Tag Archives: Movies

The best films of 1989

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1989

Enemies, A Love Story (Paul Mazursky)
Drugstore Cowboy (Gus Van Sant)
Do the Right Thing (Spike Lee)
Mystery Train (Jim Jarmusch)
Say Anything… (Cameron Crowe)
Kiki’s Delivery Service (Hayao Miyazaki)
Henry V (Kenneth Branagh)
The Fabulous Baker Boys (Steve Kloves)
Sweetie (Jane Campion)
Chocolat (Claire Denis)

HONORABLE MENTIONS: The Killer (John Woo),  My Left Foot (Jim Sherian),  Distant Voices, Still Lives (Terence Davies)

Best films of 1991 and 1992

1991

My Own Private Idaho (Gus Van Sant)
Paris Is Burning (Jennie Livingston)
La Belle Noiseuse (Jacques Rivette)
JFK (Oliver Stone)
Naked Lunch (David Cronenberg)
Dogfight (Nancy Savoca)
The Killer (John Woo)
Hearts of Darkness: A Filmmaker’s Apocalypse (Eleanor Coppola)
The Naked Gun 2½: The Smell of Fear (David Zucker)
Madonna: Truth or Dare (Alek Keshishian)

RUNNER UP: Poison (Todd Haynes)

1992

Husbands and Wives (Woody Allen)
The Player (Robert Altman)
One False Move (Carl Franklin)
A Tale of Winter (Eric Rohmer)
Twin Peaks: Fire Walk With Me (David Lynch)
Raise the Red Lantern (Zhang Yimou)
The Crying Game (Neil Jordan)
Malcolm X (Spike Lee)
Simple Men (Hal Hartley)
Brother’s Keeper (Joe Berlinger and Bruce Sinofsky)

RUNNERS-UP: Unforgiven (Clint Eastwood), The Hours and Times (Christopher Munch), The Last of the Mohicans (Michael Mann).

Best films 1993 and 1994

Continuing my series…

1993

The Long Day Closes (Terence Davies)
The Puppetmaster (Hou Hsiao-Hsien)
A Brighter Summer Day (Edward Yang)
Household Saints (Nancy Savoca)
Dazed and Confused (Richard Linklater)
King of the Hill (Soderbergh)
Groundhog Day (Harold Ramis)
Ruby in Paradise (Victor Nunez)
The Age of Innocence (Martin Scorsese)
Manhattan Murder Mystery (Woody Allen)

1994

Three Colors: Red (Krystof Kieslowski)
Speed (Jan De Bont)
Chungking Express (Wong Kar-wai)
Heavenly Creatures (Peter Jackson)
Pulp Fiction (Quentin Tarantino)
Quiz Show (Robert Redford)
Vanya on 42nd Street (Louis Malle)
Through the Olive Trees (Abbas Kiarostami)
Eat Drink Man Woman (Ang Lee)
Naked (Mike Leigh)

RUNNERS-UP: Nobody’s Fool (Robert Benton)

Brando is ‘going to want play it like a green suitcase’

Best Brando story ever:

Brando lived in L.A. and I had to go and meet him. I called Jay Kanter, who was a very powerful agent and studio executive, and I said, “Can you give me any hints?” And he said, “He’s going to want play it like a green suitcase.” I said, “What does that mean?” “It means he hates to work and he loves money, so if he can talk you into the fact that the people on Krypton look like green suitcases and you only photograph green suitcases, he’ll get paid just to do the voiceover….

So I go to California and I meet Marlon F—ing Brando at his house on Mulholland Drive. Myself, Tom Mankiewicz and Ilya Salkind. He and Jack Nicholson had a little compound. We rang the gate and a couple of German shepherds came down, and there’s Marlon Brando. And it was hard to talk, because this is Marlon Brando! He invites us in and we go into his house for a drink; it was late in the afternoon and we sat down and we started to talk, and we talked and talked. Finally, it was getting dark and he said: “But listen, that’s not why you’re here. You’re here to talk to me about [the role].”

He said, “Why don’t I play this like a bagel?” I was ready for him to say “a green suitcase” and he said “bagel.” He said, “How do we know what the people on Krypton looked like?” He had good logic. He said, “Maybe they looked like bagels up there in those days?”

I can’t wait for Part Two: Terence Stamp Reads For General Zod.

