Colin’s Reviews

THE RED BALLOON

Year: 1956

Director: Albert Lamborisse

Stars: Pascal Lamborisse, A Red Balloon

Think: Old Yeller - Dogs + Latex and Helium

I remember my dad showing me The Red Balloon when I was a kid and I remember loving it. One might assume that showing a child a dialogue-free French short film would create the makings of a film snob. After all, while all my friends were watching Fraggles, I was experiencing “cinema de France”. After revisiting the film, however, I found it to be sweet, funny, and very unpretentious. Its simplicity and vivid imagination show why it would still be entertaining to a suburban American kid with Nintendo. A sort of take on “Mary Had a Little Lamb”, it begins with a little boy (Pascal Lamborisse, the director’s son) walking to school, where he finds a red balloon tangled on a lamppost. After getting the balloon down, it “follows” him to school, home from school and around the city of Paris in general. He gets in trouble with his teacher when the balloon enters his classroom. He becomes the envy of the other boys when they see his new toy. It becomes his companion, friend, and bodyguard on a tour through the City of Lights. The balloon itself seems to take on a rather vivid personality. While watching it move through the city tagging along with the little boy, it’s amazing to think that it wasn’t computer animated. If made today, there would likely be no real balloon at all, with all of its actions being added by special effects. But since The Red Balloon does things the old fashioned way, the balloon becomes a fully fleshed (or is it fully rubbered?) character. The Red Balloon won an Academy Award for Best Original Screenplay (it beat out Fellini’s La Strada and the original The Ladykillers). It marks the only time that a short film has ever won an award outside the “Best Short Film” category. A type of film that would have very little chance of making it today, The Red Balloon excels in giving an inanimate object a personality all its own.

THE DARK KNIGHT (2008)

Director: Christopher Nolan

Stars: Christian Bale, Heath Ledger

Rated: PG-13

Think: Heat + Way More Elaborate Costumes

I’ll start with the obvious detail that I’m sure you already have heard: Heath Ledger gives a knockout performance as The Joker. Deformed, deranged, and having a hell of a time, The Joker terrorizes Gotham City without a motive, without a back-story and without a care in the world. The Joker gets a sick joy out of seeing pain and destruction, and we get a sick joy watching him do it. Christopher Nolan has solidified his franchise-boost by making a sequel more superb than his Batman Begins from 2005. The tone of this film, much more than the first, is very heavy on that little adjective used in the title (clue: “knight” is not an adjective). Even after learning the ins and outs of Bruce Wayne’s psyche in the earlier film, Nolan helps reveal even more layers of the title hero in The Dark Knight. First off, Bruce Wayne doesn’t believe he’s a hero at all, and neither do many of the citizens of Gotham. Bale and Ledger both seem to have approached their characters with careful consideration. Batman is a guy who wants answers, explanations, and justice, and is trying to find his own justifications for what he does. The Joker doesn’t care about any of those things. As Bruce Wayne’s cheeky butler Alfred (Michael Caine) explains, some men commit crimes for money or fame. Others just want to see the world burn. Take a guess which kind of guy The Joker is. I was a bit leery of jumping on the yay-for-Heath’s-last-role bandwagon, but it’s a powerful performance that hits multiple notes and it’s fascinating to watch. Ledger’s Joker is funny, creepy, and sad, yet completely frightening throughout. Regarding the hype around the film, The Dark Knight lived up to my expectations and then some. The action scenes are exciting, the character arcs and storylines are enthralling, and the performances all around are great. Aaron Eckhart is quite good as District Attorney Harvey Dent, who makes a tragic and believable transformation into Two-Face. Maggie Gyllenhaal is an improvement as Assistant D.A. Rachel Dawes, playing the character much less Nancy Drew-ish than Katie Holmes did. Caine, Morgan Freeman and Gary Oldman also return in supporting roles that may be small, yet they still help carry the story and populate the complex world of Gotham City. But it’s definitely Ledger that steals the show, and it’s a show I didn’t have many complaints about. Besides Bale’s Batman growl and a random subplot that seemed to be a poke at the Patriot Act, the characters’ relationships and interactions made us care about what happened to this city and its inhabitants. I haven’t heard an audience applaud so many times during a movie (not just at the end, but throughout the film, spurred by dialogue, action scenes, and even facial gestures), and the film deserves its applause. It’s taken a long time to get the Batman storyline on a realistic and respectable level, and in many ways The Dark Knight is thus far the franchise’s crowning achievement. The best word to describe the film might be “awesome”. And I don’t mean “awesome!” in a Teenage Mutant Ninja Turtles kind of way, but in the fact that it fills you with awe. I was in awe of the special effects, in awe of the performances, in awe of the unwinding story, and even more in awe that Hollywood hasn’t disappointed me this time around.

