JOHNNY CHAZZ' TURN- FILM RECOMMENDATION OF THE WEEK: FARGO

JOHNNY CHAZZ: A lot really can happen in the middle of nowhere – and thus is the premise of so many terrific films over the years. This week, I turn my attention to one film in particular from 1996 which was a pioneer in taking the audience into the middle of nowhere and with a terrific blend of screenwriting, suspense and casting – “Fargo” becomes our topic and film recommendation this week.

Joel and Ethan Coen

Writers and directors Joel and Ethan Coen have become household names today – but such was not the case prior to the release of the magnificent “Fargo”. The ‘two-headed director’ gave us the wonderful “Miller’s Crossing” in the late 1980’s followed by the period piece “Barton Fink”. In 1994, the anti-corporate based “Hudsucker Proxy” would then hit the screen establishing the Coen’s as screenplay and genre masters.
“Fargo” was really no different in terms of the quality of screenplay, which I continually stress on this blog. Receiving the Academy award for Best Screenplay as well as Best Actress, “Fargo” only propelled the career of these two directors into a new era. The directors were not sure if the film should be titled “Fargo” or “Brainerd”, but “Fargo” just seemed to roll of the tongue a bit better so thus was the choice for title. “Fargo” was not only refreshing, but also original as well immediately placing it in my top 100 list of all-time.

Set primarily in Minnesota and partially in North Dakota (Fargo) Jerry Lundegaard (played by Willam H. Macy) is an executive car salesman who has tremendous financial issues. Deciding to rid himself of these problems, he makes a ploy to have his wife kidnapped so that his well-to-do father-in-law will feel pressured and resigned to pay a heavy ransom thus relieving Jerry Lundegaard from debt. However, things go awry – terribly really as the quiet, yet shrewd and witty local police sergeant Marge Gunderson (Frances McDormand) arrives at the crime scene and tails the case all the way to the brutal yet timely climax.

The film works on so many levels and it was so amazing how a number of film-goers found the film, well – bare, bleak and dull. There are no special effects in the film which immediately turns-off 25% of audiences out there today and yesteryear. Secondly, the dialect used in the film was another character all-together but some audiences found it not only annoying, but distracting from the film. Audiences also felt that the film plodded along with a number of scenes which failed to drive the plot (examples might include the scene at the Radisson Hotel where Marge has a cocktail with an old college friend).

“Fargo” was both a suspense thriller as well as a work of art. The barren surroundings work as a character within itself. The music is another character. The dialect (as mentioned previously) also works as a character relaying to audiences from the moment we hear "ya" – well, it places us in middle-America in an instant and there is no way out. We also hear terms such as “heck", "darn", and "yer darn tootins’". This type of dialogue is not only authentic to the region, but adds a touch of eccentricity and humor as we fall into the film’s comfort zone.

What makes “Fargo” work so well is the very fact that the narrative is always an issue, but at the same time it is never rushed. The scene at the cafeteria really does not move the plot, but what it does is something that great “films” do – that is to say – gives the audience a glimpse into the everyday idiosyncrasies of character so that we may gain a better understanding of their motivation. The scenes with the parking attendant and kidnapper Steve Buscemi’s character are another example of this. Finally, (other than the Radisson scene) the breakfast scene between Marge and her husband is so well carried out as we have a wonderful camera shot (a two-shot) peering in on an early morning couple while also having a view of the exterior climate through the front door. Pure genius.

“Fargo” is a complex, honest and extremely well written and performed piece of work that works on numerous levels. It is classic film-noir and there are hints of so many films which precede and influence it. These might include: “Chinatown”, “Reservoir Dogs”, “Odds Against Tomorrow”, “The Maltese Falcon”, and perhaps even “Sunset Boulevard” in many ways. As for humor in “Fargo?” Yes. Suspense? Indeed. Character motivation? Undoubtedly. Set design and attention to details? Flawless. Thus, the key to “Fargo” is what is key to any great film – and that is what carries the story and the narrative…thus, the vehicle. In this case, it is the plot, the screenplay and dialogue, the set design, the attention to detail, the casting, and the score. I guess that sums it up- ***PICTURE POINTS: 9/10

JER: JC, you definitely gave this film a high-grade! Especially with how chintzy you can be with the higher numbers on your board. Now, let it be understood that I loved this film and I love the Coen Brothers and all that their repertoire has to offer… however, I don’t know if I could give FARGO such a high- grade as you did! I will tell you what I mean...

As well written as the “story” line is, I don’t know if I could say the same for the actual “screen” play itself. Sure, the dialog is quirky and well presented while offering an informative view point and allowing it to take on a character life all its own…but, one thing that truly stands out is the language coming through. I am not a prude, by any means! I love a good R- rated filled with sex, foul words and violence! But, somehow, there is a distinct counter-balance between Buscemi’s ‘f’ bombs and McDormand’s kind and polite manner of investigation. That may be intentional, as to show the audience what happens when two worlds collide! Buscemi is great…but he plays the same character in RESEVOIR DOGS, ARMAGEDDON and even DESPERADO! McDormand plays an entirely different and iconic character that we just haven’t seen before and there after since. One great ‘gag’ that the Coen brothers pulled in the making of this film, is the opening message about how this film is based on an actual true story. The event itself did actually occur, but all of the characters were a fabricated collective creation by Joel and Ethan Coen as well as working with each actor as to the portrayal of their individual character. So, in summary…excellent storyline and great screenplay!

