Cleaning Out The DVR #1: Captains Courageous (dir by Victor Fleming)

Posted on March 8, 2016 by Lisa Marie Bowman

For the last few days, I’ve been desperately trying to clean out my DVR. Ever since this year began, I have been obsessively recording movies and now, I suddenly find myself with just a few hours of space left! Now, I know that the simple solution would be to just start erasing stuff but that’s just not the way I do things. I recorded that stuff so you better believe I’m going to watch and review every single minute of it!

Last night, I did a quick count and discovered that I have 38 movies to watch before I can officially declare the DVR to have been “cleaned out.” While that may sound like a lot, it’s not if you consider that — by watching and reviewing 4 movies a day — I can have the whole job done by the end of the next week! That’s my plan and my challenge to myself. Can I watch and review 38 movies in 10 days?

Let’s find out!

So, I started things out by watching the 1937 film, Captains Courageous. Captains Courageous was aired on TCM as a part of their 31 Days of Oscar. Not only was Captains Courageous nominated for best picture but it won Spencer Tracy his first Oscar. Tracy was one of the quintessential American actors so it’s interesting to note that he won his first Oscar for playing a Portuguese fisherman who speaks in exaggeratedly broken English.

Spencer Tracy may have won the Oscar for Best Actor but his role is really a supporting one. Instead, Captains Courageous is about an extremely spoiled, obnoxious, and annoying 15 year-old named Harvey Cheyne (Freddie Bartholomew). From the minute that Harvey first appears on screen, it’s difficult to like him. The son of a rich businessman (Melvyn Douglas), Harvey is hated by everyone. His family’s butler rolls his eyes whenever Harvey calls for him. His classmates (and, of course, Harvey attends a snooty private school) want nothing to do with him. When his father takes him on a trans-Atlantic cruise, even the sailors seem like they want to toss him overboard.

However, before they get a chance to give him one quick shove over the railing, Harvey does their job for them. He falls overboard and he nearly drowns before being rescued by a fisherman named Manuel (Spencer Tracy). Manuel takes him back to the fishing schooner, where that ship’s captain (Lionel Barrymore) refuses to believe that Harvey is rich. Since the rest of the crew quickly decides that they dislike Harvey as much as everyone else does, the captain saves Harvey from being thrown back overboard by “hiring” him as a fisherman. And, of course, the captain makes Manuel responsible for him.

Though initially hostile, Harvey and Manuel slowly start to bond. Harvey learns about the importance of hard work and starts to grow up. And, eventually, it all leads to tragedy. That’s just how things work in the movies.

As you can probably guess from the plot description above, there’s not a subtle moment to be found in Captains Courageous but, as is so often the case with 1930s Hollywood, that’s actually what makes the film appealing. Captains Courageous wears its sentiment on its sleeve and it makes for an interesting contrast to the more cynical films of today. While it takes a while to get used to seeing Spencer Tracy giving such a theatrical performance, he does eventually win you over. Freddie Bartholomew is vulnerable enough to you can forgive his character for being so obnoxious. Meanwhile, Lionel Barrymore and Mevlyn Douglas are well-cast in their supporting roles and, if you keep an eye open, you’ll see everyone from John Carradine to a young Mickey Rooney working on the schooner. Ultimately, Captains Courageous is a well-made and likable coming-of-age film that still holds up today.

Embracing the Melodrama Part II #40: One Is A Lonely Number (dir by Mel Stuart)

Posted on April 22, 2015 by Lisa Marie Bowman

You’ve probably never heard of the 1972 film One Is A Lonely Number. I certainly hadn’t until, a few weeks ago, I happened to come across it on TCM. Like a lot of films that have apparently been forgotten by history, One Is A Lonely Number is one that deserves to be remembered.

One Is A Lonely Number opens with the end of a marriage. James Brower (Paul Jenkins), an arrogant college professor, coldly packs his collection of vinyl records into a box and tells his wife, Amy (Trish Van Devere), that he’s filing for divorce and that he’s leaving her. She asks him why. He coolly mentions something about her throwing out a prized copy of Paradise Lost and then leaves the apartment.

Shocked, Amy goes to the college and asks her husband’s students if they’ve seen him. They tell her that James canceled his final exam and has since disappeared. At first, Amy insists that James is going to come back and denies that they’re getting a divorce. When she finally does accept that her marriage is over, Amy is forced to be independent for the first time.

What she quickly discovers is that the world is full of people who are looking to take advantage of both her vulnerability and her naiveté. When she goes to an employment agency, she explains that she has a degree in Art History and that she minored in Philosophy. Frighteningly (especially in the eyes of this particular holder of a degree in Art History), all this gets Amy is a job as a lifeguard at the local pool. When she finally find herself attracted to another man, she doesn’t discover that he’s married until the morning after. And when she finally discovers why her husband actually left her, she discovers that he was even more of a stranger to her than she realized.

