A Movie A Day #160: Ace Eli and Rodger of the Skies (1973, directed by John Erman as “Bill Sampson”)


Sometimes, the story behind a movie is more interesting than the movie itself.

A young Steven Spielberg received a “story by” credit for Ace Eli and Rodger of the Skies but, at one time, he was going to be credited with much more.  Spielberg wrote the treatment for Ace Eli and sold it to 20th Century Fox because he was hoping to make his directorial debut with the film.  However, shortly after selling the story, there was an executive shakeup at the studio.  Spielberg’s supporters were out and the men who replaced them gave the treatment to another screenwriter and director.  Spielberg was so angered by his treatment that it would be close to thirty years before he ever again worked with 20th Century Fox.  (In 2002, 20th Century Fox co-produced Minority Report with Dreamworks.)  Ace Eli ended up being directed by television veteran John Erman, who was so upset by the studio’s final edit of the film that he demanded to be credited under a pseudonym.

The plot of Ace Eli and Rodger of the Skies is recognizably Spielbergian.  Ace Eli (Cliff Robertson, who was a pilot in real life and who, after he won his Oscar of Charly, was involved in several flying films) is a stunt pilot in the 1920s.  After his wife is killed in a crash, Eli and his 11 year-old son, Rodger (Eric Shea), set off on a barnstorming tour.  Going from small town to small town, Eli deals with his pain through nonstop womanaizer.  With Eli refusing to take any responsibility for his actions, Rodger is forced to grow up quickly.  It is a typical Spielberg coming of age story, combining a nostalgia for the past with a clear-eyed portrayal of irresponsible adulthood.

In fact, it is easy to imagine the approach the Spielberg would have taken if he had been allowed to direct his story.  Unfortunately, Spielberg did not get to direct the film and John Erman takes an impersonal approach to the material.  Whereas Spielberg would have captured the excitement of both flying and life on the road, Erman keeps the audience at a distance.  An underrated actor, Cliff Robertson is still miscast as the irresponsible Ace Eli.  The reason why Cliff Robertson was perfect for the role of Uncle Ben in Spider-Man is the same reason why he feels all wrong as Ace Eli.  He is just too upstanding a citizen to be as impulsive as Eli often is.  An actor like Warren Oates would have been perfect for the role.

Steven Spielberg directing Warren Oates in Ace Eli and Rodger of the Skies?  That would have been something worth seeing!

Playing Catch-Up: The BFG (dir by Steven Spielberg)


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I heard so many negative things about Steven Spielberg’s latest film, The BFG, that I was really expecting it to be terrible.  When it came out this summer, a lot of critics seemed to take an almost perverse delight in talking about its flaws and some people actually seemed to be thrilled over the fact that it flopped at the box office.

And I have to admit that the commercials that I had seen didn’t really fill me with much desire to actually sit through the movie.  Mark Rylance looked vaguely grotesque as the giant.  Add to that, I spent several months convinced that BFG stood for “Big Fucking Giant.”  Once I was reminded that he was actually a Big Friendly Giant, I was kinda like, “But wouldn’t my way be more fun?”

But anyway, I finally watched The BFG last night and it’s actually not terrible.  Don’t get me wrong.  It’s not great.  In many ways, this movie is Spielberg at his most sentimental.  Imagine if every triumphant musical cue in Lincoln was stretched out for two hours and you might have an idea as to how he approaches The BFG.  At times, I had a hard time following the film’s storyline, largely because the pacing was totally off.  As a director, Spielberg never seems to be quite sure if he’s making a film exclusively for kids or if he’s trying to make a film that adults can appreciate with their children.  It’s a tonal mess.

And yet, for all those weaknesses, The BFG has enough sweet moments that it feels a little bit churlish to be too critical of it.  Spielberg’s heart seems to be in the right place, even if he is struggling to figure out how to express himself.  As I watched the film, I felt bad about being so dismissive of what I had seen of Rylance’s performance in the commercials leading up the actual film.  Rylance gives a heartfelt and warm performance, playing a giant who, because he is so nice, is bullied by even bigger giants.