Coen's pal: director Sam Raimi

There is a certain style of unique representation of film making that can be expected of any Coen brothers’ film…over-the-top every-day characters falling victim to their own devices, sharp and witty dialog, excellent cinematography and stylized and character-based distinct soundtracks! FARGO is very well represented in all accounts. It is so hard to focus on FARGO alone when BARTON FINK, HUDSUCKER PROXY, NO COUNTRY FOR OLD MEN and even RAISING ARIZONA are tailing so closely behind! It ain’t fair, I tell ya! A little back history here: the Coen brothers are from the same side of Detroit as fellow film-maker Sam Raimi (EVIL DEAD, SPIDERMAN) and actor Bruce Campbell (ARMY OF DARKNESS). All of them grew up loving “The Three Stooges” and understood the mechanics of pratfalls and slapstick! The Coens’ and Raimi worked on a few projects together including Raimi’s appearance as an actor in the Coen brothers’ THE HUDSUCKER PROXY and MILLER’S CROSSING.

But, it is FARGO that we are recognizing and highlighting by JC’s recommendation. Nominated for seven Academy Awards including Best Picture, FARGO won two: Best Actress (Frances McDormand) and Best Original Screenplay. FARGO would go on to win 52 different awards from various agencies recognizing achievements in film making.

As I revisited FARGO the other night, I couldn’t help compare similarities to the TWIN PEAKS television series presented by director David Lynch in 1990. Both films introduce us to odd, yet intriguing characters, authentic representations of the towns and states that both take place in and a balance of dark humor blended with violence. Both also involve such heinous crimes that it rocks the sleepy towns they take place in.

A great recommendation with lots of Coen competition to choose from!

JOHNNY CHAZZ: It was anticipated that your "grading" of this film would be a tad lower and I can definitely see your justification in that. Also, yes - I am a bit "chintzy" with my grading of movies especially on the high-end of the scale, but those films fitting in my top 100 are usually in the 8.5-9.5 range with a couple of 10's at the top.

I cannot agree however that “Raising Arizona” or “The Hudsucker Proxy” (as good as they were) are tailing close behind. Both of those films receive about a 7 on my scale at best, but are certainly worth watching. “Fargo” in my opinion was far, far superior to either of those and as a matter of fact, “Fargo” seems to me to be the best work of art that the Coen's ever put on screen. “Fargo” also received 7 Academy Award nominations including the ever-important Best Screenplay award of which it was well, well deserving.

Now as for the Lynch / “Twin Peaks” analogy - I completely agree - and I mean 100% with the mood, the "odd" and off-center characters, the sets, the language and the tonalities of the film combined with the score (albeit Badalamenti scores always get the nod) and the small-town feel. Great insight there, Jer - didn't really make that connection as I always look at TV and film differently (Not counting "TWIN PEAKS: FIRE WALK WITH ME.").

That being said, “Fargo” remains a top-100 film for me and albeit not exactly a film-lover's secret, for those who have not seen it or simply did not care for it the first time-round....it is definitely worth a re-visit. This is a dark, witty suspense thriller that was so well casted and carried out on all levels. It is the type of film that I just love to re-watch at least a couple times a year always having a profound impact. I am just glad that even though we may not agree on the "rating" for this film, which we can both recommend it to our Cinema: Counterpoint audience with confidence.

Ya, ok then, enjoy this fancy type trailer thing then, ok?

Well, that ends this week's segment and let's prepare ourselves for what lies over the rainbow with Jer's topic next week. Remember to chime in with your thoughts, opinions and suggestions...as always, we'll SEE YOU NEXT WEDNESDAY!

JER’S TURN: WHAT ARE YOUR ‘GUILTY PLEASURES?’

JER: I can sit in front of the numerous shelves that are stocked with everything that makes my film collection...from VHS tapes; DVDs and Blu-Rays: all collected from over 30 years of looking, ordering and purchasing from everywhere and anywhere I can possibly go or visit. I love my collection and very proud of how thrifty my purchases are and have been. Since the age of 13 years, I have host “Movie Parties” at my place. When it comes to the selection of what would play at one of these “Parties”, I always try to choose something that not everyone has seen or even heard of! It can be difficult, but they are definitely out there…for sure!

Some of these selections have even been taken out of the closet…the deep, dark space where movies I am embarrassed by or ashamed to publicly admit watching…much less actually OWNING them, reside!

Well, I now stand before you…Johnny Chazz and our CINEMA: COUNTERPOINT readers… as I remove the doors to my closet and openly admit to my dirty little secrets of what I call my GUILTY PLEASURES!

As per my own definition of sorts, a ‘guilty pleasure’ is a movie (not a film) that would be deemed unacceptable by any respectable ‘film’ lover. I am not talking about a woman loving, for example, THE NOTEBOOK or STEEL MAGNOLIAS…no, no, NO! That ain’t it at all!

Please read on as I pear down to only 5 (and 1 runner up) I will admit to for now (my therapist says I have to do this in stages)

Remember, I do this knowing that I may get some laughs, but DON’T JUDGE ME, WORLD! J A notable footnote to the movies I have selected: they are listed in no particular order and they all are musical in content. Interesting observation I placed on myself as, I compiled my choices.

Some movies I have on my list would be considered “cult” favorites in some circles…you decide!

