Category Archives: Featured

Sorcerer (1977)

William Friedkin’s Sorcerer had the unfortunate timing in 1977 of being released concurrently with a movie called Star Wars, which people ended up liking a little bit. Friedkin was hot after releasing The French Connection and The Exorcist earlier in the decade, but Sorcerer ultimately failed at the box office and slipped into relative obscurity in favor of his other movies. This is a shame, because Sorcerer is a monster of a film.

Based on The Wages of Fear, the first third of the film essentially amounts to four separate prologues for four separate characters from Veracruz, Jerusalem, Paris, and New Jersey (one of these things is not like the other). Roy Scheider cashes in on the success of Jaws two years earlier as lead man in Sorcerer (the New Jersey one), but the time spent with each of the characters is intimate and highly involved; the Walon Green script, too, is like a tough steak that tastes good but has to be chewed and wrestled with. It’s difficult to tell throughout this opening act where Sorcerer might turn next.

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Enemy (2013)

A second viewing of Denis Villeneuve’s dark mindbender Enemy doesn’t illuminate the WTFs of the film in the way that most would hope. Starring Jake Gyllenhaal as a man who discovers and confronts what seems to be his exact lookalike, the Kafkaesque Enemy is very much experimental and very much a work of abstract filmmaking on many levels. It also happens to be one of the most spellbinding, terrifying, and downright fascinating little movies of recent memory.

Set in a concrete-and-metal Toronto draped in beautiful shadows of industrial noir, there’s really nothing poor to say about the look and tone of Villeneuve’s most recent tale (he and Gyllenhaal also teamed on Prisoners in 2013, another intense and beautifully shot film). Enemy is intercut with close-ups of the characters and wide panning cityscapes, gridlocked traffic jams juxtaposed alongside messy bedsheets, and at times the effect of the editing is truly mesmerizing.

Gyllenhaal, too, is tough to look away from, and he plays both Adam (the “main character”, if such a thing exists in Enemy) and Anthony (the doppelgänger who seems to take more and more screentime from Gyllenhaal No. 1) with subtlety and — dare I say it — brilliance. Hard to pin brilliance on the guy from Prince of Persia, but I suppose it’s equally exciting that Gyllenhaal has abandoned those moneygrab projects in favor of stuff like Enemy, Prisoners and the upcoming Nightcrawler, which looks great.

There are more than a few shots throughout the course of Enemy that are just impossible to process, I think, regardless of how many times you’ve viewed it. Like some similar moves by David Lynch, Villeneuve’s insertion of these impossible images really make the overall film more compelling. Not only will the final shots of the film leave you scratching your head, but they’ll eventually lead you to question even the “believable” elements of Enemy that came before.

So while a light isn’t suddenly flicked on by watching Enemy twice — there’s really no hope of turning all of the ?s into !s — a second viewing does shine a different kind of glow on things. The imagery, again, is just plain beautiful – but it’s also telling a story on its own, showing things that lurk in plain sight, things we’re very obviously terrified by, things we attempt to control, things that are inevitable. Whatever it is that Enemy ultimately presents is almost certain to stay in your head long after the credits roll.

All Night Long (1962)

Do you like jazz? Do you like Shakespeare’s Othello? Do you like to smoke marijuana? Do you want to plead the fifth on that last one in case your mom overhears? Hi Mom!

Continuing our rundown of Richard Attenborough films in the wake of his passing (which really consists of searching “Richard Attenborough” on Netflix and watching whatever comes up), the jazz-driven All Night Long ended up being a hidden gem of sorts. The Netflix synopsis describes it as a retelling of Othello, which it certainly is, but like any great remake or adaptation the majority of All Night Long is highly original.

On one level the movie is really just a vehicle for jazz greats Dave Brubeck, John Dankworth, Ray Dempsey, and Charles Mingus. Guys like Mingus don’t get nearly enough screentime, but it’s still cool to see them in this context and to have the video of them at all. Brubeck, on the other hand, gets an entire song right smack in the middle of the film, which he seems to relish. His presence and obvious passion for jazz also lend a lot to the main story.

And the main story is actually quite well executed. Attenborough is slightly tangential as the rich host of the London-set all-night session; Paul Harris is the Othello figure and bandleader Aurelius Rex; Marti Stevens, who looks like a zombie when she sings, is the Desdemona character and object of everyone’s attention; Keith Michell is great as saxophonist and wrong-guy-at-the-wrong-time Cass Michaels.

