.  (The film’s sudden tragic turn took me very much by surprise when I first saw it, despite the fact that countless filmmakers have imitated the moment since.)  A possibly important conversation on a beach is made unintelligible by the crashing waves and, instead of providing enlightenment, it ends with a shrugs and an enigmatic smile.  There’s a definite strain melancholy running through the film though there’s also a certain joi de vivre to many of Marcello’s adventures.  Marcello is torn between seeking transcendence and seeking pleasure.  Fellini shows us that both are equally important.  It’s left to use to decide whether the pleasure is worth the heartache and vice versa.

La Dolce Vita is visually stunning portrait of life in Rome at a very particular cultural moment.  Marcello Mastroianni is the epitome of decadent cool in the lead role but he’s also a good enough actor to let us see that Marcello is never quite as proud of himself or as happt with his life as everyone assumes he is.  La Dolce Vita may be about a specific cultural moment but, as a film, it is timeless.

Lisa Marie Reviews An Oscar Nominee: The Right Stuff (dir by Philip Kaufman)


There’s a brilliant scene that occurs towards the end of 1983’s The Right Stuff.

It takes place in 1963.  The original Mercury astronauts, who have become a symbol of American ingenuity and optimism, are being cheered at a rally in Houston.  Vice President Lyndon Johnson (Donald Moffat) stands on a stage and brags about having brought the astronauts to his supporters.  One-by-one, the astronauts and their wives wave to the cheering crowd.  They’re all there: John Glenn (Ed Harris), Gus Grissom (Fred Ward), Alan Shephard (Scott Glenn), Wally Schirra (Lance Henrisken), Deke Slayton (Scott Paulin), Scott Carpenter (Charles Frank), and the always-smiling Gordon Cooper (Dennis Quaid).  The astronauts all look good and they know how to play to the crowd.  They were chosen to be and sold as heroes and all of them have delivered.

While the astronauts are celebrated, Chuck Yeager (Sam Shepard) is at Edwards Air Force Base.  Yeager is the pilot who broke the sound barrier and proved that the mythical “demon in the sky,” which was whispered about by pilots as a warning about taking unnecessary risks, was not waiting to destroy every pilot who tried to go too fast or too high.  Yeager is considered by many, including Gordon Cooper, to be the best pilot in America.  But, because Yeager didn’t have the right image and he had an independent streak, he was not ever considered to become a part of America’s young space program.  Yeager, who usually holds his emotions in check, gets in a jet and flies it straight up into the sky, taking the jet to the edge of space.  For a few briefs seconds, the blue sky becomes transparent and we can see the stars and the darkness behind the Earth’s atmosphere.  At that very moment, Yeager is at the barrier between reality and imagination, the past and the future, the planet and the universe.  And watching the film, the viewer is tempted to think that Yeager might actually make it into space finally.  It doesn’t happen, of course.  Yeager pushes the jet too far.  He manages to eject before his plane crashes.  He walks away from the cash with the stubborn strut of a western hero.  His expression remains stoic but we know he’s proven something to himself.  At that moment, the Mercury Astronauts might be the face of America but Yeager is the soul.  Both the astronauts and Yeager play an important role in taking America into space.  While the astronauts have learned how to take care of each other, even the face of government bureaucracy and a media that, initially, was eager to mock them and the idea of a man ever escaping the Earth’s atmosphere,  Chuck Yeager reminds us that America’s greatest strength has always been its independence.

Philip Kaufman’s film about the early days of the space program is full of moments like that.  The Right Stuff is a big film.  It’s a long film.  It’s a chaotic film, one that frequently switches tone from being a modern western to a media satire to reverent recreation of history.  Moments of high drama are mixed with often broad humor.  Much like Tom Wolfe’s book, on which Kaufman’s film is based, the sprawling story is often critical of the government and the press but it celebrates the people who set speed records and who first went into space.  The film opens with Yeager, proving that a man can break the sound barrier.  It goes on to the early days of NASA, ending with the final member of the Mercury Seven going into space.  In between, the film offers a portrait of America on the verge of the space age.  We watch as John Glenn goes from being a clean-cut and eager to please to standing up to both the press and LBJ.  Even later, Glenn sees fireflies in space while an aborigines in Australia performs a ceremony for his safety.  We watch as Gus Grissom barely survives a serious accident and is only rescued from drowning after this capsule has been secured.  The astronauts go from being ridiculed to celebrated and eventually respected, even by Chuck Yeager.