SGT. PEPPER’S LONELY HEARTS CLUB BAND (1978) The auspicious big- budget film had a cast of well known performers in it for its time: The Bee-Gees, Peter Frampton, Steve Martin, Alice Cooper, Earth, Wind & Fire and Aerosmith…all portraying characters based off the catalog of Beatles’ songs that string the movie through with plot and song. Two popular renditions you may hear on today’s classic rock stations would be EW&F’s: “Got To Get You Into My Life” and Aerosmith’s: “Come Together” came from this soundtrack. This is not like the most recent attempt of placing The Beatles’ music in film, ACROSS THE UNIVERSE, by any means. Frampton has single- handedly blamed the flop of the movie to the termination of his own successful career! The Bee- Gees play the Henderson brothers (“Being For The Benefit Of Mr. Kite”) and Frampton plays Billy Shears (“With A Little Help From My Friends’) all of which are boyhood friends who formed a music group while growing up in a small town called Heartland. The music makes it to Hollywood’s record industry’s ears and are asked to fly down and start recording immediately! Can the innocence of friends hold them in the topsy- turvey world of rock and roll? As a footnote: original Beatles’ record producer George Martin was asked to produce the film’s soundtrack.

Samples of the soundtrack are featured in this 1977 trailer!

THE FORBIDDEN ZONE (1982) Oh goodness! The tie-in here is on film composer Danny Elfman…let’s start there! A little Music 101 class here, kids…Danny Elfman was the lead singer and founder of the 1980’s New Wave group ‘Oingo Boingo’ (Theme song from WEIRD SCIENCE, got it?) Before there was an ‘Oingo Boingo,’ Danny and his older brother, Richard were the creators of a performing group of musicians and weird French- influenced theatre stage performances called ‘The Mystic Knights of the Oingo Boingo.’ After the performing group had split, Richard wanted to capture the essence of their performing days. Richard pushed and pushed and gave birth to THE FORBIDDEN ZONE! Shot on a very small shoestring budget, the movie was made in black and white and follows the story of the Hercules family as they move into a new home in the LA area. The teenage daughter is a curious little one as she uncovers the fact that, hidden in her basement, is the doorway leading into the 5^th Dimension! It is there that we meet King Fausto, played by Herve Villechaize (‘Tattoo’ from the original “Fantasy Island” TV series “Da plane, da plane!”) who rules the 5^th Dimension as only a French dictator can! Nudity, potty humor, Cab Calloway songs and Danny Elfman as the devil can only be found here.

PHANTOM OF THE PARADISE (1974) Before the success of CARRIE, director Brain DePalma made this combined tribute to the ‘Phantom of the Opera’ films and to the story of ‘Faust’ in this very dated musical/ comedy/ horror featuring Paul Williams, who not only acts in the film but wrote the music and lyrics to the songs on the soundtrack. William Finley plays Winslow Leach, a struggling musician who is looking for his big break. Williams plays Swan, record producer extraordinaire! Swan is looking for the next big thing to fill his heavy list of talented finds to be the opening act for a new theatre he is about to open: The Paradise! After a horrible disfiguring accident, Leach falls victim to Swan’s lies and ‘signs his life away’ to write music for Phoenix (Jessica Harper) a beautiful and talented female singer. After discovering that Swan was taking credit for Leach’s music, Winslow disguises himself as the Phantom and stops at nothing in preventing the tie between Swan and Phoenix…who he has fallen in love with! The music is very campy with a 70’s grip that only Paul Williams can grab! The film has many wonderful set designs and great photographic moments…but, it is a rock-opera with a flair for humor and violence!!

PUFNSTUF (1970) Does anyone remember Sid and Marty Krofft from the early 70's? Back in the days of children’s programs on TV, before Barney, before Teletubbies...there were the Krofft shows like “Land of the Lost”, “The Bugaloos” and “H.R. Pufnstuf.” What many people didn’t know was that the original origins of “H.R. Pufnstuf” were an actual theatrically released film! The film did well in the box office, because it was a G-rated family musical, but it certainly didn’t go into the pages of blockbuster status! If you have never heard of Pufnstuf, then suspend your vision of reality and join me on this story ride… young Jimmy (OLIVER’s Jack Wild) is an elementary school boy transplanted from the UK to America because of his father’s work. Jimmy is an outcast of sorts, always day-dreaming his life away. After showing up late for school band rehearsals, he and his flute are kicked off the band! Wandering around the nearby woods, his flute magically comes to life named Freddy. Who wouldn’t want a talking flute…or for that matter, what kind of power can come from owning one? A fly-by witch named Wichiepoo hovering overhead on her broom-broom, notices the talking flute and immediately feels the need to take it for her own rise to fame and power amongst other witches! Nearby, a talking dragon named Pufnstuf finds Jimmy and rescues him and Freddy from Witcheepoo’s clutches. In their travels, Jimmy has lost his way home and stays with Pufnstuf for protection and friendship. ‘Mama’ Cass Elliott from the 70’s folk group ‘The Mamas and the Papas’ plays Witch Hazel, a rival witch and features the film with a song.
"Living Island" is the intro to the land that PUFNSTUF lives! Enjoy!

SHOCK TREATMENT (1981) Not a sequel, but an “equal” to THE ROCKY HORROR PICTURE SHOW (1975) continues with the further adventures of Brad and Janet, who are now married. Their lives have traveled a dull road and their marriage is on the skids. The once happy and quaint town of Denton has become one big TV show studio, now broadcasting the doings of the local Dentons for the world to see. Brad and Janet’s dilemma because a show favorite and immediately become ‘reality’ stars! Janet loves the popularity she has and is catapulted into stardom, but Brad suspects fowl play from someone. Original “Rocky” actors returning in different roles are Richard O’Brien, Patricia Neil, Little Nell and Charles Grey! The music has taken a very polished 80’s sound with bright colors and MTV-like film quality, but a very interesting look into the future to be, if you would. Remember, there were no signs of reality television back in 1981, when this movie was made…my, how we have come a long way…or have we?

