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cinemaocd · 4 months ago

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Jenny's June Movies

Portrait of Jason (1967) Furiosa (2024) Beijing Watermelon (1989) Jubilee (1978) The Player (1989) Oliver Twist (1948) Ugetsu (1953) Mank (2020) Living (2022) The Wonder (2022) Summertime (1955) Don't Look Now (1973) The Elephant Man (1980) Klute (1971) The Man Who Laughs (1928)

Portrait of Jason: (***) Fascinating documentary that is just a talking head interview. Film making doesn't get any simpler than this, but Jason Holliday is such an interesting subject that it doesn't matter. Director Shirley Clarke brings us along for the wild ride of a long conversation with this gay, black hustler and cabaret performer living in the Chelsea Hotel in the 1960s.

Furiosa: A Mad Max Saga (***) My favorite so far in the Mad Max saga, the story is rooted in a terrific performance from a child actor (Ayla Brown) melded digitally with Anna Taylor Joy's portrait of the young Furiosa and her rise to the exalted position of Praetorian in the brutal world of the citadel. Containing Easter eggs from all four of the previous outings as well as a confirmation of the mutability of the Mad Max Universe (narration at the end describes the story as a legend whose telling may change depending on the teller), the biggest joy was the quiet, heartbreaking romance between Furiosa and Praetorian Jack (Tom Burke).

Beijing Watermelon (***): After watching Nobohiko Obayashi's House, earlier this year, I was expecting something far crazier than this relatively quiet portrait of a man consumed by helping a group of Chinese students by feeding them from his market stall, to the detriment of his own family and eventually his own health. A memorable fable about the way in which simple acts of care can transform a community, as well as the ways in which ego can play a part in generosity. The movie only gets as experimental and strange as the director's previous work, toward then end, when filming the ending set in China was impossible due to massacre of student protestors in Tianamen Square. Obayashi turns the story into a meditation of film making with a fourth-wall breaking technique to address the difficulties with the viewer. The movie leaves you feeling an ache of sadness especially when you remember the actual history behind it.

Jubilee (**) Derek Jarman directs this violent, bleak look at dystopian Jubilee Britain, featuring a host of punk icons from Adam Ant to Siouxsie Sioux and the Slits. There is also some nonsense about Queen Elizabeth I time traveling into the film. Honestly the most interesting part of the film for me were the glorious aesthetics, with clothes and make-up by Viivan Westwood, who later disowned her work in the film. Adam Ant is the biggest surprise in the movie, he is always charming and watchable, a stand out among the rest of the cast.

The Player (***) Not my first time through this movie, but another viewing solidified it as the top of the pile for 90s Altman. A wonderfully meta film about film making that is so loaded with jokes about film history and industry insider details that it impossible to catch them all on the first viewing. All of this in a tidy film noir package, led by Tim Robbins who plays a souless film executive being pursued by a disgruntled screenwriter.

Oliver Twist (***1/2) Stands out as the best and most memorable new to me film of the month, with a painful caveat. One of the major milestones in director David Leans estimable career, Oliver Twist is marred by his insistence on keeping the character Fagan as he is depicted in the novel, a hateful Jewish stereotype.. The visual look of this film, with its grimy, slicked cobble streets and rooftops of London nightmare fantasy set, would go on to inspire so many movies, but most notably, Carol Reed's The Third Man which came out the following year. Robert Newton is a standout as a terrifying and nuanced Bill Sykes and John Howard Davies ably carries the film as Oliver. Lean beefed up Oliver's role in the last third of the novel, setting up a chilling and dramatic conclusion to the action.

Ugetsu: (***) Another immediate post war film, that is set is Japan of the past in the time of warlords. A pair of couple navigate the coming of war in different ways, leading to devastating unforeseen consequences. A haunting--quite literally--film about war and the inability to ever fully return from it.

Mank (***) This was my second time through David Fincher's dreamy movie, inspired by real life story of writer Herman Mankiewitz, screenwriter of Orson Welles' Citizen Kane, told in a style that closely mimics that classic. While all of it is pretty to look at, and the ensemble cast is up to the task of creating William Randolph Hearst's inner circle, attempts to make real life into too much of a movie, make the whole thing creak at the hinges a bit. Tom Burke stands out as Welles, Amanda Seifreid who I'd previously only seen in Mamma Mia, gives a lovely performance as Marion Davies, Hearsts mistress, while Gary Oldman is transformed through make-up and accent work into Mank. I wish I wasn't so aware of the stage craft, but that too is like the original I suppose and there is enough insider stuff in this movie to make a film nerd like me happy through any number of screenings.

