"The Birth of a Nation" by Dick Lehr (2014)

For years I wondered what the value was of having this film in the library. Then I got interested in film and realized the brilliance of the film process itself; given the times and technology. What a conundrum; a classic film with much to admire in technological marvels, but filled with flawed history and blatant racism. How do you even review a film like that?

Author Bert Lehr has gone beyond that with his all-encompassing book about the film and 2 men; both ahead of their times. D.W. Griffith was the director of the film; and Monroe Trotter was the African- American man who rallied his people; and a good portion of the nation; in denouncing the film. In addition, he has created a biography of the film itself and the rising pangs of former slaves to be treated like citizens. It is, in short, the story of an era.

The author begins with brief biographies of both men; drawing a contrast that is as remarkable as fiction. Griffith’s father was James Griffith, a staunch segregationist and veteran of the Civil War who had served with the Kentucky Calvary and fought at Charleston when the Union marched in.

Likewise, so was Trotter’s father a veteran of the Civil War; having served in an all-black regiment of the Union Army. He was one of the men who marched into Charleston as Griffith’s father fled. The irony of their two sons facing off over a film about that war, 50 years later, is remarkable.

After the film was finished; but before its release; it was screened for President Wilson in private at the White House. Wilson was a Southerner and thought the film was wonderful. Trotter saw it differently. He; along with Union veterans both black and white; organized boycotts and protests across the country, and denounced the film as racist.

Yet for all of the protestations about the glorification of the Ku Klux Klan, and the attendant lynching’s, the film has remained a staple of film history. Most of the times it is touted as a breakthrough film as far as technology goes. And there is much truth to that. But the darker side is that it remains a searing portrait of our country at a crossroads.

The bitter taste of Reconstruction was still very fresh on the minds and in the hearts of the southern people; just as the bitterness of slavery was still very much alive in the former slaves and their children. The Jim Crow era was in full swing. And D.W. Griffith made a film which glorified the era, as well as the swinging bodies which that era produced.

This book is all encompassing. It is two biographies in one. It is the history of the Reconstruction Era and also a look at the Jim Crow Days which ushered in a new century. Given the history of the divide, it is no surprise that the events of that century still affect us today.

"New York Stories" - (1988)

This film is composed of 3 separate vignettes by 3 of the greatest directors of our time. I first saw it in 1990 when it was on the shelf at a local library in Maryland, where I was living at the time. I have not seen it anywhere since then; certainly never on television, cable or otherwise. This copy turned up at a used book store in South Charlotte, and for the princely sum of $4 I took it home.

The first of the vignettes is called “Life lessons” and stars Nick Nolte; before the infamous mug shot; as a crazed and passionate artist named Lionel Dobie. He feeds off of his assistants in a never ending cycle of narcissism. As an important exhibition nears he finds himself unable to paint as he battles for the affections of his assistant Paulette; played by Roseanna Arquette; with whom he is besotted. Complicating matters is her relationship with Steve Buscemi, who plays a scheming performance artist. The relationship between Nolte and Arquette forms the core of the story, until she leaves and he continues the cycle with his next assistant. This film was directed by Martin Scorsese.

“Life without Zoe” is directed by Francis Coppola. It is the story of a young named Zoe; played by Heather McComb; a  girl left to raise herself while her parents travel the world. When they come home she is the one with the routine; the de-facto parent. Her parents are worldly and successful in their separate careers, but it is Zoey who is really the only thing that holds them together. In the end you have to wonder if they need her more than she needs them. There is also a sub plot in which she helps to return a piece of stolen jewelry which was given to her father to its rightful owner; an Arab Prince. This film shows a side of Manhattan that still exists today; the world of money and privilege to which we would all love to belong; or maybe not.

Woody Allen’s offering is “Oedipus Wrecks” starring Mr. Allen, as Sheldon, and Julie Kavner, as a psychic named Treva , before Marge Simpson; and with Mia Farrow as his fiancée; before the sordid allegations. Mr. Allen basically plays himself as a neurotic man. When his deceased mother won't leave him alone he complains to his shrink. When he gets engaged to Mia Farrow his mother takes to the skies above the city to enlist the publics help in stopping her son from ruining his life. When he sees a psychic to try and deal with his mother, he finds that he like her, and soon finds himself in a relationship with a woman who not only understands him, but also becomes friends with his mother. And though his mother may approve of the girl, how does that affect his perspective of the relationship? This is the type of Grade A comedy and wit you expect of Mr. Allen. Just scratch past the surface and I believe there is more than a bit of auto-biography going on here.

This is a wonderfully creative effort by 3 great directors who normally create feature length films. For established professional like these three, working within a limited time frame can sometimes be a liberating thing.