Fortunately, there are a few good spots in Amy’s life. Her best friends Madge (Jane Elliott) and Gert (Janet Leigh) provide support. (“Men are shit,” Gert explains at one point.) And she strikes up a poignant friendship with a widowed grocer (Melvyn Douglas).

There are so many scenes in One Is A Lonely Number that ring true, even when viewed today. Amy finally realizes that her marriage is over while trying on clothes and ends up sobbing by herself. Amy, Gert, and Madge get drunk and talk about their exes, laughing away their shared pain. Amy discovers that the man from the employment agency (played, as a disturbingly plausible creep, by Jonathan Goldsmith who is best known for being the Most Interesting Man In The World for Dos Equis) expects her to “repay” him for his help in getting her a demeaning job as a lifeguard. Amy panics when she can’t find what’s happened to that kindly grocer.

One Is A Lonely Number moves at its own deliberate pace but it’s still one that you should watch and stick with until the end. It’s an intelligent and well-acted movie and the film’s poignant final scene will fill you with hope. Watch it the next time that it shows up on TCM.

Shattered Politics #45: The Changeling (dir by Peter Medak)

Posted on January 28, 2015 by Lisa Marie Bowman

If you love horror movies, you have to track down and see The Changeling.

First released in 1980, The Changeling stars George C. Scott as John Russell, a composer. At the start of the film, he watches helplessly as both his wife and his daughter are killed in a horrific auto accident. The grieving John leaves his New York home and relocates to Seattle, Washington. With the help of a sympathetic realtor, Claire Norman (Trish Van Devere), John finds and rents a previously abandoned Victorian mansion.

At first, it seems that John is alone with his grief. But, as you can probably guess, it quickly becomes apparent that John isn’t alone in his house. Windows shatter. Doors slam. And, most dramatically, every night a mysterious banging sound echoes through the house. Slowly, John comes to suspect that his house might be haunted…

And, of course, it is! It’s no spoiler to tell you that because the film is admirably straight forward about being a ghost story. And what a clever ghost story it is. I don’t want to give too much away so I’ll just say that the story behind the ghost involves a powerful family, an age-old scandal, and a powerful U.S. Senator (played, with a mixture of poignant sadness and menace, by Melvyn Douglas).

The Changeling is a very well-done and effective ghost story. For the most part, director Peter Medak emphasizes atmosphere over easy shocks, the end result being a film that maintains a steady feeling of dread and sticks with you long after the final credit rolls up the screen. George C. Scott is well-cast as John Russell, capturing both the character’s grief and his curiosity. (There’s actually a very interesting subtext to the film, in that investigating death actually gives John a reason to live.) At the time the film was made, he was married to Trish Van Devere and the two of them have a very likable chemistry. And, as previously stated, Melvyn Douglas makes for a great quasi-villain.

(It’s interesting to compare Douglas’s intimidating work here with the far more sympathetic performances that he gave, around the same time, in Being There and The Seduction of Joe Tynan.)

My favorite scene in The Changeling comes when John and Claire hold a séance in order to try to discover what the ghost wants. The séance team is made up one woman who asks questions, one woman who channels the spirit and writes down his answers, and one man who reads the answers after they’re written. It’s a wonderfully effective scene, dominated by the eerie sounds of questions being asked, answers being scribbled, and then being shakily read aloud. It’s probably one of the best cinematic séances that I’ve ever seen.

The Changeling is a wonderful mix of political intrigue and paranormal horror. It was also the first film ever to win a Genie award for Best Canadian Film, which just goes to prove the 90% of all good things come from Canada.

Shattered Politics #44: The Seduction of Joe Tynan (dir by Jerry Schatzberg)

Posted on January 28, 2015 by Lisa Marie Bowman

You know how sometimes you see a film and you can just tell that it was probably a big deal when it was first released but now, in the present day, it’s just not that interesting? That’s the way that I felt when I saw 1979’s The Seduction of Joe Tynan on Netflix. This is one of those film’s that you just know was probably praised for being adult and mature when it was first released but seen today, it’s just kinda bleh.

Joe Tynan (Alan Alda) is a Democratic senator from New York, a committed liberal who is also an ambitious pragmatist. As quickly becomes apparent, Joe is happiest when he’s at work. He struggles to talk to his rebellious teenage daughter (Blanche Baker). While he may love his wife (Barbara Harris), she’s also one of the few people in his life who isn’t always telling him how great he is and, to an extent, she resents having to live in his shadow. At times, it seems like the only thing holding Joe’s family together is the possibility that Joe could soon be nominated for the presidency.

When a Southern judge is nominated for the Supreme Court, Joe is asked by his mentor, Sen. Birney (a great Melvyn Douglas), to not oppose the nomination. While Joe originally agrees to keep quiet, he soon changes his mind when he’s approached by lobbyists who make it clear that, if he goes back on his word to Birney, they’ll be willing to support Joe for President.