As I said, I struggled to follow the film’s story.  I knew that BFG had been forced to abduct an orphan named Sophie (Ruby Barnhill) because she saw him and he couldn’t risk her accidentally revealing his existence to the rest of the world.  I also understood that BFG also had protect her from the other giants because the last child he befriended was eaten by those other giants.  But then there was all this stuff about dream time and eventually, Queen Elizabeth II showed up and declared war on the evil giants and I was just so confused.  For once, Spielberg’s skills as a story-teller fail him.  It’s hard to believe that they same director who did the simple and economical Duel also did The BFG.

To be honest, the folks at Pixar, with their trademark mix of sentiment and subversion, would have been the ideal team to take on The BFG.  Spielberg’s instincts are so resolutely mainstream that he doesn’t seem to understand how to best approach some of the story’s more “out there” elements.  But that said, The BFG isn’t terrible.  Mark Rylance does a really good job as the giant and, as you would expect from any Spielberg film, the film is undeniably visually impressive.

The BFG may not be great but it’s not awful.

Cleaning Out The DVR Yet Again #24: Duel (dir by Steven Spielberg)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by the end of Tuesday, December 6th!  Will she make it?  Keep checking the site to find out!)

duel

On November 5th, I recorded the 1971 film Duel off of MeTV!

Duel tells the story of David Mann (played by Dennis Weaver).  The name is probably not a coincidence.  David is an “everyman,” if your idea of an everyman is a workaholic who is incapable of expressing his emotions.  David is driving through the California desert.  When he calls his wife (apparently, he left home in the morning without ever bothering to wake her), he tells her that he’s on a strict schedule and that he might lose an important sale if he’s delayed in any way.  You get the feeling, however, that David’s trip is less about business and more about a desire to get away from his life.  His conversation with his wife is strained and, when we watch him interact with a gas station attendant, we’re struck by how awkward David is.

Indeed, the only time that David seems to be really comfortable and relaxed is when he’s safely inside of his car.  When we first see him, he’s listening to a radio talk show and occasionally commenting on what he’s hearing.  David Mann has a better rapport with an unseen talk show host than he does with his own family.

Later, in the film, David is flagged down by a school bus that has stalled on the side of the road.  The bus driver asks David to give him a push.  For his part, David reacts with visible panic at the sight of several hyperactive children rushing towards his car. When they hop on his hood, David starts to frantically order them off.  It makes sense really.  The car is what he loves.

Of course, it’s not just bratty children that David has to deal with.  There’s also a gigantic truck traveling up and down the highway.  When David gets stuck behind the truck, he honks his horn.  He yells at the unseen driver.  He passes the truck at one point, just to have the truck promptly pass him so that it can continue to block him.  When the driver finally does motion for David to pass him, David changes lanes just to discover another car coming straight at him.

The truck’s driver, it turns out, wants to kill David.  Why does he want to kill David?  We’re never quite sure.  For that matter, we’re never quite sure what the truck is transporting, beyond the fact that it’s apparently flammable.  But the brilliance of Duel is that it doesn’t matter why the truck’s driver is trying to kill David. All that matters is that he’s determined to do so.

And David — the man who can’t even figure out how to have a conversation with his wife — must now try to figure out how to defeat a seemingly unstoppable predator…

Today, Duel is probably best known for being Steven Spielberg’s first film.  (It was a made-for-television production that got a theatrical release in Europe.)  Watching Duel (and Jaws, for that matter) it’s easy to imagine an alternative universe where, instead of becoming America’s best known creator of mainstream entertainment, Spielberg instead became one of America’s best horror director.  Duel is a suspense-filled thrill ride, one that’s scary because it remains rooted in reality.  Seriously, who hasn’t gotten nervous when they’ve found themselves sharing the road with a gigantic truck?

(If anything, I’d argue that Duel is scarier than Jaws.  I mean, I live in Dallas so it’s not like I have to worry about getting attacked by a shark.  On the other hand, I drive my car nearly every day.)

Dennis Weaver plays the archetype of what would become the typical Steven Spielberg protagonist and he does an excellent job in the role.  Weaver is on screen throughout the entire movie.  We see the entire story unfold through his eyes and Weaver gives a harrowing performance as a man who is slowly but steadily pushed to the verge of a breakdown by an enemy that he cannot even begin to comprehend.

If you haven’t seen Duel, you need to.

4 Shots From Horror History: The Texas Chainsaw Massacre, Jaws, Carrie, The Omen


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we continue with the 70s!