It’s a big film with a huge cast.  Along with Sam Shepherd and the actors who play the Mercury Seven, Barbara Hershey, Pamela Reed, Jeff Goldblum, Harry Shearer, Royal Dano, Kim Stanley, Scott Wilson, and William Russ show up in roles both small and large.  It can sometimes be a bit of an overwhelming film but it’s one that leaves you feeling proud of the pioneering pilots and the brave astronauts and it leaves you thinking about the wonder of the universe that surrounds our Earth.  It’s a strong tribute to the American spirit, the so-called right stuff of the title.

The Right Stuff was nominated for Best Picture but, in the end, it lost to a far more lowkey film, 1983’s Terms of Endearment.  Sam Shepard was nominated for Best Supporting Actor but lost to Jack Nicholson.  Nicolson played an astronaut.

Retro Television Review: Miami Vice 3.14 “Cuba Libre”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, everyone’s moved on from Zito’s death.

Episode 3.14 “Cuba Libre”

(Dir by Virgil W. Vogel, originally aired on January 23rd, 1987)

A routine drug bust at the mansion of Armando Rojas (Willie Colon) goes wrong when a group of masked gunmen show up and demand that Rojas give him all their money.  The gunmen kill a young vice cop and get into a gunfight with Crockett and Tubbs (who are, as usual, pretending to be Burnett and Cooper).  The gunmen make their escape but Crockett suspects that this was more than just a fight amongst drug dealers.  As he tells Castillo, the gunmen acted more like “Quantico than Colombia.”  Since the dead vice cop was a protegee of Crockett’s, Crockett is taking this one personally!

Unfortunately, for Crockett, the FBI doesn’t want him to take this one personally.  The gunmen work for Paco Zamora (Joe Urla), a Cuban refugee who has been working for the government ever since the Bay of Pigs.  Zamora is looking to raise money so that he can overthrow Fidel Castro.  (Boo!  Castro!  Boo!)  Crockett and Tubbs go — *sigh* — undercover as Burnett and Cooper to discover Zamora’s plans.  “Burnett” says that he wants to rip off “Cooper.”  I know I kind of harp on this but I always have to roll my eyes whenever Crockett and Tubbs do the whole Burnett and Cooper thing.  After three seasons of them arresting and killing everyone who falls for the Burnett/Cooper con, you would think the Miami underworld would have caught on by now!  I mean, wasn’t Frank Zappa going to tell everyone in Miami not to trust Sonny Burnett?  Do people in Miami just not share information with each other?  Are they just that easily fooled?  No wonder Fidel Castro hung onto power for all those years.  (Boo!  Castro!  Boo!)

Anyway, it turns out that there is a member of Castro’s (boo!) government visiting Miami and Zamora and his army are planning on assassinating him.  Crockett and Tubbs and the Vice Squad have to stop an international incident from happening in Florida.  Or — considering all of the people that Castro had assassinated over the years (Boo!) — maybe they could have just stayed out of it and let Zamora do his thing.  Seriously, in what world is a Southern good old boy and former CIA-connected football player like Sonny Crockett going to be so concerned with protecting the lives of communist diplomats?  Is that was Larry Zito died for!?  Regardless and as usuasl, everything ends with a shoot-out in which Sonny makes his final argument with a bullet.  Pauline Kael once wrote that Oliver Stone had left-wing politics but a right-wing sensibility and that’s certainly true of Miami Vice as well.

This episode felt pretty routine.  Especially after all the emotional drama of the previous two episodes, Cuba Libre felt like an example of the show on autopilot.

 

The Eric Roberts Collection: The Elevator (dir by Jack Cook and Mukesh Modi)


In 2021’s The Elevator, Eric Roberts plays Roman Juniper, who is married and who has three kids but who also has a demanding job in a downtown office building.  Even though it’s both the weekend and his youngest daughter’s birthday, Roman still has to go into work for a few hours.  Unfortunately, just as Roman is looking forward to heading home and celebrating with his family, there’s an electrical short in the building and Roman finds himself trapped in the elevator!

