When Dirty Harry was released in 1971, it reflected the paranoia and fear prevalent at that time. The real life Zodiac killer was on the loose (never to be caught), cities were becoming wastelands of crime, and vigilantism and bravado seemed like a good idea, especially when you found Clint Eastwood on the right side of the Smith and Wesson Model 29. 44 Magnum.

Today, I think most people of my generation and younger know Dirty Harry more as an icon, a few catch phrases, “Do you feel lucky punk?”, but maybe haven't seen the film itself. In some ways it may not be what you expect. While it is action-packed with violent good guys shooting violent bad guys, it lacks the blockbuster-style constant action of the films it inspired (any movie that features a cop with a dead wife who's gotta break a few rules to bring justice to the filth on the street). Andrew Robinson is genuinely unnerving as the killer, a theatrical version of the real Zodiac killer. Even as we want to watch his maniacal maniac get his, it's a more contemplative film than its successors, Eastwood's Callahan is genuinely afflicted by his need for justice and his role within a system that doesn't always protect the right people. While really of its time in some ways, (we live in a considerably more politically correct climate these days), it's not the plot or dated attitudes that detract from any enjoyment watching this film, the only problem is actually technical: way back in 1971 they just could not shoot at night and I found myself totally unable to identify what I was watching in several chase and fight scenes.

Magnum Force, a comparable, and faster paced film, is the sequel made three years later and was made in response to the outcry against the vigilante message of the first film by making it clear that Callahan does believe in the system because it's the only one we have. It was also made in response to the overwhelming popularity of the first film, becoming more of a “Dirty Harry” movie than 'Dirty Harry'. Callahan's tougher, there are more one liners, and the action is more constant and cavalier, less meditative and grave. Both are diverting entertainment and well worth watching–and a must if you haven't seen this iconic tour de force before.

*But you can skip The Dead Pool, which features a young Jim Carrey playing an Axl Rose-like singer, ugh.

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Posted on October 8, 2007

The more things change, the more they stay the same; in many ways this vibrant film could be shot about the hip youth of today. In Godard's Paris of 1966, the kids' lives revolve around love and themselves. They pontificate about politics and beliefs, try to get laid or try not to get laid, misunderstand one another while trying to get closer to each other with questions and opinion polls.

They primp and drink, protest and play while the world rages around them. An outside world embodied by the overwhelming sounds of the city and its traffic, by random acts of surreal extreme violence, by the Vietnam War and other conflicts seething around the globe, and, ultimately, by the surprisingly somber reality that despite youth, vigor and style, they are susceptible to the unfashionable realities of living and dying.

Chantal Goya does a prefect job as the face of the “Pepsi generation”, she's equal parts vacanct and odd with an adorable face and a smile that I know for a fact would break the hearts of many boys I know. She and the affected “Romeo”, played by Jean-Pierre L?aud (who you can see as a child in Truffaut's masterpiece The 400 Blows) and most everyone else in the film reminded me of young hip things I know or have met. I said this film could be made now, about those people, but the difference is that no one would like it. Our generation has a distinct distrust of its own coolness and could never enjoy such naval gazing… or could it? See, the more things change the more, they stay the same.

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Posted on September 24, 2007

Thank goodness Jules Dassin's creative life has been so fulfilling, because his personal life has been filled with hateful persecution. He began his career as a filmmaker here in the U.S. and was blacklisted during the McCarthy era as a Communist based on accusations by fellow director Ed Dmytryk. He fled to Europe where he triumphed with this film and later the French language masterpiece Rififi (which Fran?ois Truffaut hailed as “the best film noir he'd ever seen”). Recently he was the target of anti-semetic hate crimes in 2000 when vandals graffitied his home with threats. No wonder his films have such a nihilistic bent, no wonder his characters are so dark and irredeemable.

In Night and the City, which was made in London amidst the McCarthy controversy, every character is a double crosser, every scheme a disaster, and every frame is ominous. Richard Widmark (who also starred in Pickup on South Street and a host of other noirs) is the leading man, Harry Fabian, a scheming, no-good hustler who is absolutely electric on screen; his desperate attempts to “be somebody” and his obliviousness to looming failure are downright cringe-inducing. It's one of the best portrayals of a scoundrel I have ever seen. The plot revolves around Harry's new plan to “rule boxing” in London with the help of an old wrestler named Gregorius who is at odds with his son who has spoiled the art of Greco Roman wrestling by making it into a gaudy spectacle (yeah, I'm not quite sure of the subtle differences between Greco Roman and any other wrestling either). But in order to make the plan pay off Harry needs money… Enter the foul couple who employ both Harry and his girl (played by Gene Tierney, who eventually gained crazy fame as the rumored basis for a doll that old ladies and old gay men collect), who each want something and will stop at nothing to get it, when they don't come up with the cash, Harry gets desperate. I won't give away more than that, but if you're a fan of noir and of real Joan Crawford-style acting, watch this film. In fact, Criterion has released all the key Dassin films, so why not watch them all.

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Posted on September 10, 2007

While Legend was released in a deluxe edition a few years back and certainly has a devoted following (including a fan whose affectionate website beckons you to “touch a unicorn to enter”), I still feel this Ridley Scott classic is overlooked and too often forgotten. It's one of the most excellent examples of fantasy filmmaking; a magical and sometimes darkly frightening fairytale. I guess it was a real battle to get this film to the screen: not only did the sets burn down in the middle of shooting but the results of “test audiences” (the worst two words ever) led to a score change and severe cuts. Both this cut and the uncut versions are available on the special set. This is one of those rare treats that's as easy to watch now as it was when I was mesmerized by it as a kid. Tim Curry dominates in his role as Darkness; Tom Cruise isn't crazy yet and Sloane Peterson is beautiful.

Bonus Pick: The Last Unicorn (1982)
When it comes to sentimental favorites from our childhood, it's hard to know if they'll stand the test of time and still enchant us as adults. I was curious whether The Last Unicorn would fair well, and the answer is both yes and no. I'm sure there is an elegant, charming story in the novel by Peter Beagle, but here it's told clumsily, marred by far too many really cheesy songs (“Look at her sparkle, she's the last uuu – neee – cooorn!” or “Now that I'm a woman, everything's changed“) and a host of annoying minor characters including an unbearable butterfly voiced by Robert Klein which rivals anything Robin Williams could throw at you. Still, with all that said, there's some surprisingly stunning artwork on display, especially in the backgrounds and introduction scene and for sentimental value, it's worth another look–but don't expect it to feel quiet as special as you remember. Stick with this week's pick, Legend, for a stirring unicorn based tale.

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Posted on August 27, 2007

With that dreadful title and the equally horrible tag line 'Family First, Love Always', it never surprises me to meet people who've never seen You Can Count on Me. The only surprise is how just plain excellent it is once you get past the title and actually see it.

A remarkable, sophisticated comedy that is sweet without being saccharine, sad without being exploitive. Mark Ruffalo, like usual, is pure magic in the role as Laura Linney's charming but nere'do'well younger brother who makes a surprise visit to their childhood home in which Linney lives with her precocious son (played by a Culkin).

Kenneth Lonergan, who directed and wrote the script, has an uncanny talent for writing realistic, touching dialogue, a talent he has kept a secret elsewhere in Hollywood (his other credits include The Adventures of Rocky and Bullwinkle and Gangs of New York), but here his gift is on magnificent display and his words are brought to life by perfect performances.

Aside from the lead actors, Matthew Broderick is impressive in his role as a smarmy boss. A truly special movie.

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Posted on August 13, 2007