Final Thoughts on The Coens

Well I hope you enjoyed my month long tribute to the Coen Brothers and their work. I've always been interested in their work since I saw my first film by them, they are truly unique geniuses who don't compromise. I look forward to any of their future projects, no matter what it is, I'll be in line opening night to see it. Stay tuned next month for a very special announcement.

Some Movies I've seen Recently

I'm inching ever so closer to seeing most of the Oscar contenders along with what I think are some of the best movies I've seen this year. Here are some films I've seen in the theatre these past few weeks.

Frost/Nixon: A solid Hollywood entertainment with Michael Sheen and Frank Langella reprising their stage roles and giving two of the best performances of the year. Supporting work by Sam Rockwell and Oliver Platt as aids for Frost to help him prepare for the legendary interview also deserve recognition. My problem with the film lies in the glossy direction, I wanted it to be more grittier and biting, the whole film seemed too nice and I felt much of the impact was lost. However for the most part it remained entertaining. 3 stars out of 4

Slumdog Millionaire: A sweet fable of a boy growing up in the slums of Mumbai, falling in love with a girl and finding himself a contestant on India's "Who Wants to Be a Millionaire", and is then accused of cheating after he's one question away of winning a fortune. Danny Boyle inserts a very likable kinetic energy to the story that works in some places, but doesn't in others. I often wished things would've slowed down a bit more for us to understand the characters motivations some more, however this is a very likable movie with a nice finale at the end. 3 stars out of 4

The Wrestler: The best of the bunch I saw, Mickey Rourke's performance deserves all the praise it's been getting as he plunges into the life of a pro wrestler who's best years are behind him and he's trying to make amends for the mistakes he's done but can't help setting himself towards a destructive path. Marisa Tomei is also impressive as a stripper who's also growing older and can't decide whether or not to stand by the wrestler's side. Director Darren Aronofsky doesn't hold back in depicting the life of real wrestlers and the sacrifices they make, but it's also an impressive story of a man coping with the thought of spending the rest of his life alone. 4 stars out of 4

Revolutionary Road: As I was watching this film, I couldn't make up my mind whether or not I liked it. I don't think it was until Michael Shannon appeared for the first time as a mentally unstable man who is the only one who actually says what's on his mind. The film isn't bad in many ways, director Sam Mendes puts us into the world of 1950s suburbia quite nicely, and the arguments between Kate Winslet and Leonardo DiCaprio ring true many times, then there is Michael Shannon as I mentioned who only has a handful of scenes but he owns them each time he's on screen. Winslet and DiCaprio are impressive as well but I sometimes felt their characters might've benefited more from two unknown actors. All in all I'd say "Revolutionary Road" is a wonderful mess of a movie that seems to play better when it's trying to be a melodrama and not a satire. 3 stars out of 4

While it hasn't been a bad time at the movies I must say most of the best films I've seen this year are mostly ones I've viewed on DVD. I mostly don't discuss films I've seen on DVD but I want to make an exception this time, so tune in for a more in depth discussion of some hidden gems I've seen.

You Can't Stop What's Coming!: "No Country for Old Men"

I've seen The Coens' "No Country for Old Men" numerous times since it was first released last year. Each time I watch it I find something new, even if it's a piece of dialogue I never noticed, or if its a slight reaction from an actor. The film has been widely praised as a triumphant return for the Coens after a string of critical and box office disappointments. After watching many of the Coens' films this month, this one definitely struck me as perhaps their darkest film. The film deals with death, and violence like in many of the Brother's work, however perhaps no other film has taken such a grim stance on it.

There are three major characters in "No Country for Old Men", the first is Llewelyn Moss (Josh Brolin) a good old boy who stumbles upon a botched drug deal in the middle of a Texas desert. After looking through the carnage, he finds a satchel containing two million dollars and decides to take it for himself. The second man is Anton Chigurh (Javier Bardem) a hitman who stops at nothing to find Moss, and kill him. Chigurh is less a real person, than a spectre of death. And finally there is Sheriff Ed Tom (Tommy Lee Jones) who is pursuing Moss and trying to get him back safe before Chigurh does. Ed Tom is the "Old Man" in the title, and it's really him who is coming to a realization that the world is changing, and it's him that must make a choice at the end.