Living (**1/2) a remake of an Akira Kirosawa film, about a dying bureaucrat who does his best to make an impact before he dies, features Bill Nighy in the lead role. Nighy creates a subtle portrait of a man who is practically fossilized in his desk at work, slowly coming to life as he takes on the project of getting a playground built in the post-Blitz London.

The Wonder (**1/2) One can be forgiven for confusing this movie with Lady MacBeth, which also stars Florence Pugh as a young woman in rural Britain, getting involved in a deadly web of intrigue. Like that film, The Wonder features a lot of scenes of Pugh in Victorian dress walking in the windblown landscape, and staring into the camera while she is seated quietly in a room. The setting here is rural Ireland twenty years after the Great Hunger. Pugh plays a nurse who is sent from England to watch a young girl who has supposedly survived months without eating. Hired by the village to either prove or disprove the so called Wonder of the title, the film slowly builds into almost unbearable tension in the final acts. Lovely performance from the whole cast, including, once again, TOM BURKE. (Are you seeing a theme in June Movies????)

Summertime (****): Classic David Lean, classic romance. Is it gay? Well yeah, I think Hepburn's character is a lesbian who has finally met the one dude who does it for her and he fancies her too and it foments a complete crisis of identity. Also it's an ode to women traveling alone and living their best life and having fun and doing walks of shame for the first time and oh I just love seeing this middle aged woman get to be 20 something!. Rosanno Brazzi is so cute and this is the movie that made me fall for him.

Don't Look Now (***): So I watched this and Summertime back to back and wow you could not get two more different views of Venice While Lean's film is more of a straight forward travelogue it's not excessively gritty or excessively pretty. It's balanced and though it is a tourists view it still takes on stuff like throwing garbage in the canal or getting lost. All of those things are present in Don't Look Now but they take on a darker edge. This is a city designed to hypnotize seduce and confuse you and you'd better be careful or lose your life. Features a great twist and absolutely top tier 70s psychological horror with lots of creepy vibes.

The Elephant Man (***): I had not seen this since it was in the theaters and I was so blown away by it. It's every inch a David Lynch film...it's like Eraser head with a big budget in many ways. I seriously can't believe someone watched Eraserhead and said: yeah lets give this guy millions to make our studio film. Even more amazing that the final product is so fucking successful as both a studio film and a distinct piece of Lynchian art. Johnny Gielgud and Wendy HIllier are both in this and both fabulous and Anne Coates is the editor. It's like an ode to British Noir films like Gaslight and The Lodger and especially Oliver Twist--and even a little Pygmalion callback in one scene that HIllier is in. John Hurt plays John Merrick and is heartbreakingly human when those around him can only see a monster. Lynch makes the choice to reveal his face about 45 minutes in and it's so impactful. The makeup is incredible, but also he lets the character exist for a long time so he isn't just the makeup. Anthony Hopkins is amazing playing the Victorian doctor who "rescues" Merrik and ends up exploiting him as well. The real horror of this film is in the realization of his own culpability/responsibility that gets shifted onto the audience.

Klute (***): Part of my Donald Sutherland memorial minifest, this movie really belongs to his female costar. Jane Fonda plays Bree Daniels, a Manhattan sex worker who is being stalked by a former client. There is nothing in The Conversation that isn't done first and frankly better in Klute, using modern technology and paranoia about it to maximum effect. Sutherland plays the titular cop, Klute who has assigned himself to the cause of protecting Daniels. An interesting love story develops between the hardened and wary Daniels and the hardened and wary cop.

The Man Who laughs (***): I got to see this for the first time on the big screen with a new original score performed live, which is the best way to see silent films. Veidt is incredible acting through and over and around this makeup, expressing so much with his eyes. Like The Elephant Man, this is a movie about the way society perceives difference as monstrous. A beautiful love story and a revolutionary social justice vibe tie the room together.

#Jenny's June Movies #OK well I beat my goal of finishing before the end of July!#June was a fantastic month for film watching my summer has kind of sucked in many ways #but at least I'm getting my money's worth out of criterion channel

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