RUNNER UP: HOWARD THE DUCK (1986) The movie everyone just loves to hate! I remember skipping school (thanks Mom) that Friday back in 1986 and driving two hours away to see this on one of the largest screens in nearby San Diego, CA! I loved it! It was different, new and produced by STAR WARS’ father, George Lucas! How could this be considered such an ugly duckling? Well, it was! The backlash was horrible and it was almost a sin to openly admitting seeing the movie much less liking it.  Howard is an upright standing, cigar-chomping duck from another world where ducks live as humans would on earth. Through a series of events, Howard is transported to our planet and landing in Cleveland where he meets Beverley (Lea Thompson), a struggling lead singer/ songwriter/ musician playing bar dives and getting nowhere. Howard tries to find out what brought him to our world and looks for a way back home. If things weren’t complicated enough, he has to deal with the feds who want to experiment on him, creatures from other dimensions and the fact that he has the hots for a human! The film was produced with a big budget and boasted dazzling special effects! The soundtrack was produced by John Barry (see my previous blog entry as I pay my respects to his recent passing away) and songs by Thomas Dolby (She Blinded Me With Science).

The original theatrical trailer for your enjoyment!

JOHNNY CHAZ: 1. SUSPIRIA (1977): It's funny how some of our selections this week collide; Jer. “Suspiria” is an Italian-based horror film that stars Jessica Harper (PHANTOM OF THE PARADISE). Directed by Dario Argento, this movie starts out with Suzy’s arrival at a top-notch ballet academy in Europe. To some, the film has a “Fascist” feel about it as seen in some of the dark scenes in the middle portions of the story.

Suspiria is extremely disturbing and quite frightening in many ways – yet it still has that bizarre, ridiculous and fantastic “cult” feel about it. The camera angles, the lenses, the sound and the chilling and tense score make this film work on a level that is simply “disturbing”. Something evil lurks at the Academy and we, as an audience, are taken through a violent and suspenseful trip through it all.

What is most rewarding about “Suspiria” is the fact that it is not only intense; it is terrifying in many parts. The simple “expectation” that something terrible is about to happen is what keeps us on our toes during this dark trip. You would probably agree that this is a skill used by Directors that really is lacking in horror films today as they feel the need to throw everything at you at all times.

I recommend “Suspiria” to all audiences (over 18 still) who consider themselves “horror-film” buffs as well as film-aficionados. It’s not “Halloween” or “The Shining”, but in a sense I almost think it is just as good…..if not better.

2. MONTY PYTHON AND THE HOLY GRAIL (1975): Of all the Monty Python films, I really have to settle on this one. Starring John Cleese, Terry Gilliam, Terry Jones and other ridiculous yet highly skilled actors, there is no doubt that this movie will leave you in tears laughing at the absurdities through and through. The plot is based on King Arthur’s quest for the Holy Grail – but a quick warning……there is nothing at all “knightly” about this troupe. Set in the middle-ages, there are countless hilarious lines in this movie and you are certain to be quoting them after a viewing. The coconuts, the black knight, the killer bunny rabbit and the police-force on the chase are all part of the absurdities going on here. If the dry, witty British-styled humor is your cup of tea, then I highly recommend “Monty Python and the Holy Grail”.

3. THE FISH THAT SAVED PITTSBURGH (1979): I am 99% certain that I will get some feedback from Jer on this one as it has always been a “guilty pleasure” of mine even knowing how terribly bad the film really is. Still, it appeals to me on a number of levels subconsciously for this and that reason. With a cast of Jonathan Winters, Julius Erving (Dr. “J”), Stockard Channing, Flip Wilson and more, the film is a picture-perfect image of the funky seventies where anything goes. The music is soulful and psychedelic, the mood comes from the moon and the stars and the athleticism is really fun to watch. The film takes itself very seriously and what is so hilarious is that at the time so did audiences. Basketball collides with the Age of Aquarius in this one and it is certainly worth watching if you are a fan of the seventies, sports or both.

The theme song is played with selected scenes from the film...enjoy this funky 70's tribute to da FISH!

4. XANADU (1980): Olivia Newton John and Gene Kelly starring together on the screen were like mixing oil and water – but it worked. “Xanadu” brought the 1940’s and 1980’s together in such a modern and majestic way that it had a true impact on me growing up. What was so fun was the fact that the plot was basically irrelevant as it was the visual and the music that simply took over. With the soundtrack of ELO songs composed by Jeff Lynne, the roller skating scenes, the nightclub, the flashy neon lights and the overall fantasy-feel of the movie, “Xanadu” has always been one of my guilty pleasures. The film was an utter disaster at the box-office at the time, but it glitters and shines in so many ways. This could be considered a cult-film in a sense, but it is actually a fun ride and the visuals are entertaining throughout.