"No Country for Old Men" was based on a novel by Cormac McCarthy and is one of the few times the Coens have used other material to base their films on. I've read the McCarthy book before seeing the film and remember feeling very uneasy with it. The Coens remain faithful to the book, however I would say they do add their own touch of humour to the story I didn't find in the McCarthy story.

The dialogue in the film is a nice blend of both the Coens and McCarthy's words, no more so than the gas station scene where Chigurh is talking to the attendant.

Anton Chigurh: What's the most you ever lost on a coin toss.

Gas Station Proprietor: Sir?

Anton Chigurh: The most. You ever lost. On a coin toss.

Gas Station Proprietor: I don't know. I couldn't say. [Chigurh flips a quarter from the change on the counter and covers it with his hand]

Anton Chigurh: Call it.

Gas Station Proprietor: Call it?

Anton Chigurh: Yes.

Gas Station Proprietor: For what?

Anton Chigurh: Just call it.

Gas Station Proprietor: Well, we need to know what we're calling it for here.

Anton Chigurh: You need to call it. I can't call it for you. It wouldn't be fair.

Gas Station Proprietor: I didn't put nothin' up.

Anton Chigurh: Yes, you did. You've been putting it up your whole life you just didn't know it. You know what date is on this coin?

Gas Station Proprietor: No.

Anton Chigurh: 1958. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails. And you have to say. Call it.

Gas Station Proprietor: Look, I need to know what I stand to win.

Anton Chigurh: Everything.

Gas Station Proprietor: How's that?

Anton Chigurh: You stand to win everything. Call it.

Gas Station Proprietor: Alright. Heads then. [Chigurh removes his hand, revealing the coin is indeed heads]

Anton Chigurh: Well done. [the gas station proprietor nervously takes the quarter with the small pile of change he's apparently won while Chigurh starts out]

Anton Chigurh: Don't put it in your pocket, sir. Don't put it in your pocket. It's your lucky quarter.

Gas Station Proprietor: Where do you want me to put it?

Anton Chigurh: Anywhere not in your pocket. Where it'll get mixed in with the others and become just a coin. Which it is. [Chigurh leaves and the gas station proprietor stares at him as he walks out]


Each time I view this scene I just get sucked in by the words used and the tension that is built. It's hypnotic the way the scene is played, we the audience aren't sure at the beginning what is going on, and we're as flabbergasted as the Gas Station Proprietor. I would call it one of the great written scenes in modern film. Chigurh is not a thing of fate, he is death and sooner or later you will meet up with him.

Even though the manhunt between Moss and Chigurh take up the bulk of this story, it's really just a commentary of the way the world works now and how things have changed in Ed Tom's eyes. Chigurh is a thing that can't be understood, Ed Tom is trying to make sense of the whole thing, but he can't. In a scene near the end, Ed Tom goes through a door, where we see Chigurh on the other side. This is the moment Ed Tom must decide weather or not he can face what's behind the door, he goes in, but in another Coens moment, Chigurh is nowhere to be found.

The last twenty minutes of the film or so have been behind a great controversy. Ed Tom and Chigurh never meet for a final showdown. What happens instead is Ed Tom chooses to retire and Chigurh is wounded in a car crash. The final moment happens with Ed Tom talking to his wife about a couple of dreams he had about his father. The Coens use the idea of dreams a lot in their films such as the final moments in "Raising Arizona" or Tom's dream with his hat in "Miller's Crossing". The final dream Ed Tom talks about with his father is a perfect ending to the film. Ed Tom has come to a sort of realization with this new world, he doesn't want to be a part of it, it doesn't make sense to him.