4 Shots From 4 Films

The Texas Chainsaw Massacre (1974, dir by Tobe Hooper)

The Texas Chainsaw Massacre (1974, dir by Tobe Hooper)

Jaws (1975, dir by Steven Spielberg)

Jaws (1975, dir by Steven Spielberg)

Carrie (1976, dir by Brian DePalma)

Carrie (1976, dir by Brian DePalma)

The Omen (1976, dir by Richard Donner)

The Omen (1976, dir by Richard Donner)

Song of the Day: Band of Brothers Theme (by Michael Kamen)


Band of Brothers

In what’s become an annual tradition in the Sandoc household since it first aired, Band of Brothers will be marathoned (and of late it’s companion series The Pacific)

The series was produced by both Steven Spielberg and Tom Hanks who years before made the equally powerful film Saving Private Ryan. That film introduced the younger generation of today about the true details of heroism and horror that was World War II. What was becoming a dry and academic exercise in schools was suddenly given life in the vivid and heartbreaking imagery as seen through the eyes of Spielberg and the personal accounts of the men of the “Greatest Generation” who went to war and survived to tell their tales.

Band of Brothers would take the accounts of Easy Company of the 501st Parachute Regiment of the 101st Airborne Division from their time at boot camp at Camp Toccoa, Georgia through training in England and then the war zones of France, the Netherlands, Belgium and, finally, Germany itself. This series wasn’t about made up soldiers and heroes, but the real ones who survived over a year of constant battle that saw some acquit themselves bravely while others failing to measure up.

The series was a production that had everyone at the top of their game. One such person was Michael Kamen who would compose the series’ orchestral score. It would be one of the last compositions he would create before his death in 2003. Nothing helped set the tone for the series more than the opening theme which accompanied the opening credits for each of the ten episodes.

In honor of Memorial Day, it is this opening theme from Band of Brothers which is the “Song of the Day.”

The Big Friendly Giant Is All Over This Trailer For Steven Spielberg’s The BFG!


Despite getting mixed reviews at Cannes, Steven Spielberg’s The BFG is still one of the most anticipated films of the summer.  I have to admit that, for the longest time, I assumed that the title was an acronym for Big F*cking German but no, apparently BFG stands for Big Friendly Giant.

And the just released second trailer for the film features a good deal of the Big Friendly Giant!  The Big Friendly Giant is played by Mark Rylance.  Mark Rylance is a good actor but I still think Sylvester Stallone should have won that Oscar.

Anyway, here’s the trailer!  I always want to be skeptical of Spielberg because he’s such a mainstream filmmaker and my natural tendency is always to embrace outsiders.  But dammit, The BFG looks like it might, at the very least, be a very enjoyable and very big film.

—–

* It’s family film, hence the asterisk.

The PGA Gives New Life To Sicario and Straight Outta Compton!


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The Producers Guild of America announced their nominees today and guess what?  Ex MachinaSicario and Straight Outta Compton made the cut!  In general, the PGA is a good precursor for the actual Oscar nominations so that’s good news for both of those films.  (Among the films snubbed: Star Wars: The Force Awakens and Carol!)

Here are the nominees:

The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures:

Ø  The Big Short

Producers: Brad Pitt & Dede Gardner, Jeremy Kleiner

Ø  Bridge of Spies

Producers: Steven Spielberg, Marc Platt, Kristie Macosko Krieger

Ø  Brooklyn

Producers: Finola Dwyer & Amanda Posey

Ø  Ex Machina

This film is in the process of being vetted for producer eligibility

Ø  Mad Max: Fury Road

Producers: Doug Mitchell & George Miller

Ø  The Martian

Producers: Simon Kinberg, Ridley Scott, Michael Schaefer, Mark Huffam

Ø  The Revenant

Producers: Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent, Keith Redmon

Ø  Sicario

Producers: Basil Iwanyk, Edward L. McDonnell, Molly Smith

Ø  Spotlight

Producers: Michael Sugar & Steve Golin,

Straight Outta Compton

 

The Award for Outstanding Producer of Animated Theatrical Motion Pictures:

