Entries in the Category "preston sturges"
Movie Reviews: Listmania edition
So last summer, I decided to run through the AFI 100 Best Movies lists. There are several other AFI lists, among them 100 Best Thrillers, 100 Best Romances, 100 Best Comedies, 25 Best Musicals (the AFI was tiring at that point, I guess?) and so on. Here are some recent cross-offs.
It’s a Gift (1934)
AFI 100 Best Comedies # 58
Of all those lists, which I am always keeping track of, the Best Comedies is the one that appeals to me the least. Movies like It’s a Gift are why. Some old comedies are just not that funny anymore. Forgive me. W.C. Fields, in this movie, did not make me laugh, he made me bored. (The Marx brothers I also found atrociously unfunny, though as a peace offering, I present Chaplin and Keaton. Those dudes are still funny in 2010.) (Howard Lloyd, too. See below.)
There was also a certain tone to this movie—harried suburban dad type thing—which bugged me intensely. See the opening scene, where Fields is desperately trying to get to his bathroom mirror for a shave but his kids keep swooping in and getting in his way. The audience is supposed to be laughing at his frustration, but I’m like “JUST TELL THEM YOU WERE THERE FIRST. OR SAY ‘I’M THE DAD, THAT’S WHY.’ OR SOMETHING.” It’s kind of a common theme in movies, especially comedies: men who are so put-upon by their children and their harpy wives. I don’t like that theme when it happens today, but I especially can’t stomach it coming from the 1930s. I just have trouble feeling sorry for a guy whose mother couldn’t legally vote, whose wife could get arrested for buying birth control, and whose daughter can’t wear pants to school.
The Freshman (1925)
AFI 100 Best Comedies # 79
So this one, unlike the W.C. Fields movie, was hilarious. I sat there watching it really late one night, just giggling helplessly. It’s a silent film, starring Harold Lloyd, and he plays a guy going off to college who has a lot of weird ideas about how he’s going to make friends. For example, every time he introduces himself to somebody, he does a little dance. He thinks this works.
The intertitles (in silent films, those little cutaways to dialogue and necessary description) are clever and smirky. The college Lloyd attends is “Tate University, a large football stadium with a college attached,” and so, naturally, Lloyd decides that the thing to do to become popular is to join the football team. There’s a girl and a bully and this insane scene with a disintegrating tuxedo. At their best, silent comedies are the perfect combination of smart and silly, and (at least in my experience) this is one of the best.
Ball of Fire (1941)
AFI 100 Best Comedies # 92
Very funny love story with Barbara Stanwyck and Gary Cooper. He’s a straight-arrow linguistics professor who’s studying American slang, and she’s a saucy nightclub performer with lots to teach him. He lives with seven other doddery old professors who gawk around Stanwyck like she’s some delightful new species they’ve discovered. There’s sort of a Snow White and the Seven Dwarves-thing going on, plus a mobster-related subplot.
Plus Barbara Stanwyck! She’s awesome.
Click ahead for many more.
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Movie Reviews: Hollywood Satires
I loved this movie, in no small part because of Johnny Depp’s performance. I don’t know who first decided that Ed’s main character trait would be unflappable optimism--whether it was the screenwriter, whether it was director Tim Burton, or whether Depp brought that to the performance himself (I wouldn’t be surprised, honestly)--but damn if it didn’t elevate a pretty standard biopic to something unusual and sparkling. Depp did the same in his Oscar-nominated (remember?) performance in the first of the truly silly Pirates of the Caribbean movies. He said, “Pirate? Only if I can play it drunk and gay.”
Just a note on Johnny Depp: this guy is such a fascinating creature, honestly. You just don’t often find a character actor with a face as perfect as his. He is quite beautiful. Jeremy and I saw Public Enemies a few weeks ago and I couldn’t get over it then, either.
Martin Landau was terrific, too, of course, as Bela Lugosi—he won an Oscar, and for a comedy, which almost never happens. His one-sided rivalry with Boris Karloff made me feel somewhat uncomfortable watching Frankenstein the next day (like I maybe should have thrown Lugosi’s Dracula into the mix, too, just to be fair). Incidentally, Lugosi has the most insanely entertaining IMDB page ever. Just read the titles of some of the movies he graced with his presence! (Ghosts on the Loose, The Ape Man, Night Monster, The Corpse Vanishes, Black Dragons, The Wolf Man, Spooks Run Wild, The Black Cat, Invisible Ghost, The Devil Bat, Black Friday, The Dark Eyes of London, The Phantom Creeps ETC.)
Anyway, the movie has plenty to recommend it besides Depp and Landau. It shines a light on the motley crew of actors and producers and Baptist financiers who helped Wood to realize his cracked visions and shape them for the big screen; it does it in that special Burtonian way where viewers feel the need to align ourselves with the outsiders, cheer them on. It’s shot gorgeously in black and white and it even piqued my interest in seeing some of Wood’s notorious flops; so much so that, in a few weeks, when a theater in the area plays a Rifftrax version of Plan 9 From Outer Space, I’ll be there.
More satires from Preston Sturges and Robert Altman after the jump.