Leaving behind his family, Joe heads down south where he meets a researcher named Karen Traynor (Meryl Streep). With Karen’s help, Joe discovers that the judge actually is a racist. He also discovers that, politically, he has a lot more in common with Karen than he does with his own wife and soon, they’re having an affair.

The Seduction of Joe Tynan is an odd film. As written, Tynan is a decent but flawed man. He may do the right thing but he does so largely because of his own ambition. That’s not a problem, of course. If anything, that would seem to be the making of a great political film. Some of the greatest film characters of all time have been morally ambiguous. But then, Alan Alda (who also wrote the script) gives a performance that would seem to indicate that he was scared of being disliked by the audience. Alda is believable when he’s being a self-righteous crusader but, whenever he has to play up the pragmatic and ruthless side of Joe Tynan, he almost seems to have zoned out. It’s interesting to compare Alda’s lukewarm performance here with the far more nuanced performance that he would give, as a less idealistic Senator, decades later in The Aviator. As far as the film’s senators are concerned, Melvyn Douglas and Rip Torn (playing a libertine colleague) are far more believable than Alda.

The film’s best performance is delivered by Meryl Streep. That might not sound shocking but actually, Streep’s performance here is surprising because it’s far more natural and less mannered than some of her more acclaimed performances. Believe it or not, you actually forget that you’re watching Meryl Streep.

Ultimately, you have to respect the fact that the film attempted to tell an adult and mature story about politics but that doesn’t make The Seduction of Joe Tynan any less forgettable.

Shattered Politics #43: Being There (dir by Hal Ashby)

Posted on January 28, 2015 by Lisa Marie Bowman

As a general rule, I don’t watch the news. However, a few nights ago, I made an exception and I watched CNN. The reason was because it was snowing in New York City and apparently, CNN anchorman Don Lemon was broadcasting from something called the Blizzardmobile. I just had to see that!

Well, the Blizzardmobile turned out to be huge letdown. I was hoping for something like the Snowpiercer train but instead, it just turned out to be a SUV with a camera crew and a pompous anchorman who hilariously kept insisting that he was knee-deep in a blizzard when even a Texas girl like me could tell that the Blizzardmobile was only encountering a few snow flurries.

So, I flipped around to see if any of the other news stations had anyone in a blizzardmobile. What I discovered was that only CNN had a blizzardmobile but one thing that every news station did have was a panel of experts. An anchorperson would say something like, “What does the future look like?” and the panel of experts would tell us what the future looked like to them. What I found interesting was that I had no idea who these experts were but yet I was supposed to just believe that their opinions were worth considering.

I mean, for all I knew, those experts could have just been people who were spotted wandering around New York at night. But, because they were introduced as experts and looked directly at the camera whenever they spoke, they were suddenly authoritative voices.

Oddly enough, the very next night, I watched a movie from 1979 that dealt with the exact same issue.

Being There tells the story of Chance (Peter Sellers), a dignified, middle-aged man who lives in Washington, D.C. and works as a gardener for a wealthy older man. Chance cannot read. Chance cannot write. Chance goes through life with a blank smile on his face. Chance has never experienced the outside world. Instead, he spends all of his time working in the old man’s garden and obsessively watching TV. When the old man dies, Chance finds himself exiled from the house. Wandering around Washington D.C., Chance asks a random woman to make him dinner. He politely speaks with a drug dealer who pulls a knife on him. Finally, he finds himself entranced by a window display of televisions. Backing away from the window, Chance stumbles into the street and is struck by a car.

Though he’s not seriously injured, the owner of the car, Eve Rand (Shirley MacClaine), insists that Chance come back to her mansion with him so that he can be checked out by her private physician (Richard Dysart). As they drive back to the house, Eve asks Chance for his name.

“Chance the Gardner,” Chance replies.

“Chauncey Gardiner?” Eve asks.

Chance blankly nods.

Back the house, Chance meets Eve’s husband, Ben (Melvyn Douglas). Ben is a wealthy industrialist who is dying of leukemia. Ben takes an immediate liking to Chance. Because Chance is wearing the old man’s suits, everyone assumes that Chance is a wealthy businessman. When Chance says that he had to leave his home, they assume that his business must have failed due to government regulation. When Chance talks about his garden, everyone assumes that he’s speaking in metaphors.

Soon, Ben is introducing Chance to his friend, Bobby (Jack Warden). Bobby happens to be the President and when he quotes Chance in a speech, Chance the Gardner is suddenly the most famous man in the country. When he appears on a TV talk show, the audience mistakes his emotionless comments for dry wit. When he talks about how the garden reacts to different seasons, they assume that he’s an economic genius. By the end of the film, Bobby has become so threatened by Chance’s popularity that he’s been rendered impotent while wealthy, rich men plot to make Chance the next President of the United States.