Ø  Anomalisa

Producers: Rosa Tran, Duke Johnson, Charlie Kaufman

Ø  The Good Dinosaur

Producer: Denise Ream

Ø  Inside Out

Producer: Jonas Rivera

Ø  Minions

Producers: Chris Meledandri, Janet Healy

Ø  The Peanuts Movie

Producers: Craig Schulz, Michael J. Travers

straightouttacompton

4 Shots From 4 Films: Akira Kurosawa


4 Shots From 4 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 is all about letting the visuals do the talking.

With the latest entry to the Star Wars franchise set to be released in just a few days I thought it was appropriate to share four particular scenes from one filmmaker who has been a huge influence on George Lucas’ vision for Star Wars. This filmmaker also became a huge influence on other master filmmakers such as John Ford, Steven Spielberg, Martin Scorsese, Francis Ford Coppola and Sidney Lumet just to name a few.

Many consider this filmmaker to be one of the greatest filmmakers who ever lived and in this humble individual’s opinion he was the greatest filmmaker who stood above all and whose storytelling and visual techniques would become part of the modern filmmaker’s toll bag.

The man I speak of is Akira Kurosawa.

4 SHOTS FROM 4 FILMS

The Hidden Fortress (dir. by Akira Kurosawa)

The Hidden Fortress (dir. by Akira Kurosawa)

Dersu Uzala (dir. by Akira Kurosawa)

Dersu Uzala (dir. by Akira Kurosawa)

Yojimbo (dir. by Akira Kurosawa)

Yojimbo (dir. by Akira Kurosawa)

Kagemusha (dir. by Akira Kurosawa)

Kagemusha (dir. by Akira Kurosawa)

Mad Max: Fury Road dominates the 21st Annual Critics Choice Nominations!


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It’s been a busy few days as far as the Oscar precursors are concerned.  Let’s see how quickly I can get us caught up.  First off, the 21st Annual Critics Choice nominations were announced yesterday and Mad Max: Fury Road totally dominated them!

And you know what that means — its time to say that the Critics Choice nominations are …. MAD ABOUT MAX!

Anyway, here are the nominations!

BEST PICTURE
The Big Short
Bridge of Spies
Brooklyn

Carol
Mad Max: Fury Road
The Martian
The Revenant
Room
Sicario
Spotlight

BEST ACTOR
Bryan Cranston – Trumbo
Matt Damon – The Martian
Johnny Depp – Black Mass
Leonardo DiCaprio – The Revenant
Michael Fassbender – Steve Jobs
Eddie Redmayne – The Danish Girl

BEST ACTRESS
Cate Blanchett – Carol
Brie Larson – Room
Jennifer Lawrence – Joy
Charlotte Rampling – 45 Years
Saoirse Ronan – Brooklyn
Charlize Theron – Mad Max: Fury Road

BEST SUPPORTING ACTOR
Paul Dano – Love & Mercy
Tom Hardy – The Revenant
Mark Ruffalo – Spotlight

Mark Rylance – Bridge of Spies
Michael Shannon – 99 Homes
Sylvester Stallone – Creed

BEST SUPPORTING ACTRESS
Jennifer Jason Leigh – The Hateful Eight
Rooney Mara – Carol
Rachel McAdams – Spotlight
Helen Mirren – Trumbo
Alicia Vikander – The Danish Girl
Kate Winslet – Steve Jobs

BEST YOUNG ACTOR/ACTRESS
Abraham Attah – Beasts of No Nation
RJ Cyler – Me and Earl and the Dying Girl
Shameik Moore – Dope
Milo Parker – Mr. Holmes
Jacob Tremblay – Room

BEST ACTING ENSEMBLE
The Big Short
The Hateful Eight
Spotlight
Straight Outta Compton
Trumbo

BEST DIRECTOR
Todd Haynes – Carol
Alejandro González Iñárritu – The Revenant
Tom McCarthy – Spotlight
George Miller – Mad Max: Fury Road
Ridley Scott – The Martian
Steven Spielberg – Bridge of Spies

BEST ORIGINAL SCREENPLAY
Matt Charman and Ethan Coen & Joel Coen – Bridge of Spies
Alex Garland – Ex Machina
Quentin Tarantino – The Hateful Eight
Pete Docter, Meg LeFauve, Josh Cooley – Inside Out
Josh Singer and Tom McCarthy – Spotlight

BEST ADAPTED SCREENPLAY
Charles Randolph and Adam McKay – The Big Short
Nick Hornby – Brooklyn
Drew Goddard – The Martian
Emma Donoghue – Room
Aaron Sorkin – Steve Jobs