A PRAIRIE HOME COMPANION

Year: 2006

Director: Robert Altman

Stars: Meryl Streep, Lilly Tomlin

Think: A Prestigious Empire Records 

Sometimes a film will take you into a world you never knew existed, and I’m not just talking about fantasy or sci-fi films. In A Prairie Home Companion, that world is a real life radio variety show that broadcasts out of St. Paul, Minnesota. The show combines spiritual and country music, comedy acts, and stories. It is performed for a live audience while simultaneously being broadcast live over the radio every week. Altman takes us into this world for the backstage (and onstage) goings-ons during its fictitious final performance. In the film, the theater has been bought out by a corporation and will be torn down to make a parking lot. It’s up to the loyal employees and performers to do what they can to stop the takeover. The wonderful ensemble cast includes: Streep and Tomlin as two singing sisters, Kevin Kline as the theatre’s bumbling security guard, Woody Harrelson and John C. Reilly as a singing cowboy duo, Tommy Lee Jones as the corporate honcho overseeing the takeover, Maya Rudolph as the level-headed (and pregnant) stage manager, Virginia Madsen as a mystery woman, and Lindsay Lohan as Streep’s moody daughter. Garrison Keillor also plays himself, the emcee of the program. For fans of subtle stories, wonderful acting, and a slice of life you never knew existed, this is a film for you. We float in and out of these characters’ lives, on-stage and off, as they prepare for the final show. What Altman achieves so beautifully is that while we are metaphorically floating from character to character, the constant fluid movement of the camera makes us feel as if we are physically floating from character to character. The soundtrack is full of funny and pretty songs, great improvised scenes (the Duct Tape commercial is a highlight), and insight into a show that, amazingly, has remained on the air for over thirty years. This was Altman’s last film before he died, and he definitely went out with class and style.

OVER THE EDGE

THE BIG CHILL

GIANT

Year: 1956

Director: George Stevens

Stars: Elizabeth Taylor, James Dean

Think: Gone With the Wind + Hud x Dallas

Giant was one of the grandest epics of the 1950s, starring three of the world’s biggest movie stars (Elizabeth Taylor, James Dean, and Rock Hudson) and helmed by one of Hollywood’s most respected directors (George Stevens). Giant is more or less one big soap opera, chronicling three generations of the wealthy Benedict family. Taylor plays Leslie, a feisty socialite from the North who moves to Texas to marry wealthy rancher Jordan Benedict (Hudson). Leslie soon finds herself out of place, as Jordan’s sister Luz (Mercedes McCambridge) doesn’t want another woman calling the shots at the family ranch, especially a prissy Yank like Leslie. Another problem for Leslie is that her husband’s chauvinistic viewpoints don’t sit well with her free-spirited demeanor. And when Leslie starts treating the Mexican servants and neighbors as equals (¡ay caramba!), she risks being shunned by the entire community. Leslie does find a friend, however, in Jett Rink (Dean), the Benedicts’ surly ranch hand. This first half of the film tells the tale of a modern woman shaking things up in the traditional South. The second half of the film jumps ahead a few years and Leslie unfortunately slips into the background. This is when we meet Leslie and Jordan’s children, particularly Jordan III (Dennis Hopper) and Luz II (Carroll Baker). This part of the film revolves mostly around daddy Jordan coming to terms with the changing times and his tumultuous relationship with his children (his son has fallen in love with a Mexican and his daughter has fallen in love with Jett). We also follow Jett’s later life as a wealthy oil tycoon, finally rich but lacking real happiness. This was James Dean’s final film and his performance is quite impressive. While the second half of the film wasn’t as entertaining as the first, it’s interesting to follow the family from Leslie and Jordan’s courtship all the way to their later years as grandparents. Taylor particularly succeeds making the transformation from love-struck teen to family matriarch. She was only 23 when she made the film, but has such a commanding presence that she’s quite convincing as a woman in her sixties. And while the director claimed this was the first time makeup was used to make young actors look old (which was actually already done in Citizen Kane), Taylor’s poise and confidence solidifies the transformation much more than the gray wig and drawn-on wrinkles. Aside from Giant’s grand scale, big stars, and expansive storyline, the film touched upon some risqué issues of the time, such as feminism and race relations. The ‘50s were the decade of the epic film and Giant definitely ranks up there as one of the “epickest”.