In many ways, Chauncey Gardiner was the Neil deGrasse Tyson of his era.

Being There is a one joke film and the idea of someone having no emotional skills beyond what he’s seen on television was probably a lot more mind-blowing back in 1979 than it is in 2015. But I still enjoyed the film. Peter Sellers gave a great performance as Chance, never sentimentalizing the character. As well, the film’s point is still relevant. If Being There were made today, Chance would be the subject of clickbait articles and Facebook memes. (Chauncey Gardiner listed his ten top movies and number 8 will surprise you! Or maybe This boy asked Chauncey Gardiner about his garden and his response was perfect.)

At its best, Being There is a film that will encourage you to question every expert you may see. Especially if he’s just stepped out of a blizzardmobile…

Shattered Politics #30: The Candidate (dir by Michael Ritchie)

Posted on January 23, 2015 by Lisa Marie Bowman

“What do we do now?” — Democratic senate candidate Bill McKay (Robert Redford) in The Candidate (1972)

When I reviewed Advise & Consent, I mentioned that if anyone could prevent billionaire Tom Steyer from winning the Democratic nomination to run in the 2016 California U.S. Senate election, it would be Betty White. Well, earlier today, Tom Steyer announced that he would NOT be a candidate. You can guess what that means. Betty White has obviously already started to set up her campaign organization in California and, realizing that there was no way that he could possibly beat her, Tom Steyer obviously decided to step aside.

So, congratulations to Betty White! (I would probably never vote for her but I don’t live in California so it doesn’t matter.) As future U.S. Senator Betty White prepares for the next phase of her career, it would probably be a good idea for her to watch a few movies about what it takes to win political office in the United States.

For example: 1972’s The Candidate.

The Candidate would especially be a good pick for the nascent Betty White senate campaign because the film is actually about a senate election in California! California’s U.S. Sen. Crocker Jarmon (Don Porter) is a Republican who everyone assumes cannot be defeated for reelection. Democratic strategist Marvin Lucas (a heavily bearded Peter Boyle) is tasked with finding a sacrificial candidate.

The one that Marvin comes up with is Bill McKay (Robert Redford, before his face got all leathery), a 34 year-old lawyer who also happens to be the estranged son of former Governor John J. McKay (Melvyn Douglas, whose wife Helen ran for one of California’s senate seats in 1950). As opposed to his pragmatic and ruthless father, Bill is idealistic and the only reason that he agrees to run for the Senate is because Marvin promises him that he’ll be able to say whatever he wants. Marvin assures Bill that Jarmon cannot be beaten but if Bill runs a credible campaign, he’ll be able to run for another office in the future.

However, Jarmon turns out to be a weaker candidate than everyone assumed. As the charismatic Bill starts to close the gap between himself and Jarmon, he also starts to lose control of his campaign. He soon finds himself moderating his positions and worrying more about alienating potential voters than stating his true opinions. (In one of the film’s best scenes, Bill scornfully mutters his standard and generic campaign speech to himself, obviously disgusted with the vapid words that he has to utter in order to be elected.) The film ends on a properly downbeat note, one that reminds you that the film was made in the 70s but also remains just as relevant and thought-provoking in 2015.

Written by a former political speech writer and directed, in a semi-documentary style, by Michael Ritchie, The Candidate is an excellent film that answer the question as to why all political campaigns and politicians seem to be the same. The Candidate is full of small details that give the film an air of authenticity even when a familiar face like Robert Redford is on screen.

Whenever I watch The Candidate, I find myself wondering what happened to Bill McKay after the film’s iconic final scene. Did he ever regain his idealism or did he continue on the path to just becoming another politician. As much as we’d all like to think that the former is true, it’s actually probably the latter.

That just seems to be the way that things go.

Hopefully, Betty White will learn from Bill McKay’s example.

http://www.youtube.com/watch?v=thSY0g22j8Y

Scenes That I Love: The Candidate

Posted on November 6, 2012 by Lisa Marie Bowman

(SPOILER WARNING)

It’s election day! Today is the day that American citizens select the person that they’ll be angry with for the next four years. Have you voted yet? I did and, after I turned in my ballot, this guy at the polling place told me that I was the prettiest voter that he had seen all day. Awwwwww!

Today’s scene that I love is particularly appropriate for Election Day. In The Candidate (1972), Bill McKay (played by Robert Redford) runs for the U.S. Senate. Directed in a documentary fashion by Michael Ritchie, The Candidate features excellent supporting performances from Melvyn Douglas and Peter Boyle and it’s one of the best films ever made about the American political system.

The scene below takes place at the end of the film, after the votes have been counted. And, of course, the entire scene is a spoiler so don’t watch it if you haven’t seen The Candidate.