BEST CINEMATOGRAPHY
Carol – Ed Lachman
The Hateful Eight – Robert Richardson
Mad Max: Fury Road – John Seale
The Martian – Dariusz Wolski
The Revenant – Emmanuel Lubezki
Sicario – Roger Deakins

BEST PRODUCTION DESIGN
Bridge of Spies – Adam Stockhausen, Rena DeAngelo
Brooklyn – François Séguin, Jennifer Oman and Louise Tremblay
Carol – Judy Becker, Heather Loeffler
The Danish Girl – Eve Stewart, Michael Standish
Mad Max: Fury Road – Colin Gibson
The Martian – Arthur Max, Celia Bobak

BEST EDITING
The Big Short – Hank Corwin
Mad Max: Fury Road – Margaret Sixel
The Martian – Pietro Scalia
The Revenant – Stephen Mirrione
Spotlight – Tom McArdle

BEST COSTUME DESIGN
Brooklyn – Odile Dicks-Mireaux
Carol – Sandy Powell
Cinderella – Sandy Powell
The Danish Girl – Paco Delgado
Mad Max: Fury Road – Jenny Beavan

BEST HAIR & MAKEUP
Black Mass
Carol
The Danish Girl
The Hateful Eight
Mad Max: Fury Road
The Revenant

BEST VISUAL EFFECTS
Ex Machina
Jurassic World
Mad Max: Fury Road
The Martian
The Revenant
The Walk

BEST ANIMATED FEATURE
Anomalisa
The Good Dinosaur
Inside Out
The Peanuts Movie
Shaun the Sheep Movie

BEST ACTION MOVIE
Furious 7
Jurassic World
Mad Max: Fury Road
Mission Impossible: Rogue Nation
Sicario

BEST ACTOR IN AN ACTION MOVIE
Daniel Craig – Spectre
Tom Cruise – Mission Impossible: Rogue Nation
Tom Hardy – Mad Max: Fury Road
Chris Pratt – Jurassic World
Paul Rudd – Ant-Man

BEST ACTRESS IN AN ACTION MOVIE
Emily Blunt – Sicario
Rebecca Ferguson – Mission Impossible: Rogue Nation
Bryce Dallas Howard – Jurassic World
Jennifer Lawrence – The Hunger Games: Mockingjay – Part 2
Charlize Theron – Mad Max: Fury Road

BEST COMEDY
The Big Short
Inside Out
Joy
Sisters
Spy
Trainwreck

BEST ACTOR IN A COMEDY
Christian Bale – The Big Short
Steve Carell – The Big Short
Robert De Niro – The Intern
Bill Hader – Trainwreck
Jason Statham – Spy

BEST ACTRESS IN A COMEDY
Tina Fey – Sisters
Jennifer Lawrence – Joy
Melissa McCarthy – Spy
Amy Schumer – Trainwreck
Lily Tomlin – Grandma

BEST SCI-FI/HORROR MOVIE
Ex Machina
It Follows
Jurassic World
Mad Max: Fury Road
The Martian

BEST FOREIGN LANGUAGE FILM
The Assassin
Goodnight Mommy
Mustang
The Second Mother
Son of Saul

BEST DOCUMENTARY FEATURE
Amy
Cartel Land
Going Clear: Scientology and the Prison of Belief
He Named Me Malala
The Look of Silence
Where to Invade Next

BEST SONG
Fifty Shades of Grey – Love Me Like You Do
Furious 7 – See You Again
The Hunting Ground – Til It Happens To You
Love & Mercy – One Kind of Love
Spectre – Writing’s on the Wall
Youth – Simple Song #3

BEST SCORE
Carol – Carter Burwell
The Hateful Eight – Ennio Morricone
The Revenant – Ryuichi Sakamoto and Alva Noto
Sicario – Johann Johannsson
Spotlight – Howard Shore

Trailer: The BFG


Right now, the jury’s out on whether or not Steven Spielberg’s Bridge of Spies will be an Oscar champ or an Oscar also-ran.  But, regardless of how things go with the Academy, Spielberg’s follow-up to Bridge of Spies is already scheduled for a July 1st, 2016 release!  It’s called The BFG and here’s the trailer!