5. THE FORBIDDEN ZONE (1982): How can I not go with you on this one, Jer? Heck, from the moment you showed this at your 2006 movie party, I became a fan for life. Where to even begin with this one? This is a classic “cult movie” and it is hard to say if it would fall in the rank of a 1/10 or a 9/10. Just as you mentioned, Jer, everything around this film comes back to the strange, exotic, bizarre and dreamy world that only a Danny Elfman soundtrack could produce. To add, it is the “black and white” aspects of the film that really, really makes it work. The Cab Calloway tunes are simply hypnotic and the cast of characters including a frogman in a tuxedo, a human chandelier, Danny Elfman as a singing and dancing Satan, the sex-pot Marie-Pascale, and Herve Villechaize as the underworld king. I would classify this as a ‘Saturday-night 2:00 am’ kind of movie that will simply blow your mind. In sum, a person watching this film is really never, ever prepared for what is about to happen on the screen.

Here is the original trailer for THE FORBIDDEN ZONE!

JER:  It does me proud to see you air out your dirty secrets for all to read! I am especially proud of (gulp) your admittance to THE FISH THAT SAVED PITTSBURGH! Readers, the ‘inside joke’ is that I never let JC live down the fact that he can be so prolific with his film options and the numerous films he has shot-down that I have had fondness for…and he comes out with his ‘secret’ love for this movie! I was blown out of the water with that choice!!

Man, I love XANADU, too. I might as well mention THE WIZ as well! THE WIZ had a special kind of magic and was considered great family fun with great music adaptations by Quincy Jones! SUSPIRIA and MONTY PYTHON AND THE HOLY GRAIL would fall under the category of cult favorites, but I guess they could be ones ‘guilty pleasure’ as well.

OK, we want you, the readers, to chime in on YOUR guilty pleasures as well! Let us all band together and celebrate bad movies! Please comment and let’s see what you got hidden in your closets!

As always, tune in when it will be Johnny Chaz’ turn to select a topic from the old vault...so, as always, we will SEE YOU NEXT WEDNESDAY!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JOHNNY CHAZZ' TURN- FILM RECOMMENDATION OF THE WEEK: BEFORE SUNSET

JOHNNY CHAZZ: Every now and then we are blessed with a film that gives us the opportunity to not only engage in the lives of a small cast, but to experience something that many of us would probably find irresistibly bittersweet. This week, I turn my focus to possibly one of the most understated and under-appreciated film in the past ten (10) years.

In 2004’s “Before Sunset”, director Richard Linklater brings both Julie Delpy and Ethan Hawke to the screen in a touching story with an entrancing dialogue through and through. Thus, once again it is the screenplay that is at the very source of this film that many felt was possibly deserving of top-billing in 2004, even for a low-budget / independent film. Therefore, it is the simplicity that is at the heart of the film giving it the charm and poignancy that many feel after viewing.

The film picks up in real time years later after the conclusion of 1995’s “Before Sunrise” and continues in real time during the entire screening of “Before Sunset”. This is precisely what is so amazing about this piece of work – we spend 80 minutes with two characters and possibly lovers who spend exactly 80 minutes with one another lending to a feeling of “urgency” or “immediacy”.

I would probably have to say that there are three aspects of “Before Sunset” which really make it work on a high-level offering such an emotional impact to the audience. These are: The tone, the pacing and the mood. The tone is set in both the motivations of our two characters – that hunger and desire to make the most out of every minute so as not to regret anything that did or did not occur that one afternoon. The pacing is magnificent as the realism is conveyed in the real-time dialogue between the two characters. The mood is quite simple, really. Set in Paris and walking through the backstreets and weaving through the city at a walking-pace gives us the realism as well as the climactic build-up that audiences crave.

This film is at its core a documentary of love. It is shot and directed precisely in this manner and importantly so, with that intent. There are switches between single and two-shots throughout the entire 80-minute span. The colors and hues are surreal and straight out of a Mid-Summer night’s dream. Still, this hyper-reality and pervasive sense of urgency throughout the film is almost painful in the exact way that love hurts. This is best seen early in the film with Ethan Hawke’s character (Jesse) asks Celine (Julie Delpy) what she has been doing all of these years, but if you notice he has missed her so much that just the idea of looking her in the eye while asking the question and hearing her reply is too difficult a pill to swallow. Just ask yourself for a moment about that feeling of the walls closing-in when your time-frame is so short, but your burning desire to tell someone the truth about how you feel is gasping to come out.

Director Linlater was fascinated with the idea of re-visiting characters years later since such rich characters that we were presented within “Before Sunrise” simply kept existing in his mind creating a need for a follow-up / sequel.

 Here is a created trailer for the first film: BEFORE SUNRISE- thank you 'loq115'

With just two-weeks of rehearsal and a shooting time of only three (3) weeks, severe demands were placed upon the crew and especially our two main performers. who were given the daunting task of learning one to two-page monologues which would carry the film through from start to finish. Thus, this intense dialogue is really about what is said and what is left un-said since the audience is given the tools to read between the lines.

There are so many wonderful moments of dialogue in the film and to only choose a couple to highlight is nearly impossible. However, I must say that the line spoken by Ethan Hawke where he states “I remember that night with you better than I remember entire years” was highly impacting. Or, the simply yet sincere comment how he has spent the past 9 years looking out the car window and thinking that he sees her again. She (Julie Delpy) then counters later in the film saying that the idea that we can only feel fulfilled and complete when we are with someone else is, well…evil conceptually. She knows this is 'cat and mouse' however and the audience is far too shrewd at this point to take that comment only at face-value knowing that these are two characters that have a real chance to make something happen – a chance that most of us never, ever see again.