Death is a big part of "No Country for Old Men", not just because many people are killed in the film, but also because it's something that is inescapable. Chigurh is a type of character that challenges our own mortality. Everyone in the film never sees him coming in a sense, but they all have to deal with him, Ed Tom is the one who knows this the most at the end, it doesn't matter what you do it's coming.

Initial Thoughts on The Oscar Nominations

2008 was not a bad year for movies, despite what critics might say to the contrary. Of course it's hard to compare it with 2007 which was one of the best years in movies in recent memory, 2008 to its credit came out with some nice little hidden gems which I'm just discovering.

The Academy on the other hand has a tendency to look past these gems from time to time, and it seems this year they're up to their old tricks. While I was pleased to see Richard Jenkins and Melissa Leo pick up nominations, and Lord knows I'll be pulling for "In Bruges" for Best Screenplay, the bulk of the nominees carry with them that whiff of prestige, and that is what puts me off the Oscars from time to time.

Maybe last year I was spoiled, there was "No Country for Old Men" which is in my mind an instant classic. This year the front runner is "Slumdog Millionaire" which is sort of the underdog movie the Academy craves. The film itself is not without its charm as it goes for a kinetic Dickensian energy, however I wasn't as moved as it wanted me to be. "Frost/Nixon" is a compelling piece of drama with Frank Langella and Michael Sheen giving great performances, but I was not surprised by a bit of the direction and it becomes nothing more than Hollywood gloss. "The Curious Case of Benjamin Button" takes some chances for a mainstream film regarding life and death, and the special effects are indeed a sight to behold, I even wept at the end of it, but still the actual life of Benjamin Button is never explored and in the end he still remains a mystery. As for "The Reader" and "Milk" I have yet to see them.

Much of the Oscar nominees this year don't interest me much, I'm much more interested in Oscars when there is a film to root for. This year the category I'll be most interested in will probably be for Best Actress since it was such a good year for actresses and it's nice to see some of them being nominated.

As for my predictions, I will probably get around to posting them as the time draws closer, and perhaps my apathy will turn into enthusiasm, however right now there isn't much that holds my interest.

The Bluegrass Odyssey: O Brother Where Art Thou?

All too often films tend to be judged based on their plot, this is where many come under fire. The Coen Brothers in particular are filmmakers who have created some of the most unbelievable plots in modern cinema. While in many of their crime films like "Fargo" or "Blood Simple", plots are brilliantly pieced together with unbelievable twists that one does not expect. However the Coens always make the point that the plot is not the thing that drives the story.

When it comes to Coens' comedies, I would say the plot matters even less and it becomes more about the whimsy and the journey (honestly can anyone describe the plot of "The Big Lebowski" to me.)

When it comes to the Coens' underrated masterpiece "O Brother Where Art Thou?" it's all about the journey. The film was loosely (very loosely) based on Homer's "The Odyssey", a story the Coens said themselves they never fully read, but they did take the more famous aspects as inspiration. The story follows the journey of three chain gang convicts Everett (George Clooney), Pete (John Turturro), and Delmar (Tim Blake Nelson) as they go through the mystical depression era Mississippi, and experience one surreal moment after another.

The Coens mix Homer's mythology with a bit of old Mississippi's as well. Along with meeting a trio of sirens, and an evil one-eyed bible salesman (John Goodman), they also come across Tommy Johnson a guitarist who sold his soul to the devil in order to play great guitar. They also meet George "Babyface" Nelson (Michael Bodalucco) who is depicted here as having a bit of a bi-polar disorder. Delmar also joins in on a congregational baptism and is saved, and to top it all off the three men record a version of "Man of Constant Sorrow" which becomes the biggest hit over the radio.

Like in many Coen films there is the depiction of the devil incarnate in the form of Sheriff Cooley (Daniel Von Bargen) who is hunting are three wanderers and stops at nothing to catch them.