Love on the rocks: Brokeback Mountain

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Many budding gay men learned about the power of spit lube from Brokeback Mountain, for which we should be grateful to Annie Proulx and director Ang Lee. In 2016 it’s hard to believe this Hollywood weeper started such chatter in early 2006: talk show appearances in which an uncomfortable Jake Gyllenhaal and less uncomfortable Heath Ledger laughed off their kiss; thousands of words of slash fiction exploring every doomed facet (I read one where livid rancher Joe Aguirre, played by Randy Quaid, does unspeakable things to Jack Twist because he’s more repressed than Ennis Del Mar); and an Oscar ceremony proving with the coronation of Crash that the worst Hollywood partisans are Hollywood partisans. They got something right, though: insiders will take the message picture over the romance. Sam Goldwyn and Louis Mayer knew. It even won an Oscar for Best Cinematography because Academy voters confuse National Geographic nature photography for compositions.

In my series of Stylus Magazine excavations I’ve republished my review, written the day before Christmas Eve. I liked the movie so far as it went, recognizing its absurdities and limits. For a while, however, Brokeback Mountain became one of those decent movies that affected me. I got defensive when people knocked it. In 2005 and early 2006 I referred people to Tropical Malady, aware damn well that it was all for nought. Now the picture looks like what David Thomson predicted: a curiosity.

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Brokeback Mountain
12-23-2005
Stylus

They meet, they herd, they fuck, they marry women, they die. Looming before Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) is Brokeback Mountain, in whose shadow they’ll remain for the rest of their rather miserable lives. On the slope which gives Ang Lee’s film (based on E. Anne Proulx’s 1997 short story) its name, Ennis and Jack revel in the love-that-dare-not-speak-its-name, with the full awareness that what began as a impulse born of loneliness will remain so.

The year is 1963. Hired by a scowling rancher (played by Randy Quaid, chewing a toothpick with quiet menace) to tend his flock of sheep for the summer—an idea that rightly confounds a contemporary audience—Ennis and Jack’s days mostly consist of smoking and cutting trees for firewood. What little talk occurs comes in grunts from the reticent Ennis, whose year in high school and miserable childhood (he was raised by a sister and brother) don’t give him much to talk about anyway. On a cold night, awash in whiskey, Ennis crawls into Jack’s tent; Jack, the more brazen of the pair, makes the first move.

Their relationship—I use the term loosely—will mimic the clumsy groping of their first sexual experience. Each acquires a devoted wife (Michelle Williams) who, in Ennis’ case, will care for ailing children and register with devastating quietude the sight of her husband making out with another man; and in Jack’s, the heiress of a farming equipment fortune (Anne Hathaway, of whom there is precious little) whose increasingly outré hairdos have more verve than Jack himself.

A director almost sunnily at ease with repression, Ang Lee can’t make Brokeback Mountain very erotic, let alone funny. So let’s get this out of the way: there isn’t enough sex in this film, and I wanted more of it. Just a handful of scenes between Ennis and Jack show the gingerly, coltish affection that only two young men in love can project; never let it be said that homosexual courtship follows hetero patterns. The actors (Gyllenhaal in particular) are game; Lee and screenwriters Larry McMurty and Diane Ossana don’t match their daring. If we are to believe that Ennis and Jack’s love hollows them, Lee must trace how a physical attraction deepens into this earthshaking phenomenon. These are, after all, two men, not a man and woman, and as such the feel of flesh should provide the metaphysical elements Gyllenhaal’s Jack yearns for, and the didactic screenplay makes explicit. Your mother wouldn’t get offended.

It’s strange: in films like The Ice Storm and this one Lee subverts his gift for narrative by resorting to rather portentous symbolism (remember all those shots of frozen flowers?). For Lee, block-letter narratives bespeak his commitment to maintaining the integrity of his source material, and it lets the audience off the hook much too often. The contrast between the airy, green vistas of Brokeback (where Ennis and Jack did their foolin’ and fuckin’) and the dank rented rooms and trailers in which Ennis and his family live is reductive (to be fair, this hobbled the Proulx story too). The obvious answer is the old adage: if repression’s your theme, you probably wear a corset yourself.