His family starts to wonder where he is and, in another unfortunate coincidence, he is initially misidentified as having been involved in a freak accident that occurred outside of his building.  His family fears that Roman is dead but will they ever discover that he’s actually tapped in a dark elevator, where he’s yelling and losing his mind?

In many ways, this film is the ultimate latter day Eric Roberts movie.  Roberts is actually the lead in this movie.  The film centers around his character and, even when he’s not on-screen, everyone is talking about him.  For once, this is not a film where Roberts just shows up in some throw-away role and lends the production a few minutes of Eric Roberts star power.  The Elevator is a legitimate Eric Roberts films.  And yet, because of the film’s plot, Roberts still spends the majority of his screentime on only one set and, for the most part, he doesn’t really interact with the rest of the cast.  Everyone else is out looking for him but Eric Roberts is alone on that elevator.  He’s acting up a storm and Eric Roberts is always at his best when he’s playing an emotional character but it’s difficult not to notice that he was probably able to shoot his entire role in just a day or two.  You have to respect a man who can star in a movie and still manage to get it all done in just a handful of hours.

Eric Roberts is, not surprisingly, the main reason to see The Elevator.  The film itself is poorly paced and cheap-looking.  But Eric Roberts is always fun to watch.

Previous Eric Roberts Films That We Have Reviewed:

  1. Star 80 (1983)
  2. Blood Red (1989)
  3. The Ambulance (1990)
  4. The Lost Capone (1990)
  5. Love, Cheat, & Steal (1993)
  6. Voyage (1993)
  7. Love Is A Gun (1994)
  8. Sensation (1994)
  9. Dark Angel (1996)
  10. Doctor Who (1996)
  11. Most Wanted (1997)
  12. Mercy Streets (2000)
  13. Wolves of Wall Street (2002)
  14. Mr. Brightside (2004)
  15. Six: The Mark Unleased (2004)
  16. Hey You (2006)
  17. In The Blink of an Eye (2009)
  18. Enemies Among Us (2010)
  19. The Expendables (2010) 
  20. Sharktopus (2010)
  21. The Dead Want Women (2012)
  22. Deadline (2012)
  23. The Mark (2012)
  24. Miss Atomic Bomb (2012)
  25. Bonnie And Clyde: Justified (2013)
  26. Lovelace (2013)
  27. The Mark: Redemption (2013)
  28. Self-Storage (2013)
  29. This Is Our Time (2013)
  30. Inherent Vice (2014)
  31. Road to the Open (2014)
  32. Rumors of War (2014)
  33. Amityville Death House (2015)
  34. A Fatal Obsession (2015)
  35. Stalked By My Doctor (2015)
  36. Enemy Within (2016)
  37. Joker’s Poltergeist (2016)
  38. Prayer Never Fails (2016)
  39. Stalked By My Doctor: The Return (2016)
  40. The Wrong Roommate (2016)
  41. Dark Image (2017)
  42. Black Wake (2018)
  43. Stalked By My Doctor: Patient’s Revenge (2018)
  44. Clinton Island (2019)
  45. Monster Island (2019)
  46. The Savant (2019)
  47. Seven Deadly Sins (2019)
  48. Stalked By My Doctor: A Sleepwalker’s Nightmare (2019)
  49. The Wrong Mommy (2019)
  50. Exodus of a Prodigal Son (2020)
  51. Free Lunch Express (2020)
  52. Her Deadly Groom (2020)
  53. Top Gunner (2020)
  54. Deadly Nightshade (2021)
  55. Just What The Doctor Ordered (2021)
  56. Killer Advice (2021)
  57. The Poltergeist Diaries (2021)
  58. The Rebels of PT-218 (2021)
  59. A Town Called Parable (2021)
  60. Bleach (2022)
  61. My Dinner With Eric (2022)
  62. Aftermath (2024)
  63. The Wrong Life Coach (2024)

Song of the Day: To Sir With Love, covered by Tina Arena


I’ve always liked this song.  It’s one of the few songs that I can kind of decently sing and it describes my feelings towards a lot of people who were important to me in years past.  It also describes the way I feel about certain people now.  This song was originally recorded and made famous by Lulu but my favorite version is this cover by Tina Arena.