Along with viewing the film again recently, I also found myself listening to soundtrack in my car. The soundtrack of course became much more successful than the actual movie winning the Grammy for Album of the Year, but there is wisdom in the way the Coens use the music in the film. Although not a musical per se, the songs help tell the story, and the bluegrass mysticism of the tone and lyrics were probably the things that inspired the Coens more than the words of Homer. Just watching the baptism scene with that heavenly choir singing turns that scene into something much more spiritual.

This is in fact The Coens most spiritual film, and I often wonder what the people who accuse them of being pure nihilists have to say about it. The question of God and good and evil have come into play in many of their films even in "No Country for Old Men", a film often accused of being nothing but nihilistic.

Whether the Coens are making any strong spiritual statement with this film is debatable, however it does demonstrate their love of their characters. Everet, Pete, and Delmar as played by Clooney, Turturro, and Nelson are three of the Coens most likable and endearing characters, there kind of like if the Three Stooges took a few classes of whimsy. Although they're simple minded they endure through difficult situations, and the Coens even give them a bit of pathos.

"O Brother Where Art Thou?" is often seen as mild Coen Brothers, however I would call it their most pleasant. There isn't any rush to arrive to a point in the movie, in fact they never do arrive to the point, the film becomes about the journey, it uses old fashioned mythology and pairs it with a deep South that can only be depicted in the movies. In the end, you might not find a point or a moral, or a message, but sometimes a movie doesn't have to do that to make it an experience.

Hey Oscar! Don't Forget!

While I'm slowly but surely catching up on 2008 films that weren't released in my neck of the woods till 2009, I still have yet to see "Slumdog Millionaire", "The Wrestler", and "Revolutionary Road" to name a few, but since the Oscar nominations are being announced on Thursday, I figured I'd name a few films and performances that will probably (but hopefully not) be overlooked by the Academy.

For your Consideration
"In Bruges" (Best Picture, Best Actor: Colin Farrell, Brendan Gleason, Best Supporting Actor: Ralph Feinnes, Best Screenplay) Few films this year have reached the humour, unpredictability, and redemption as this film. Although Farrell's Golden Globe win might've reminded viewers of this film, I fear it will be overlooked in most of the major categories.

"Frozen River" (Best Actress: Melissa Leo, Best Supporting Actress: Misty Upham) Although Leo has been getting some recognition from the indie crowd, her Oscar chances seem rather slim. She might be overlooked for a more prominent performer like Meryl Streep. As for Leo's co-star Upham, she was every bit as heartbreaking as a woman who is forced to smuggle immigrants across the boarder to support her child who was taken from her. Cross your fingers for these women.

"Edge of Heaven" (Best Picture) A long shot, although a winner at Cannes in 2007, this film will probably pass many people by. The best bet is it's multiple storylines might remind people of Oscar winners "Crash" or "Babel".

"Lakeview Terrace" (Best Actor: Samuel L. Jackson) Many critics cited this film as a predictable thriller that didn't deal with its subject matter as honestly as it should have. What they seemed to have missed was that Samuel L. Jackson gave perhaps his best performance in a long time as a crazed racist cop. Jackson seems to be the kind of actor who isn't taken very seriously anymore, but his performance in this film is taken to an edge I have not seen him do in a long time.

"Happy Go-Lucky" (Best Actress Sally Hawkins, Best Supporting Actor Eddie Marsan) It's been a strong year of actresses. I would say if Hawkins, Melissa Leo, and Anne Hathaway all were nominated I would demand a three way tie. Hawkins probably has the best chance to be nominated although it's still rather up in the air if she will or not. Marsan is a bit of a dark horse although there has been some talk, here's hoping for both of them.

"Rachel Getting Married" (Best Supporting Actress: Rosemari DeWitt, Best Supporting Actor: Bill Irwin) I'm leaving Anne Hathaway off this list since she seems to be a shoe-in already and if she isn't then consider her on the list. DeWitt was every bit as strong as the title character, and Irwin is a piece of understated beauty as the father who's just trying to be the peacemaker.