"The Snake Pit" with Olivia DeHavilland, Mark Stevens and Celeste Holm (1948)

This is one of the hardest films for me to watch. It is searing. I have planned on reviewing this film for several years, but needed to work up the courage to view the film again. It is that painful in its portrayal of human frailty. I cannot imagine how deeply Ms. De Havilland had to dig within herself in order to play this role. This film was made in the days when actors and actresses had to dig deep within themselves in an effort to bring life to the characters which they portrayed. This film, and Ms. De Havilland's performance, prove the point.

In this film she plays Virginia Cunningham, a woman who finds herself in a mental asylum with people who are seriously afflicted. She cannot recall how she got there. Through a series of flashbacks her husband, Robert, played by Mark Stevens, begins to recount the story of their courtship in Chicago. What follows is the tale of a woman going mad.

As the two continue to date, Virginia becomes more and more shut off, and eventually she leaves for New York with no explanation. When Robert runs into her again, after some time apart, the two are married and all should be well. Instead this is only the beginning of Virginia’s final descent into her own private hell.

While Virginia continues undergoing treatment under the care of Dr. Mark Kik, played by Leo Glenn, she seems to be making progress. But soon she takes a turn for the worse and finds herself back in the most intensive ward of the hospital, known as the “Snake Pit”.

In 1948 a film dealing with a schizophrenic inmate at a mental institution was pretty much cutting edge stuff. Virginia hears voices and is totally out of touch with reality. The scenes of shock therapy and the treatment of the inmates by some of the staff were not yet the stuff of TV dramas and documentaries. The strait jacket scene still sends shivers down my spine; I cannot bear to be restrained.

The film won 7 Academy Awards, including Best Picture for 1948. It was directed by Director Anatole Litvak, who was adamant that Ms. De Havilland, as well as other key players in the film, undergo several months of research and training before shooting of the film even began.  In the end though, it all paid off. This is one intense film to watch.

Ms. De Havilland, who is still alive and well; living in Paris; has described this as being her favorite movie among the scores in which she starred. I know this to be true; as about 5 years ago, on her birthday in July; I sent her a birthday greeting along with a review of “Robin Hood” with Errol Flynn. She was kind enough to send a reply and mentioned the fact to me then.

The “Snake Pit” is so painful for me to watch; and her acting so realistic; that it has taken me that long to work up the courage to watch it again! It is no wonder she won the Academy Award for her work in this film.

"Heaven's Gate" with Kris Kristofferson and Isabelle Huppert (1980)

I remember watching this movie in the theater when it was first released. The film was panned at the time as being too long. And; at 216 minutes; it is lengthier than most movies of that time; or anytime. And this is the director’s cut; which boasts some added footage of the barren, and cold, area where this story took place. So, bring a jacket.

I believe that the director’s intention was to portray the stark and lonely aspect of what is was like to live on the prairie, where there was not much to do. Time would naturally have dragged itself on in an interminable way. To that extent, the director has captured the feel of the times in an excellent fashion.

The movies premise is a good one, and the choice of actors is really diverse; with screen legends such as Joseph Cotten playing alongside of such relative newcomers like Sam Waterson and John Hurt. This movie has a lot to offer if you are willing to devote the time to watching it. And Kris Kristofferson is at his best as the Harvard educated U.S. Marshall who attempts to take on the cattle barons in this epic based upon the real life Johnson County War of 1892. It’s a fascinating piece of our history. You might want to Google it sometime.

Briefly, the whole problem was that there was an influx of new settlers who had been lured to the area of present day Wyoming by cheap government sponsored land. These would be settlers were mainly from Eastern Europe and spoke little English. The land they had bought was also being used by the cattle barons to graze their herds for free. When the settlers moved in, and the crops didn’t grow, these people were hungry. In order to survive they began to steal cattle. In order to protect their own interests, the Cattlemen’s Association offered a $5 per day stipend, plus a $50 bounty for each of the 125 men on the “list” of those to be executed. No trial, no law; just a list of individuals to be killed.

Great acting by all; including a very charming Isabelle Huppert, who plays Ella, a local prostitute who is lover to both Marshall Kris Kristofferson, and the cattle baron played by Christopher Walken; make this film watchable, even if you are watching the clock during some of the second half.

A good film; reminiscent in many ways of “Lawrence of Arabia”, another film which was re-released in a director’s cut. That film took place in the desert rather than the cold winter of Wyoming. For that film, take an extra bottle of water. 

"Where the Sidewalk Ends" with Dana Andrews (1950)

Dana Andrews plays a detective who accidently kills a murder suspect he believes to be innocent. Now, he finds himself in the awkward position of trying to prove the dead man guilty of a murder which he never did, even while trying to cover up the crime he himself has committed.