Those schoolgirl days
Of telling tales and biting nails are gone
But in my mind
I know they will still live on and on

But how do you thank someone
Who has taken you from crayons to perfume?
It isn’t easy, but I’ll try

If you wanted the sky
I would write across the sky in letters
That would soar a thousand feet high
“To sir, with love”

The time has come
For closing books and long last looks must end
And as I leave
I know that I am leaving my best friend

A friend who taught me right from wrong
And weak from strong
That’s a lot to learn
What, what can I give you in return?

If you wanted the moon
I would try to make a start
But I would rather you let me give my heart
“To sir, with love”

Songwriters: Don Black / Mark London

Monday Live Tweet Alert: Join Us For Super Fuzz and Burglar!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasion ally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be Super Fuzz, starring Terrence Hill!

Then, on twitter, #MondayMuggers will be showing Burglar, starring Whoopi Goldberg!  The film is on Prime and it starts at 10 pm et!

It should make for a night of exciting and thought-provoking viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Super Fuzz on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then switch over to twitter, pull Burglar up on Prime, and use the #MondayMuggers hashtag! 

Enjoy!

Scenes I Love: The Final Scene of David Lynch’s Twin Peaks: The Return


“What year is this?”

The final scene of Twin Peaks: The Return has haunted me ever since I first watched it 2017.  I’m still not sure what the ending meant or where Cooper and Laura were but somehow, as enigmatic as it all was, it felt like the only proper way to end the saga of Twin Peaks.

And really, this is a scene that only Lynch could have made work.  Another director would have tried too hard to tell the audience what to think or how to react.  Of course, many directors probably wouldn’t have had the guts to end things on such on open-ended note.  But Lynch not only had the courage to stick to his vision but he also had the faith to trust his audience to figure it out for themselves.  Courage and faith are two of the main reasons why David Lynch was one of the greatest directors of his time.

20 Shots From David Lynch


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, on what would have been his birthday, we take the time to pay tribute to one of our favorite directors.  Needless to say, when it comes to David Lynch, there’s an embarrassment of riches.

Here are….

20 Shots From David Lynch

Eraserhead (1977, directed by David Lynch, DP: Frederick Elmes and Herbert Cardwell)

The Elephant Man (1980, dir by David Lynch, DP: Freddie Francis)

Dune (1984, dir by David Lynch, DP: Freddie Francis)

Blue Velvet (1986, dir by David Lynch, DP: Frederick Elmes)

Twin Peaks: The Pilot (1990, dir by David Lynch, DP: Ron Garcia)

Twin Peaks 1.3 “Zen or the Skill To Catch a Killer” (1990, dir by David Lynch, DP: Frank Byers)

Wild At Heart (1990, dir by David Lynch, DP: Frederick Elmes)

Twin Peaks 2.7 “Lonely Souls” (1990, dir by David Lynch, DP: Frank Byers)

Twin Peaks 2.22 (1991, dir by David Lynch, DP: Frank Byers)

Twin Peaks: Fire Walk With Me (1992, dir by David Lynch, DP: Ron Garcia)

On The Air 1.1 “The Lester Guy Show” (dir by David Lynch, DP: Ron Garcia)

Lost Highway (1997, dir by David Lynch, DP: Peter Deming)

The Straight Story (1999, dir by David Lynch, DP: Freddie Francis)

Rabbits (2002, dir by David Lynch, DP: David Lynch)

Mulholland Drive (2000, dir by David Lynch, DP: Peter Deming)

Twin Peaks: The Return Part 3 (dir by David Lynch, DP: Peter Deming)

Inland Empire (2006, dir by David Lynch, DP: David Lynch)

Twin Peaks: The Return Part 8 (2017, dir by David Lynch, DP: Peter Dening)

Twin Peaks: The Return Part 18 (2017, dir by David Lynch)

What Did Jack Do? (2017, dir by David Lynch, DP: Scott Ressler)

Film Review: Inchon (dir by Terence Young)


Inchon is an infamous film.