The bottom line is that this film is beautiful, charming, romantic and a bit suspenseful in its’ own right due to the time constraints and emotions endured by Jesse and Celine. There is no sex, only a subtle kiss at the beginning inside the bookstore, and the film lacks a single scene that we would refer to as being “action” based. The soundtrack is understated, but remains a perfect compliment to the film. The sets and interiors are well chosen and perfectly placed within the film with the Paris we never see all around us. Falling leaves, the River Seine, the cobblestone pathways and the interior of the coffee house all create a world that is ripe for the blossoming of love.

The ending? We will leave that one up to you, but it is – within itself worth the price of admission. I must say however that thoughts of Lou Reed’s “Perfect Day” come to mind during the entire running of the film….and that may be a give-away by itself.



Director Richard Linklater

 So again, ask yourself – was there ever that person whom you spent one hour or one day with that felt as though it could have lasted a lifetime? Who was the one that got away? If you had a second chance, how would you make the most of that limited time with that man or woman? This picture is exactly that – a love affair that is eloquently written to the point that you completely lose yourself in these characters. Thus, as we will see in our journey through this blog (Cinema: Counterpoint), there are small-budget films about little things, and big-budget films about big things. This week, I highly recommend our viewers check-out “Before Sunset” to see how a low-budget film can address what we all really want out of life – what we are inevitably searching for…love and a real connection, even if only for a moment. Those are the “big things”.

JER: Admittedly, I had no desire to see this film…it was one of those that you thought of once or twice and then… it fell by the waist-side. It may had been forgotten or just filed away under the title of: “Don’t care to see it.”

When JC submitted this topic and film recommendation…I knew I had to bear down and watch this film…objectively! At first, the film plays with wonderful conversational pieces, as pointed out by JC…however; the film gets very personal right into the first hour! Complications between the couple we would like to see come together; run into a series of obstacles. How does one pick up where one left off after too many years between them? Lives have been lived, separate relationships formed and destroyed, commitments invested to others…yet, there is no escaping a bond. Awkwardness mixes with the conjured feelings and the fights between what is accepted and deemed by society as right and wrong are all dealt with in a period of minutes.

On a production level, the film is presented by Warner Independent. As you can guess, this would be Warner Bros.’ independent branch. Shot on a low- budget, the film is delivered with the success of two separate entities: the two main actors and a wonderful, free-flowing screenplay! Both Hawke and Delpy are fabulous and most importantly…believable! This works and keeps you intrigued. As JC mentioned, the backstreets of France makes an excellent backdrop to this story. Is it cliché to say that we need the city of love to tell a fractured love story? Maybe, but the foreign landscape helps unveil a very foreign relationship... both in meaning of country and mind-set between the couple.

Seduction can be derived by consciously-placed words to formulate the right sentences needed. Time is of the essence! A flight out of France is counting down the time between our characters, yet, those conflictions and time apart may or may not stand in the way of reuniting.

Is it just me or does the film speak to us as carnal humans? Even with commitments and obligations, we lean towards what makes us happy…as Hawke tells Delpy. Commitment does not fill the void where love, attention and affection belong. Delphy replies that we spend our lives looking for the perfect match…but what does that mean and is there such a thing?

Wow…is it getting heavy in here? You bet! Splendid 1:25 minutes of compromising dialog delivered with realistic and improvised style, combined with adult situations blend into a vision of wonderment and dismay.

Here is the trailer for 2004's BEFORE SUNSET

In the end, thank you JC! I would have never had seen this film on my own desires! To our readers…if I could be converted from zero- interest to a high- recommendation enthusiast, then anyone would enjoy this exercise in the written word by great actors.

JOHNNY CHAZZ: Honestly I was absolutely compelled to recommend this film to at least a "segment" of our viewers, Jer. It is also a very safe bet that this is a film that audiences either loved or despised....and there is really no sitting on the fence with this one. Your comments here, Jer, are riveting to say the least. Knowing that we do have our differences of opinions and tastes when it comes to "genre", I am so, so pleased with the response I am witnessing here and remain both shocked and bewildered.

I recall speaking to you about my original viewing of this film back in our California days and recalling that it was a sort of film that you simply wanted to "file away". I also respected that and really never tried to push the film onto you for that very reason. Still, deep down I always felt as though you would likely find some real appreciation for what was written for this screen work once you had the chance to see it. We are both "film-guys" at heart and there are, well simply put - basic elements of a story-line, performance, mood and screenplay that we both have tremendous appreciation for. It looks as though Cinema: Counterpoint was the right time and place for us to join together on this one.

So, I concur. The film works on a basic level, but with complexities and with deep introspect into our own lives. It does encompass realism while addressing "time" as the most valuable commodity that must be incorporated just right if we are to find our one and only love (or our "perfect match" as Delpy mentioned). So, it appears as though we agree that the 1 hour and 25 minutes was well spent: In front of the screen, in the streets of Paris and alongside this "familiar" couple longing for, regretting, hoping for, and fearing the very essence of love.

Stay tuned-in everyone as we shall open up another cinematic surprise with Jer's fresh topic…until then, as always, we will SEE YOU NEXT WEDNESDAY. Keep your comments and your topic suggestions coming!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

CINEMA: COUNTERPOINT MAKES IT TO THE UNLV CAMPUS PAPER!