When he falls in love with the dead man’s widow, played by Gene Tierney, things get even more complicated. This is one of those truly underrated film noir classics with a great storyline and some serious acting, including Karl Malden as the new chief of Detectives, who has his doubts about the methods his men use, but still must answer to his own higher ups in order to justify his job.

Dana Andrews acts with a rare intensity in this film, opposite a sizzling Gene Tierney as they take you back to the days when detectives were “gumshoes” and the gals were “dames”. Round it out with some good old fashioned detective work, and it all adds up to a great viewing experience.

"Wages of Fear" by Henri-Georges Clouzot (1952)

I saw this film about 40 years ago in the Village in Manhattan, across the river from Brooklyn, where I lived. It held me mesmerized with its myriad of languages and cultural differences. Little did I know that in a few short years I would be one of the characters in a similar drama; many times; as I worked aboard oil-tankers, transporting millions of gallons of fuel on ships which were often crewed by merchant seamen who did not speak the same language as one another. When you’re working with millions of gallons of fuel, this can become a concern, and so you have to learn how to communicate; and trust; the people with whom you are working. This film has always reminded me of that. So, when it beckoned from the foreign film section of the library, it was a natural for me to pick it up and take it home.

I was very interested with how I might view it differently after all these years; as well as my own personal experiences. Not much has changed in my interpretation of the film. Basically it is the story of 4 men who work for an oil company in South America. They are tasked with the most dangerous mission of all; they are to transport the nitroglycerine which is needed at an oil field located in the jungle. To get there they will have to transport the volatile cargo over some very rough terrain.

The men are divided into two teams, each with a truck of nitro to deliver to the same location. The men develop a sort of rivalry between them; as they struggle not only against their own uncertainty about the mission at hand; but also begin to question the validity of their own motives in undertaking the job in the first place.

A lot of things have changed over the years, and the village life depicted in this film was largely on the way out when I was traveling. Still, I did get to a number of places which were almost identical to the villages and airstrips shown in the movie. And I met a lot of the same characters, too. Some were good; and some bad. I’m glad that I did. No doubt these places still exist, but they have grown fewer and further between. Also, at the time this film was made, donkeys and burros really did compete for space on the road and in the marketplaces.

Filmed using 4 different languages; including English in the appropriate parts; lends a reality to the film, as that is the way it is when working overseas. You either learn to communicate with one another; using a variety of methods; or you fail at your assignment. In the end it’s all about teamwork, and the desire to prevail. This film captures; perfectly; the grit of the do or die nature inherent in some of the hardest jobs on earth, as well as the motivations behind those who take on those tasks.

Note: I have aged since I last saw this film; and though I can still pick out parts of the foreign languages, I found the English sub-titles to be very helpful.

"The Chase" with Marlon Brando, E.G. Marshall, Angie Dickinson and Jane Fonda (1966)

Changing societal conventions collide with booze, money and power in this barnburner of a film by director Arthur Penn. Bubber Reeves; played by Robert Redford, escapes from prison; and promptly becomes involved in a crime which results in a murder he does not commit. With the entire state on the lookout for him, he heads home to his South Texas town to see his wife, Anna, played by Jane Fonda. She has been having an affair with the married son of Val Rogers, played by E.G. Marshall, the local oil and cattle baron, who provides a great deal of employment to the people of the town. He also causes a great deal of resentment toward the Sheriff.

Sheriff Calder, played by Marlon Brando, is married to Ruby Calder, played by Angie Dickinson. Together they run the courthouse, seemingly at the direction of Val Rogers. But that myth is shattered the night Bubber returns to town, and the "respectable" citizens show their true colors. All have something to hide, or prove to others, and to themselves.

With Sheriff Calder alone looking out for justice, can justice prevail? Old tensions flare, and the film ends on an apocalyptic note; literally; as the town utterly destroys itself.

Working from the novel by Horton Foote, the screen play by Lillian Hellman captures all the drama of the fragility of the human condition. When a whole town can be so adversely affected by one event, the question of just what constitutes society is called into question.

"Atlantic City" with Burt Lancaster and Susan Sarandon

This is the 1981 masterpiece from Director Louis Malle. The flavor of the opening scenes, in which the old hotels are being demolished to make way for the new corporate ones, can be found in "Casino", the blockbuster hit film by Martin Scorsese which was made over a decade later.

This film is largely about people and their dreams. Burt Lancaster plays Lou, an aging man who has been a low level numbers runner in Atlantic City for decades. He has been everyone's errand boy, but never made that one big score for himself. He wants to be like his old boss, the man on top. That's his dream.

Then there is the dream of Grace, the long suffering ex gun moll, and widow of Lou's old boss. She still pays Lou to "protect" her. She first came to Atlantic City in the 1940's for a Betty Grable look-a-like contest and never went home. She dreams of a man like the one she had, one she does not have to pay to protect her, someone she can be proud to walk down the board walk with again, a Princess in her own mind.