"My Winnipeg" (Best Picture, Best Documentary?????, Best Director) Probably the longest shot on this list as Academy members usually want to award films that can be easily categorized. But what exactly would "My Winnipeg" be put under. Suffice it to say it is one of the most creative achievements of the year and that Canadian mad genius known as Guy Maddin should be recognized.

Top 20 Actresses

I'm a little late to play this game but I wanted to see if I could even think of 20 favorite actresses, so here they are in no particular order.

Barbara Stanwyck- Key Movie (Double Indemnity)

Katherine Hepburn-Key Movie (The Philadelphia Story)

Jean Arthur- Key Movie (Mr. Deeds Goes to Town)

Setsuko Hara- Key Movie (Late Spring)

Joan Allen - Key Movie (The Upside of Anger)

Audrey Hepburn - Key Movie (Sabrina)

Emma Thompson- Key Movie (The Remains of the Day)

Frances McDormand- Key Movie (Fargo)

Claudette Colbert- Key Movie (It Happened One Night)

Ginger Rogers- Key Movie (Top Hat)

Amy Adams- Key Movie (Junebug)

Naomi Watts- Key Movie (Mulholland Drive)

Diane Keaton- Key Movie (Annie Hall)

Jane Fonda- Key Movie (The China Syndrome)

Jeanne Moreau- Key Movie (Jules and Jim)

Julie Christie- Key Movie (Away From Her)

Sissy Spacek-Key Movie (Coal Miner's Daughter)

Shelley Duvall- Key Movie (3 Women)

Carole Lombard- Key Movie (To Be or Not To Be)

Grace Kelly- Key Movie (Rear Window)

Nobody knows anybody, not that well: A Look at "Miller's Crossing"

It might be easy to look at The Coens' "Miller's Crossing" and see it as an homage to the gangster films of the early thirties, or a tribute to the great hard boiled novelists Dashiell Hammett and Raymond Chandler, but despite being inspired by all of those that came before it, the film stands as a true masterpiece and perhaps be the Coens' greatest film.

The scene is the 1930s during prohibition, Leo (Albert Finney) is an Irish Crime boss who runs the city, but he plays a dangerous game with a rival gang leader Johnny Caspar (Joe Polito). Caspar asks Leo for permission to kill a local grifter Bernie Bernbaum (John Turturro) for cheating him out of some money. Leo must decline since he seeing Bernie's sister Verna (Marcia Gay-Harden) and soon things sour between him and Caspar. Enter the main character in the film Tom Reagan (Gabriel Byrne) who is Leo's right hand man. Tom tries to convince Leo that giving up Bernie would make the most sense, but Leo doesn't budge.

Tom doesn't believe Verna is worth all the trouble pariticularily since he's been seeing her behind Leo's back. When Leo finds out, Tom is thrown out and decides to go to the other side and join Caspar.

What makes "Miller's Crossing" so layered comes from the ambiguous way The Coens treat their lead character. We never know the motive of Tom Reagan, he's like "The Man with No Name" or "Yojimbo", he seems to be playing both sides, but unlike those characters, Tom doesn't seem to be playing for any greater good, but he does have his principles. As we have learned from other gangster films from the past, their are certain guidelines people must follow, otherwise someone dies. Johnny Caspar in the film is a gangster who believes in ethics which is why he refuses to kill Tom when his right hand man Eddie Dane (J.E. Freeman) is convinced he's a traitor.

The Coens have been known for their silent characters, like the biker in "Raising Arizona" or Gaer Grimsrud in "Fargo" or Anton Chigurh in "No Country for Old Men". Tom is different as those other characters were mostly seen as a villain, plus this time he's a main character. It's a big risk to make your main character not reveal his motives, but that's why the film works, if we knew what Tom was doing at the beginning, we would lose interest.