Greetings to ALL! Most recently, my 'counterpart', Johnny Chaz, made it to the papers! No, it wasn't that he was finally caught for the excessive parking infractions he has outstanding throughout the Los Angeles County! (Have you seen how this guy drives???) But seriously, CINEMA: COUNTERPOINT was featured as an article in the University of Nevada, Las Vegas campus-wide student paper "The Rebel Yell!" I am providing two links for you to click onto so that you can read up on us and JC! Enjoy and check us out this coming WEDNESDAY for JC's new topic of choice...cannot wait to see what he is going to select! Take care!

http://unlvrebelyell.com/2011/03/24/student-creates-blog-about-cinema/

OR...

http://www.facebook.com/l.php?u=http%3A%2F%2Funlvrebelyell.com%2F2011%2F03%2F24%2Fstudent-creates-blog-about-cinema%2F&h=e71a4

JER'S TURN: REMEMBERING DIRECTOR SYDNEY LUMET 1924- 2011

JER: It is with great sadness that this week’s topic was selected to pay tribute to the loss of one of Hollywood’s most respected and honored film directors: Sydney Lumet, who died on Saturday April 9, 2011 of lymphoma at his home in Manhattan at the age of 86.

12 ANGRY MEN

Sydney Lumet started off his career not as a director, but as a Broadway actor for a number of years in the 1930’s. His interest in directing on stage later transitioned his work onto several television programs throughout the 1950’s. He wouldn’t land his first feature film until 1957 with 12 ANGRY MEN starring Henry Fonda, which was both a critical and finical hit, earning Academy Award nominations for Best Picture, Director and Adapted Screenplay.

Lumet would continue directing for television even after the success of high-profile debut. A few other film projects stemmed throughout the 1960’s including FAIL SAFE (1964) again working with Henry Fonda. It wouldn’t be until the 1970’s that Lumet’s career in film would truly begin to blossom, most notably having worked with Sean Connery in THE ANDERSON TAPES (1971) and shortly thereafter, working with a young Al Pacino in SERPICO (1973).

Based on a true story, Frank Serpico was a good cop in the early 1970’s working in a corrupt New York precinct. Having already been the topic of controversy amongst his fellow colleagues for not ‘accepting’ money from within the department, Serpico would fall into a deeper hole when he actually blew the whistle on fellow officers for their wrong-doings. The film became another hit for Lumet and earned a Best Actor Academy Award nomination for Al Pacino.

The real Frank Serpico reviews SERPICO the  film! Incredible!

In 1974, Lumet would direct an all-star cast including Albert Finney, Lauren Bacall, Ingrid Bergman (winning a Best Supporting Actress award for her role as Greta), John Gielgud and Sean Connery in Agatha Christie’s MURDER ON THE ORIENT EXPRESS. The film would tally 6 nominations including Best Adapted Screenplay.

Al Pacino: DOG DAY AFTERNOON

The opportunity to work with Al Pacino in another true story telling became available 1975’s DOG DAY AFTERNOON. Pacino plays Sonny, a gay bank robber, who holds up a First Savings bank on a hot summer day in New York to gather enough money for his lover’s sex change operation. Having found out that most of the bank’s money had been picked up from the day’s transactions, the delay and hostage situation causes panic amongst the small band of robbers and a media circus outside. Nominated for 6 awards, Lumet would gain another Best Director nomination as well as Best Picture.

1976 would bring the powerhouse cast of Faye Dunaway, William Holden and Peter Finch together for the highly critically acclaimed film, NETWORK. The story of how a TV Network turns its back on its one-time highly rated News Anchorman and how he bucks the system against his fellow colleges and network studio. The film would win 4 Academy Awards, including awards for Dunaway’s and Finch’s acting as well as for Paddy Chayefsky’s Screenplay. The film pulled a whopping 10 nominations including another nomination for Lumet’s Direction and Best Picture.

The emotionally- charged trailer for the powerful NETWORK!

Rounding out the decade, Lumet would bring us the highly controversial EQUUS (1977) starring Richard Burton and a very unlikely directorial choice (in comparison to his previous films) with 1978’s THE WIZ.

Adapted from its very popular Broadway run, THE WIZ is an African-American refashioning of ‘The Wizard of Oz’ story casting Diana Ross as Dorothy, Pop sensation Michael Jackson as The Scarecrow, Nipsey Russell as The Tinman and Ted Ross, reprising his Tony Award winning role as The Lion.

With a notable career already established, the 1980’s would offer more opportunities for Sydney Lumet, but with less successful films to place on his resume. With his first attempt at comedy, Lumet directed JUST TELL ME WHAT YOU WANT (1980) starring Ali McGraw and Alan King. Knowing his successes remained in the tough drama category, Making a return to the familiar topic of drama, his next film would bring the critically acclaimed PRINCE OF THE CITY (1981) with Treat Williams playing a New York narcotics detective, who becomes investigated by Internal Affairs after some questionable practices…but who can he really trust? The film gave Lumet a co-writing Academy Award nomination for Best Adapted Screenplay.
The trailer to the true story of PRINCE OF THE CITY

1982 brought two films to the screen, beginning with DEATHTRAP starring Michael Caine, Christopher Reeve and Dyan Cannon. This comedy/ mystery movie told the story of an aging playwriting Instructor who is visited by a former student with a well-crafted copy of a new playwright he is finishing. The script is so good, it maybe worth ‘killing’ over it! The second film released was the powerfully charged drama THE VERDICT with Paul Newman as a drinking, out-of his-luck lawyer when he given a lawsuit that might revive his career. The film would receive 5 Academy Award nominations including another Best Director Nom for Lumet.

The mid and later 1980’s would bring forth a string of films including DANIEL (1983) starring Timothy Hutton,  the mystery/ drama THE MORNING AFTER (1986) starring Jane Fonda and Jeff Bridges and RUNNING ON EMPTY (1988) starring River Phoenix and Judd Hirsh.

