Saturday, April 22, 2017

2017

4/22/17 I watched James Gray's The Lost City of Z.  The film of Gray that has impressed the most so far is also the most revealing.  Treading in this territory is dangerous stuff.  How do you not immediately beg comparison to Apocalypse Now and Aguirre?  You don't.  What Gray does though is blend the epic and the chamber and in that way it feels different.  Herzog and Coppola's film were both always operating on a large canvas and their egos and talents had no problem sustaining an epic scope for their duration.  Gray's film fits what is seemingly his personality, something that is more cerebral and more measured than Herzog and Coppola.  What is most striking is that I have long known that Gray reveres the work of Coppola but never have I noticed their differences more than now.  Not only is Gray far more humble but he also struggles to reach the emotional shape of Coppola's best work.  I felt watching The Lost City that everything was of one piece - Ravel's music could not have been more perfect, sophisticated, difficult themes were borne out, Khondji's work seemed right (even if I have never been a huge fan of his) but Gray has trouble reaching the emotional heights of Coppola.  Lost City is an unusually ambitious and well executed American film in this current environment but without the emotional resonance of the films he most admires, it is difficult to call it great.  

10/28/17 I watched Susan Lacy's Spielberg.  I have never considered myself a huge fan of the filmmaker but realized I do like more of his work than I remembered, including Munich and A.I.  I don't think Lacy goes all that deep, but I don't think Spielberg really allows someone to go there.  

Sunday, April 9, 2017

Favorite (four), part forty

Just like in my other thirty-nine posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Jim Jarmusch's Gimme Danger
Jarmusch saves his rawest aesthetic to date for the rough and tough Stooges, and even though it is a major stylistic departure for Jarmusch he seems comfortable in this different skin.  Jarmusch provides new insight into the highly influential band and the deep emotional wounds that have propelled Iggy for the last 50 years.  

Michael Ritchie's The Bad News Bears
Ritchie's slacker sensibility is a perfect match with the material.  I don't think this one gets near enough attention and should be in any conversation around the greatest sports movies of all time.

Ewan McNicol and Anna Sandilands' Uncertain
How these thoughtful and talented filmmakers came to work right in my backyard I have no idea (tax credits?) but they do an excellent job at capturing life in the Caddo Lake backwoods.  They resist easy storylines and typical trajectories and leave us with an affecting look at a different world.

Michael Schultz's Cooley High
Even though it was an AIP production, it feels more like an American New Wave film or a 1970's Shadows.  I have heard it referenced in rap songs and as an important entry in that decade's pop culture but now finally seeing it, it exceeded expectations in the way it captures the clothes, the music, the feel of the times.  Required viewing for anyone that wants a link from Shadows to Burnett to Spike.