But also by not revealing what Tom's motives are, the Coens' are commenting at how we never really know what a person is thinking, or why they do the things that they do. Sometimes there is no reason other than the fact they feel compelled to do it. This brings about the idea that is left in many Coen movies which is human nature is too complex to fully understand why people do what they do.

There's a running gag in the film concerning Tom's hat, he talks of a dream where the wind comes and blows his hat off but he refuses to chase it as he puts it, "There's nothing more foolish than a man chasing his hat." Yet after the film there are many moments where Tom does lose his hat only to find it on his head again, and at the end we see him tighten it on his head. Perhaps figuring out what Tom's all about is about as foolish as chasing the man's hat.

I've said time and time again, that most modern gangster films have run their course, I don't think there is much more they can teach us about ourselves, "Miller's Crossing" is one of the few exceptions, it is probably my favorite gangster film. Perhaps I can relate to more of a Tom Reagan character than say a Michael Corleone or a Tony Soprano. Tom can represent who we are but not why we are who we are. It's a mystery where there isn't an answer to, which makes it all the more fascinating.

Initial Thoughts on The Coens

You can say what you want about the filmography of Joel and Ethan Coen. You may say they're pretentious show offs and their films have nothing to say. You may also say they are brilliant filmmakers with a unique eye for visuals and ear for dialogue. Despite what you feel about these sometimes misunderstood mad geniuses one thing's for sure, you can't say they are boring.

The Coen Brothers came on the scene in the mid-eighties when American independent cinema was coming into its own. While other leaders of the indie movement like Jim Jarmusch dealt with more minimalist and introspective work, the Coens would go the opposite direction and dazzle us with genre films that turned the genre on its head. Their first film "Blood Simple" showed they had talent to burn with inventive camera movements and a noirish plot that makes so little sense when you think about it but was made to look believable.

The Coens followed that up with what I think is their first masterpiece "Raising Arizona". This was the first in a long line of broad black comedies, with characters who look like they come right out of a comic book. Yet once we're at the edge of unbelievability, the Coens end the film on a sombre and ambiguous note. Name another filmmaker today who can do that with an outlandish comedy.

Later would come the great gangster film "Miller's Crossing", the Hollywood story "Barton Fink", and their first flop with the under appreciated "Hudsucker Proxy". Finally came acclaim from the mainstream with their most popular film "Fargo" which was a fine balance between black comedy, and violence.

I never thought a Coen film would ever win an Oscar for best Picture but I was proven wrong with their latest masterpiece "No Country for Old Men", and for fans who feared they might've given up their innovative voice for more prestige, their latest film "Burn After Reading" certainly put all that to rest.

I wanted to do the Coen Brothers as my first examination of a contemporary filmmaker to because I feel they are very often misunderstood and I truly believe they are the best American Filmmakers working today. After recently just re-viewing some of my favorite Coen films, I have no doubt of their brilliance, they are able to put poetry in film through their words and their visuals, and when the two meld together nothing stops them. Despite having the reputation of not taking their work seriously, the Coens are always working, and they have created some of the most daring and unique worlds in contemporary cinema.

Some Movies I've seen Recently

I haven't been going to the movie theatre as much as I would like to, but I've been making a bit of a comeback lately as I've been boning up for Oscar season (plus my town has been finally getting some decent movies) So here are a few films I've seen over the weeks.