First released in 1982, this epic recreation of one key battles of the Korean War was an expensive film with a cast of well-known actors.  Jacqueline Bisset plays a wealthy army wife who tries to protect five South Korean children who have found themselves in the middle of the battle.  Ben Gazzara plays her husband, a major who is having an affair with the daughter of Toshiro Mifune.  David Janssen and real-life film critic Rex Reed wander through the film as journalist.  (Janssen growls like a man dealing with a serious hangover while Reed struggles to not look straight at the camera.)  Richard Roundtree plays a tough sergeant.  The great Italian actor Gabriele Ferzetti plays a Turkish officer.  And, finally, the role of legendary American general Douglas MacArthur — of “I will return” fame — is played by the very British Sir Laurence Olivier.  Olivier was apparently told that, in real life, MacArthur often sounded like the comedic actor W.C. Fields and Olivier often seems to be imitating Fields’s pinched style of speaking.  Olivier also wears almost as much makeup here as he did in his production of Othello.  MacArthur is portrayed as being almost a mystic warrior, a man who relies as much on his faith as his strategic genius to repel the communists.  (In victory, he recites The Lord’s Prayer.)  The film was directed by Terence Young, who previously brought James Bond to cinematic life.

Inchon is notorious for being a flop with both critics and audiences.  The film had a budget of $46,000,000 and reportedly made $5,000,000 at the box office before it was withdrawn.  The entirety of the budget was put up by the Unification Church, which is an organization that many people consider to be a cult.  (I like neither communists nor cultists so this film left me with no one to root for.)  The film proved to be such a flop at the box office that it has never been released on home video.  It did, however, air on television a few times and, in recent years, the television cut has been posted to YouTube.  That’s how I saw Inchon.

I watched Inchon because I’ve frequently seen it referred to as being one of the worst films ever made.  Watching the film, I have to say that I think the “worst film” label is a bit extreme.  For the most part, it’s just an extremely uneven and often rather boring film, one that mixed scenes of surprisingly brutal combat with dialogue-heavy scenes that just seem to drag on forever.  It’s a film that belongs as much in the disaster genre as the war genre as the film is full of rather shallowly-written characters who all have their own individual dramas to deal with.  Will Jacqueline Bisset save the children?  Who will sacrifice their lives to defeat the communists? Will Ben Gazzara, who often seems to be the sole member of the cast who is at least tying to give a credible performance, choose his wife or his mistress?  The film ultimately feels like a compressed miniseries.  Everyone has a story but hardly anyone makes an impression.

That said, Laurence Olivier’s performance as Douglas MacArthur …. agck!  Seriously, it’s hard to know where to even begin when it comes to talking about just how miscast Olivier is as the quintessential all-American general.  It’s been said that it takes a truly great actor to give a truly bad performance and Olivier certainly proves that to be true in this film.  Obviously frail and trying to sound like W.C. Fields, Olivier’s MacArthur is a general who would inspire zero confidence.  The film doesn’t help by portraying MacArthur as being an almost holy figure, one who is often framed to look like almost an angel descending from Heaven to lead the battle against America’s enemies.  The film is full of scenes of people discussing MacArthur’s genius just to be followed by a scene of Olivier looking old, tired, and rather grumpy.  There were a few times when I thought I could see Olivier’s hair dye running down the side of his face.  It may have been my imagination or just the graininess of the upload on YouTube but, given the quality of the film, I can’t really dismiss the possibility that it happened and no one felt like doing a second take.

As I said, Inchon can be found on YouTube.  It’s not the worst film ever made but that doesn’t mean it’s a good one.

Music Video of the Day: The Answers To The Questions by Chrystabell & David Lynch (2024, dir by David Lynch)


When Twin Peaks: The Return initially aired, Agent Tamara Preston was the character to whom I instantly related, for all sorts of reasons.  One of those reasons, of course, is that Agent Preston is the one who got to do all the research and write the book on life in Twin Peaks.  Another reason is because Agent Preston was both a competent professional and a self-amused femme fatale.  And finally, Agent Preston’s relationship with Gordon Cole reminded me of some of my most valued relationships.  Agent Preston was just one of the many pieces to the puzzle that was Twin Peaks: The Return but she was the one who I felt was standing in for me.

This wonderfully enigmatic music video would turn out to be one of David Lynch’s final short films.  Both the video and the song were made in collaboration with Crystabell, the Texan whose collaboration with Lynch began in 1999 and who, of course, played Agent Preston.

Enjoy!