Heath Ledger has generated a lot of acclaim for his ay-yup performance, and he’s certainly memorable: Ennis is like one of those men you meet casually on an airplane whose craggy sullen faces disguise a lifetime of sorrow. Ledger makes us understand that Ennis’ reserve is actually a distortion of his homosexual panic, as well as a shield which attempts (and fails) to hide the fact that Ennis is essentially a ne’er-do-well. Around his children he’s stagy and awkward, with a forced good cheer a lot like Ronald Reagan’s. He can barely muster the libido to nuzzle his wife (although with all those kids maybe he thought he didn’t need to). Even his relationship with the increasingly desperate Jack never breaks the harmless rhythm of a strong platonic attachment, and it’s here, in the picture’s last third, when Lee taps Gyllenhaal’s strengths to create something truly sad.

Given his weakness for characters of vaporous sensitivity that prefer the company of talking rabbits and Jennifer Aniston, it’s a relief that Gyllenhaal actually gives a performance instead of relying on those doleful and admittedly beautiful blue eyes. Brokeback Mountain is the first film in which he’s tacitly acknowledged that nothing gives us as an audience greater pleasure than to admire gorgeous people. He’s never been sexier than in the scene, barely five minutes into the movie, in which, leaning against a trailer, he sizes up Ennis as if thinking, This will do. It’s worthy of Montgomery Clift (who no doubt writhed in sodomic longing too). To the audience (and probably Ennis too), Gyllenhaal’s Jack seems the most obviously gay—at least that’s how Lee tags him. His father-in-law can barely conceal his contempt for the ex-rodeo star; he visits Mexico to pick up hustlers; and even, in a manner of speaking, comes out to his parents when he shares his dream of tending a ranch with Ennis. But essential to Gyllenhaal’s acting is the naiveté that is as much a tragic flaw as Ennis’ self-hate.

Brokeback Mountain ends with Ennis worshipping Jack, a memory now as worthless as the ashes of those fires they lit on the side of their beloved retreat. Everybody’s got his number now: his wife, his oldest daughter (a lovely performance of benumbed alertness by Kate Mara), the girlfriend he won’t marry. Earlier in the film Lee had shown us the wages of fear: Ennis, framed like a parody of John Wayne in the last shot of The Searchers, vomiting at the conclusion of his and Jack’s golden summer. This was most unconvincing; Ennis would as soon throw up as read Proust for solace. Brokeback Mountainis effective and hence affecting when Lee swallows his characters’ suppressed ardor in his austere conceptions and compositions. It’s a curious achievement, alright: a powerful film celebrating renunciation. On second thought, forget Mom and ask Pope Benedict XVI to be your date.

‘I was the same way when I was your age’: Blue Velvet

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Ben Brantley recalls his first viewing of Blue Velvet in 1986:

Much of the audience at the half-full theater that day appeared to be as unprepared as I was. As the final credits rolled, I heard a noise I had never before experienced at the movies: the sound of people hissing. Me, I was grinning like an idiot, and as I recall, I was trembling, too.

I went straight to the lobby, and started calling friends on the pay phone, telling them they had, but had, to see this film, and no, I wouldn’t say any more. Then I walked back into the theater, and sat down to watch it again.

The next day, I returned. This time the theater was full, and the audience applauded. Presumably, the reviews had had a chance to make their impact.

In my journal that night, I noted that my fellow theatergoers “did laugh throughout most of it, excepting the Hopper scenes, which seemed to confuse everyone with their aura of sexual menace gone over the top.” Only rarely have I encountered a work of art that rattles people in that way, as if they didn’t have the reflexes to accommodate it.

Yesterday I described the awful, wonderful sensation of realizing my homosexuality; but a brush with art can approximate these encounters, and, in my case, serve as proxies, a sense in which the art is a mirror. Harriet the Spy, Roxy Music, The Importance of Being Earnest. Blue Velvet produced the same effect one college summer several years after its first run. With its rich blues and immersive sound design, David Lynch’s movie flaunted its strangeness; it was the first movie I saw whose portrayals of sexuality depended on production design and color as much as performances. Laughter isn’t appropriate: it’s the laughter stimulated by seeing a body exhibited at a funeral home. And I did laugh at Dean Stockwell’s Ben. I didn’t laugh when Dennis Hopper, mouth thick and aflame with lipstick, covers Kyle MacLachlan’s face with kisses before punching the shit out of him. David Lynch suggested several ways his characters could have gone sexually. Imbuing MacLachlan and pink fresh-faced Laura Dern’s romance as its own kind of perversion is one of Blue Velvet‘s best jokes.