Seven Pounds: A movie that gets away with emotional blackmail. Will Smith stars as a mysterious man who is out to help seven people for some reason that isn't really revealed until the end. I run hot and cold with Will Smith and I sometimes wish he would stop being so serious all the time, Rosario Dawson however is a breath of fresh air as one of the people Smith helps and who he falls in love with, I also wish there was more screen time for Barry Pepper and Woody Harrelson. The premise remained intriguing enough for me to give this a solid recommendation but beware the heavy handedness. 3 stars out of 4

The Curious Case of Benjamin Button: A very good film of life and death with Brad Pitt playing the title character who grows younger as he gets older. I enjoyed many aspects of the film and it should win the Oscar for special effects and make-up. Being a mainstream film, it doesn't gloss over the idea of death, and at the end I actually had tears in my eyes. However Benjamin never becomes more than an observer and we never find out really what all his experiences teach him. 3.5 stars out of 4

Doubt: Although the play was a success, the filmed version of it falters too often. Writer-Director John Patrick Shanley doesn't seem that confident behind the camera which may be why this feels more like a filmed play. The acting has been taking front and center as the thing to see and while I was impressed with some heavy scenes it all felt underwheliming. Only Amy Adams seems to realize she's on the screen and not on stage. 2.5 stars out of 5

Gran Torino: The best of the bunch I saw, although imperfect, Clint Eastwood's return as star and director is a nice little meditation on racism, redemption, and the generational gap between old and young. It's very easy to look at a character like Eastwood's Walt and judge him right away, but Eastwood turns him into a human and someone worth looking up to. Although the acting by the unprofessional actors do tend to get annoying, and the whole depiction of gangs seem a tad too Hollywoodized, Eastwood never strays away from the simple story he tells, and proves that a young generation can learn a lot from the old. 3.5 stars out of 4

Jeremy and the Movies Best DVDs he bought in 2008

In lieu of my top ten films of 2008 (which will be a long time coming) I've decided to share with you some of the best movies I've added to my DVD collection this year. Some of the films were the first time I ever saw them, while others were early favorites that I just hadn't gotten around to buying. So here in a very random order are my favorite movies I've purchased this past year.Two-Lane Blacktop: After a high recommendation from Kim Morgan and because of my undying love for minimalist cinema and Dennis Wilson, I just had to see this film. Needless to say I was not disappointed. I've never been much of a fan of race car movies or road movies themselves for the most part. However director Monte Hellman makes this film into something more. The ending to this movie is one of the most satisfying yet ambiguous ones I've seen. I intend to revisit this film soon.

The Bicycle Thieves: This film has been on constant top ten lists along with "Citizen Kane" and "Rules of the Game", yet it has always eluded me. It seems like a cliche now to comment on this film's greatness, but the moving story between a father and son as they search for a stolen bike which represents their families lively hood never loses its impact, especially now as we again face harsh economic times.

The Furies: I have a strong affinity with westerns of all kinds, and I consider director Anthony Mann to be a master of the genre perhaps second only to John Ford. This was Criterion Collection's first in what I hope will be a series of Mann films. I'd never seen it before but with Mann directing and Barbara Stanwyck starring along with Walter Huston (in his final film) I couldn't pass it up. It stars a stubborn larger than life land baron (Huston) and a battle of wills with his equally passionate daughter (Stanwyck). It's classic Shakespearean melodrama set in the old west.

The Tin Star: Another Anthony Mann film this time a little less ambitious but entertaining none the less. Anthony Perkins stars as a young lawman who is in over his head with a sinful town. He turns to old pro Henry Fonda for some fatherly advice. The film shares a lot in common with classic westerns "Rio Bravo" and "High Noon" but has its own tone. I wouldn't call it a classic film, but for anyone who's a western aficionado like me it's a must see. Plus it's just fun to see a pre-"Psycho" Perkins playing a good guy along with good old Fonda.

Lubitsch Musicals: 2008 might just go down in my own personal history as the year I got to know Lubitsch. Oh sure I knew of him before, but this time I finally found out just why he was so special. My first steps started with this "Eclipse" series which specifies on overlooked films by famous directors. The Lubitsch Musicals may be my very favorite from this series that I own. Anyone who isn't charmed by these films should go to the nearest hospital and check their pulse.

Man of the West: What do you know? Another Anthony Mann western. This one is a clear inspiration of Shakespeare's "King Lear" told in a panoramic widescreen featuring Gary Cooper is one of his last great roles. Cooper plays a man who is escaping his criminal past only to run into his old gang again run by a maniacal father figure Lee J. Cobb. the film is full of so many great moments and psychological action, it's a must for any film fan.