But Patrick McGoohan as Iago figure Johnny Cousin is the real treat here, and he’s what elevates the film from a mere parade of jazz cameos to an actual story. Johnny Cousin, unlike Iago, has a clear motive for destroying the relationship between Rex and Marti Stevens’s Delia, as doing so will allow Delia to join his band instead. His methods – really only seen by the audience, as they involve a deception on nearly everyone else at the session – are brutal and extremely low. Cousin is a drummer, and a drummer with a massive ego to boot – his drums say “Johnny Cousin” in flowing script on the front of them – and McGoohan plays the music scenes nearly flawlessly. He sweats and struggles over the snare and the high hat and the crash and the bass drum, but it’s clear to the audience that the objects in the room he’s really working on are the people.

And at the end of All Night Long, when it’s very obvious not only to the viewer but even to the partygoers that something fishy is afoot, Cousin has nothing to say for himself and just accepts that he has run his game into the ground. His ploy started with a clear motive, yes, but it ended with a different one – not one of gain or desire, but one of straight evil. After everyone has left him to his shame, his wife still approaches him with his coat to leave, telling him that she loves him, you see? “I don’t see,” he says. “I don’t love anyone. Not even Johnny.” This plays fantastically off of the underscores on his ego from earlier, and McGoohan knocks it out of the park.

Also, he can really play the drums:

The Flight of the Phoenix (1965)

The passing of cinema giant Richard Attenborough has prompted a return to some of his greatest and most overlooked films. Be on the lookout for reflections on his acting, his directing, and on the occasional documentary film if and when I confuse him with David Attenborough.

Robert Aldrich’s The Flight of the Phoenix remains a masterclass in ensemble filmmaking. The big names — James Stewart, Peter Finch, Ernest Borgnine, Hardy Kruger, George Kennedy, and Attenborough himself, among others — promise more than enough entertainment during the opening credits. It’s the characters, though, that impress past the set-up, and each and every man is drawn to be a unique and interesting person. Consider:

-Jimmy Stewart is Captain Towns, ostensible main character and old-timey pilot who believes his know-how to be worth more than any technical mumbo-jumbo. He’s essentially Waldo Pepper a decade before Redford was Waldo Pepper.

-Attenborough and Kruger arguably share second fiddle. The former is the lovable drunk who could have been a pilot if not for his addiction, and thus has been relegated to the duties of a navigator. Kruger’s Dorfmann is the stubborn and brilliant plane designer, holding a secret that he doesn’t even realize. Both are endlessly watchable.

-Finch, Borgnine, Ian Bannen as “Ratbags” Crow, Ronald Fraser as Sgt. Watson — usually this tier of an ensemble cast is in there just to fill out the field, to inform the “real” characters in the tiers above. But Borgnine’s oafish Cobb, for example, ends up having a deceptively complex character arc; Finch’s Captain Harris ventures out alone to find help, refusing the assistance of Cobb on the basis of his poor physical condition (and, it’s implied, his pathetic mental capacity). Cobb can’t comprehend this and defiantly charges into the desert after Harris, only to die in the heat. He scrawls one final message in the sand in his final moments: his name, “Cobb”, one of the only things he’s sure of.

-George Kennedy isn’t an Academy Award winner at this point, and he has very few lines throughout the course of Phoenix. But his downtrodden face and his futile punches at his own leg when a fellow passenger succumbs to death early in the film still provide a major insight into his character — and that pain comes full circle when the makeshift aircraft finally roars to life at the climax of the film, Kennedy roaring along with it.

-Even those who die in the initial crash — occurring less than ten minutes into the 2.5 hour film — are memorable and complete, are inhabited much more so than any supporting characters in today’s ensembles. Bill has his ouzo and Tasso has his bouzouki, both shown as men with things that they love. Both are then shown crushed in the wreckage, the dripping ouzo bottle and the demolished instrument inches from their still hands. These aren’t throwaway characters (“we loved you so, so-and-so”); their deaths have an effect on Stewart’s Captain Towns, as he feels responsible, so we feel their deaths are important as well. And in less than ten minutes!

So take Last Vegas and Expendables and other “ensembles” and forget them (oh, you already did?). Consider, too, that this isn’t the kind of ensemble connected by the whole six-degrees thing, wherein films like Crash and Babel and Love, Actually posit that the cast is intertwined by themes and experiences that are common instead of experiences that are actually the same. In the tradition carried on by the likes of Murder on the Orient Express and Traffic years later, The Flight of the Phoenix is an ensemble film in the truest sense of the phrase, and because of that is wildly entertaining.