The Earrings of Madame de… is the English-language title for Madame de…, as it was released in France, which heralds the heart-shaped diamond jewelry — not its owner — as the star of the film. The earrings do indeed play a major role, significantly altering the lives of those who possess them, seemingly propelled by their own willpower from one owner to another and back again. With a pinch more malice this would be The Lord of the (Ear)rings, a fantasy tale about tempting jewelry that instills a deadly pride in those who dare purport to wield such power. But the passionately humanist Max Ophüls ensures that this is always really the story of Madame de…, not simply of her diamonds, and the themes of pride and ownership don’t necessarily involve the earrings at all.
That sleight-of-hand is one of the many reasons Madame de… stands as the most highly-praised work by Ophüls, whose career as a filmmaker was constantly capsized by the onset of World War II. A German-born Jew, Ophüls fled and became a French citizen in 1938, only to have to flee further to the U.S. There he failed to break into Hollywood until an admirer of his work recommended him to Howard Hughes; it helped that the admirer was none other than Preston Sturges. Ophüls directed five Hollywood productions before returning to Europe in 1950, where a new stage of his filmmaking career blossomed. Each of his final films — La ronde (1950), Le plaisir (1952), Madame de… and Lola Montes (1955) — is a masterful achievement in its own right, championed thereafter by the likes of Samuel Fuller, Stanley Kubrick and Paul Thomas Anderson.
Continue reading The Earrings of Madame de… (1953)
I was pretty darn excited by Destroyer just prior to watching Destroyer. The fact of a female-led, female-directed crime film with such noir grit would’ve been enticing enough. That female lead, of course, is Nicole Kidman, which always helps in the Excitement category. But frankly director Karyn Kusama was even more of a draw, coming off her last effort The Invitation. While not altogether a classic, Invitation stuck in the mind for its slow-burn tension and creepy performances. It was almost a suburban spin on a haunted house tale, Ice Storm meets Amityville Horror, accomplished with confidence by Kusama on a comparatively small budget of $1 million. Destroyer upped the ante, left the suburban mansion for the L.A. streets, but the fact that it was still an original thriller was mighty exciting.
And I was even pretty darn excited by Destroyer just after watching Destroyer, because the ending was a deft twist with a songlike quality only hinted at elsewhere in the film. But I wasn’t quite sure what to make of Destroyer while I was actually watching Destroyer. As an upstanding member of the critical community, of course, I must admit, reader, that in entering the screening for Destroyer I simultaneously expunged every bias while still expecting, honestly, based on advertising, to be destroyed.
Continue reading Destroyer (2019)
I recently watched Edgar Wright’s Hot Fuzz for the zillionth time. This was partly to assuage my excitement for Baby Driver, Wright’s latest, and partly because the discovery of a commentary track by Wright and his buddy Quentin Tarantino was too good to pass up. Usually commentary tracks feel slight, strained, straight-up unnecessary; Wright and Tarantino have a casual chat that’s nearly as bonkers as Hot Fuzz itself. The pair share a vast encyclopedic knowledge of film and music, and throughout the course of the commentary they discuss nearly 200 films — basically everything besides Hot Fuzz — and if you’re thinking someone should write out that list, well, yeah: reddit.
Their knowledge is enviable, yes, but it’s not nearly as enviable as the fact that both writer/directors manage to make movies that are unlike any other movie you’ve ever seen. Baby Driver, it should be stated at the outset, is unlike any other movie you’ve ever seen. Wright, like Tarantino, has fresh ideas that swing for the narrative fences, and like Tarantino he also has the prowess to actually achieve his vision. This time around the vision is something people are calling a “car chase musical”, which seems only half-accurate because it doesn’t quite do Baby Driver justice.
Continue reading Baby Driver (2017)