Susan Sarandon is Sally, a divorced young woman who waits on patrons at an oyster bar in the casino, but is also going to school to learn how to be a dealer. Her dream is to go to France and work in the casinos of Monte Carlo. She just doesn't have the money.

When Sally's ex shows up with his pregnant girlfriend and a stash that doesn't belong to him, things change. And that's all I will tell you about this remarkable film, which was about 15 years ahead of it's time, both in it's direction by Mr. Malle and the subject matter itself. Set against the backdrop of Atlantic City during the late 1970's, when the town was turning from a family resort to a mob run gambling town, lends tension and a seedy quality to the film, which was largely shot on location.

As for the acting, all I can say is that Burt Lancaster and Susan Sarandon are both outstanding as people who get caught on the edge of life. Mr. Lancaster is especially great in this breakout role as a sensitive man with the desire to rise up and be more, both for himself, and those around him. This is a sharp, well made film.

"Directed by John Ford" Directed by Peter Bogdanovich

This documentary, which was first released in 1974 and directed by Peter Bogdanovich, has been updated and restored, with added footage and interviews with the actors, writers, other directors and generally anyone who has been influenced by the works of the legendary Director, John Ford.

Exploring films such as “Stagecoach”, “Young Mr. Lincoln”, “Grapes of Wrath”, “The Quiet Man”, “How Green Was My Valley”, and “”The Man Who Shot Liberty Valance”, along with a score of other films, gives you an idea of just how diverse John Ford’s films are.

A gruff man by nature, he forged relationships with some of Hollywood’s most enduring actors. The 1969 interviews with John Wayne are particularly interesting, as are the ones with Henry Fonda and James Stewart. The stories they relate are at once funny, informative and still manage to give us a close look at this most unusual man.

Also weighing in on the life of John Ford are some current directors who were in their 20’s when this film was originally released in 1974. Both Steven Spielberg and Martin Scorsese talk about the influences of Mr. Ford’s films on their early years as movie fans, and the later influence that these same films had on their own careers as Directors.

The interview with Mr. Ford, done in the desert at the site that served as the backdrop for so many of his films, is a wonderful insight into the man. His monosyllabic answers to complex questions underscore his irascibility. He knew he was difficult. He knew he was temperamental. That was the best part of the man, his unwillingness to compromise who he was. He dressed in Safari clothes and smoked huge cigars. He once knocked out Henry Fonda. This was a most unusual man. And it shows in his films.

The film also delves into his World War Two years making wartime films to stoke the fires of victory. He was wounded at the Battle of Midway while making a documentary film. He was also on the beach at Normandy, recording the landing. That film would be used for training in future amphibious landings. He served in the Navy holding the rank of Commander.

A four time Oscar winning Director, Mr. Ford was one of the early proponents of location shooting and the long shot, in which the star is filmed with a vast panoramic background.

Born John Michael Feeney in Maine to Irish parents, he moved to Hollywood in 1914, following on the heels of his older brother Francis Ford, who was already making films for Thomas Edison. Francis went on to become a Director in his own right.

John adopted his brothers stage name of Ford and made his screen debut in 1914. In 1915 he played a Klansman in D.W. Griffith’s “Birth of a Nation.” By 1917 he was a Director, and by the time talkies made their debut he had over 60 films under his belt. As his career rose, his brothers declined. You can see Francis Ford in “The Quiet Man”, he plays the old man in the tavern.

John Ford made some of the most beautiful movies ever to come out of Hollywood. Look at “How Green Was My Valley” with Roddy McDowall. The scenery is beautiful; the camera captures it all in broad sweeps, as well as tight close-ups. His direction of the actors is equally mesmerizing, making us believe that we are in Wales. Unlike “The Quiet Man”, which was shot on location, “How Green Was My Valley”, which swept the Oscars that year (1941), was not shot on location, but instead it was filmed in the hills outside of Hollywood due to concerns about the war in Europe, which we would soon join. The magic of that film is timeless, as is the message.

One of the best things about John Ford’s films is the incredible talent that was available to him through the old “studio contract” system. His “stable” included such notables as, Harry Carey, who appeared in over 25 of Mr. Ford’s films. There were also the legendary character actors such as Thomas Mitchell, Arthur Shields, Barry Fitzgerald, Maureen O’Hara, John Wayne, Vera Miles, James Stewart, John Qualen, John Carridine, Ward Bond , Victor McLaglen and Richard Widmark. These actors and actresses were sometimes referred to as the John Ford Stock Company.

This is an engaging and entertaining documentary on one of the greatest film makers of all time.