AN AMERICAN CRIME (2007)

KRAMER VS. KRAMER

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD

Year: 2007

Director: Andrew Dominik

Stars: Brad Pitt, Casey Affleck

Think: Tombstone + The Last Half of Selena 

I didn’t have a huge interest in seeing The Assassination of Jesse James… upon its release. The performances seemed amazing. The cinematography appeared to be spectacular. But I had a feeling it would be long and boring. Well, if it weren’t for my Irish stubbornness, it likely would have been one of my favorite picks of last year. Yes, it is long, but on top of the great performances and cinematography, it was the story that really sucked me in. For a film in which we know the main character will die, I was still interested in the dynamic relationship between Jesse James (Pitt), his assassin Robert Ford (Affleck), and their entire band of thieves, all cast to perfection. Sam Shepard is Jesse’s stern older brother Frank. While Jesse is the poster boy of the group, Frank is definitely the leader. Sam Rockwell plays Robert’s brother Charley, who loves to torment his younger bro and whose loyalties to his family and his friend will be tested. Paul Schneider, Jeremy Renner, and Garret Dillahunt round out the clan, each with vivid personalities all their own. We meet the James Gang just before they commit their final train robbery. Robert is begging to tag along, as Jesse has been his idol since childhood. We observe them through the following months as betrayal, jealousy, responsibilities, and the law disintegrate the Gang one by one. Even Charley’s bullying of his brother starts to dwindle as he realizes that Robert might be the only person he can trust. Affleck turns out a mesmerizing performance that’s creepy, pathetic, and so believable. Robert’s admiration of Jesse borders on sexual obsession, and when his admiration is not continually returned, the tensions start to mount. Towards the climax of their relationship, we get the feeling that both Robert and Jesse know what’s coming, which gives it all an eerie vibe. It’s the aftermath of that climax that continued to intrigue. The publicity Robert received after the assassination may be the first case of “15 minutes of fame.” And like the Lee Harvey Oswalds, Mark David Chapmans, Amy Fishers, Tonya Hardings, and Yolanda Saldivars that followed him, the world ended up closing its doors on Robert Ford. Tonya Harding can only hope that in 100 years they’ll make a movie this good about her life.

DOUBLE INDEMNITY

Year: 1944

Director: Billy Wilder

Stars: Fred MacMurray, Barbara Stanwyck

Think: Body Heat in the ’40s 

The cream of the film noir crop, Double Indemnity helped establish the genre with a story of seduction, adultery, murder, and double-crosses. The plot, cinematography, lighting, and characters may seem a bit familiar, but that’s because they were the first of their kind and have since become iconic cinematic staples. Fred MacMurray plays insurance salesman Walter Neff, who is seduced by a alluring blonde named Phyllis Dietrichson (Stanwyck in the role that defined the femme fatale). Phyllis wants Walter to help her murder her wealthy husband (Tom Powers) so they can collect the life insurance policy and run away together. But obviously, it wouldn’t be a good movie if all things went as planned. Not only is Neff’s boss (Edward G. Robinson) sniffing around for clues, but Walter and Phyllis also soon become suspicious of one another’s motives. And as anyone who’s ever watched a reality TV show knows, you don’t know whom you can trust when a wad of cash is at stake. Sexually and violently tame by today’s standards, the film still manages to suck you in as the plot thickens. It’s a good introduction to the basics of film noir. You could also watch it as a sort of foreplay before diving headfirst into the open-crotches and heated, gory violence of the erotic thrillers it inspired like Body Heat and Basic Instinct. Double Indemnity is classic American cinema at its purest form.