Vampyr: Dreyer's complex and visually stunning film about a young man who finds himself taken to an unnatural world of horror. Although it's difficult to describe this film as a horror, it definitely contains aspects of the genre. The film is more of an exercise in style and doesn't really follow a linear storyline, but I found it fascinating nonetheless with some of the best examples of shadow and light. I have seen very little of Theodore Dreyer's work but I am intrigued to visit more of his films.

Jules and Jim: I gave up my cheaper version of this film for the much better criterion version. I love all my criterion films, but I think this is my favorite of the collection. Despite the fact that I think this is one of the greatest films ever made, it is full of great special features including various interviews with Francois Truffaut along with a booklet containing some criticisms of the film and a few of Truffaut's own words when he was a film critic. The whole package is a must for any Truffaut fan.

Ikiru: Kurosawa's modern tale of a man who finds out he's dying from stomach cancer and wanting to do something meaningful with his life before he dies is as life affirming as any film gets. This year was the first time I saw this film even though it was on my must-see list for a number of years. It's a comforting film and one of Kurosawa's best, I intend to revisit it more and more, I have a feeling my appreciation for it will only grow.

The Godfather Trilogy: I don't know how many times I've owned this trilogy of films which pretty much should be a fixture on any body's film collection. The first two are masterpieces while the third one can be now seen as somewhat under appreciated. While I think most mafia themed films are a little passe, you can't deny the power of this collection, plus they look better than ever, along with some extra added features for any fan of the films.

To Be or Not To Be: Lubitsch's great satire on the world of actors and Nazis. It trails a fine line between good and bad taste, but remember this is Lubitsch we're talking about and he always keeps things likable and charming even when the subject matter is this dark. All I remember of this film is I laughed really hard and I even when I couldn't think I could love Jack Benny or Carol Lombard even more than I do, I see this film.

The Hitchcock Premier Collection: October was the month of Hitchcock. Even though I loved the new special editions of "Rear Window", "Vertigo" and "Psycho", I was probably more impressed with this neat little box set containing some of Hitchcock's best regarded films ("Rebecca", "Notorious") to his better lesser known films ("Sabotage" "Young and Innocent"). I had not seen some of the films in this set which made me love it even more. This box set would not disappoint any fan of the master.


Other films that deserve special attention: Bresson's "Mouchette" is a wonderful film of a young girl who finds hardship at every turn. I had not seen a Bresson film before and this introduced me to a whole different world of film.

Welles' "Touch of Evil" for anyone who loves this film, the new special edition includes all three versions of the film including Welles' definitive director's cut.

And finally.....Eclipse Series "Silent Ozu" and "An Autumn Afternoon". Yasujiro Ozu is a filmmaking master and I'll never get tired telling everyone that. Whenever an Ozu film pops up I'll be there. "Silent Ozu" focuses on this early work of the 30s when he was reluctant to turn to sound. They include some classic family comedies including his most famous "I was Born But...". his final feature "An Autumn Afternoon" is a last testament to the great director as he re-examines the themes between an old widowed man who is forced to marry of his daughter. The film is more reflective and nostalgic of happier times than more of his earlier work. They are all sublime works by a master filmmaker.

January Director's Spotlight: The Coen Brothers

A new year, so I thought I'd shake things up a bit with my selection of director of the month. In this special case, the focus will land on Directing brothers Joel and Ethan Coen. I've always been fascinated by the Coen Brother's work, perhaps more than any other contemporary filmmaker. The Coens have been accused (mostly wrongly) of being nothing more than a couple of jesters who jerk the audience around. They have proven time and time again that they are original auteurs who can develop funny, complex, suspenseful, and whimsical stories, sometimes all in the same film. They bow to nobody and I hope you join me this month in a celebration of their work.