The 1990’s would keep Lumet busy with films like Q&A (1990) starring Nick Nolte and GUILTY OF SIN (1993) starring Don Johnson. Lumet was neither receiving the critical or box office recognition he had been bestowed with earlier in his career. With frustration. Lumet returned back to his television roots throughout the 2000’s and began directing television films again…but not without pulling one more ‘rabbit out of his hat!’

In 2005, Sydney Lumet was given an Honorary Academy Award for his body of work. The award was presented to him by Al Pacino.

Al Pacino honors presents Sidney Lumet with Honorary Oscar!

BEFORE THE DEVIL KNOWS YOU’RE DEAD (2007) would be the last film Lumet would direct, but before grabbing the attention of audiences and critics alike! A frank and provoking crime/ drama starring Philip Seymour Hoffman and Ethan Hawke starring as brothers who plan a jewelry robbery that goes wrong, triggering a series of events that shatters both lives.

With a grand total of 72 Director credits, Sydney Lumet left his name branded on the silver screen for his outlook on Drama, Crime, Mystery and Suspense during an era when such films were welcomed and embraced by the best of the best…

JOHNNY CHAZZ: How bizarre and troublesome it is that every couple of weeks or so it seems as if a major role-player in cinema has passed on from this life to the next. A shock indeed this week as I read the news of Lumet’s death in the early hours of Saturday’s online journal. Here was a man - a raw talent who was just recently presented an Oscar in film achievement by Al Pacino at the awards in 2005. This week, Jer, has appropriately chosen a topic that not only pays homage to Sydney Lumet’s films, but to a man whose career truly embodied and embraced a genre of suspense and drama throughout his career and his life.


NETWORK

 It is so strange how things work. Didn’t we just finish discussing the topic of screenplays last week while including films such as “Twelve Angry Men” and “Network?” Now this happens. To say the least, the films of Lumet during the majority of his career were not only poignant and dramatic, but quite understated as well. “Twelve Angry Men” as an example, was not just a gritty drama, but also a dialogue-heavy work that dealt with subject matter of the ultimate nature. This would eventually become a style that Lumet’s films would model after.

You mentioned here, Jer that the 1960’s were probably a forgetful decade for the films of Lumet, and I must concur. What a shame it was considering the impact that European cinema was having on American films and directors and it would have been intriguing to see what Lumet may have pieced together during this experimental time when dialogue was king.

The Lumet films of the seventies that you discussed all constitute what we could call the definitive and quintessential Sydney Lumet style. Both “Dog Day Afternoon” and “Network” were true cinematic gems while dealing once again with real-life, controversial and dramatic issues. “Serpico” is another that must be marked as an all-time great amongst Hollywood pictures. As for “The Wiz” however, I must claim that this film was not only a box-office disappointment, but deservingly so. Of all the Lumet films during this era, “The Wiz” was passionless, dull and was nothing else other than poor theater. However, Lumet’s image was quickly resurrected with the wonderful early 1980’s films of “The Verdict” and “Deathtrap” which will always remain high on my list.

The 1982 trialer for Lumet's THE VERDICT with Paul Newman

Now Jer, you drew attention to the following three films in the 1980’s: DANIEL (1983), THE MORNING AFTER (1986), and RUNNING ON EMPTY (1988). It would more than please me to say that these films are also high on my list, but how unrealistic would that be? These 1980's films of Lumet along with his films for the next 15 years were, and to this day remain forgetful. The explanation is quite simple however. The idea of the "well-written screenplay" as witnessed in his films of the 50’s, 60’s and 70’s had since disappeared, and without the screenplay (last week’s ever-important topic) you virtually have nothing to offer an audience that hungers for something, well – “cinematic”, "dramatic", and well -“suspenseful” in nature.

BEFORE THE DEVIL KNOWS YOU'RE DEAD

Sidney Lumet would deliver one more great film before leaving our world however, and I must agree with your selection here, Jer. “Before the Devil Knows You’re Dead” (2007) offers an outstanding cast, a clever screenplay and a combination of wit, suspense and drama creating a film that unravels in dramatic fashion. Thumbs up on this sleeper, which actually becomes sharper every time you re-visit it.

One particular aspect of Lumet films that I always enjoyed was his appreciation for those kinds of drama-based stories that were set in the New York backdrop. You know the look, Jer - it was as if Lumet’s films always had that gritty, period-piece, stylistic yet crooked tangibility about them that only a city like New York could offer. Robert Wise ("West Side Story", "Citizen Kane", "Odds Against Tomorrow", "Day the Earth Stood Still") would have been proud. Shooting these scenes on the streets of New York always put the viewer in the heart of the story and in the middle of the action.

Al Pacino and Sidney Lumet & The Oscars 2005

So, once again it is a very sad day in Hollywood as we have lost yet another big name. This time, it is director Sydney Lumet. And there’s no shame if you feel like standing up and shouting “I’m mad as hell and I’m not going to take it anymore.” Yes, Mr. Lumet shall be missed.

JER: Yes, JC, I know how you feel...in a world filled with Michael Bay-effect films, it is so hard to find directors with much substance anymore. Like Elizabeth Taylor, Hollywood is losing its battle of greats being lost...but with no one to fill the void with! Tune in for JC's turn as we say...SEE YOU NEXT WEDNESDAY! Keep the comments and topic suggestions coming!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee