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Double Indemnity

Last year I participated in a blogathon dedicated to Billy Wilder. My choice was "The Lost Weekend", a dated melodrama that won the Academy Award for Best picture and bestowed upon Mr. Wilder his first two Oscars after five previous nominations. Two of those nominations were for this film which is screening as part of a TCM/Fathom Event promoting the new Blu Ray release of "Double Indemnity".  It was more deserving of the awards than "The Lost Weekend" but then the Academy is notorious for being just behind the curve.

This is a terrific film noir, set in Los Angeles and featuring some of the snappiest dialogue you are likely to encounter in a theater.

Phyllis: Mr. Neff, why don't you drop by tomorrow evening about eight-thirty. He'll be in then.
Walter Neff: Who?
Phyllis: My husband. You were anxious to talk to him weren't you?
Walter Neff: Yeah, I was, but I'm sort of getting over the idea, if you know what I mean.
Phyllis: There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter Neff: How fast was I going, officer?
Phyllis: I'd say around ninety.
Walter Neff: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter Neff: Suppose it doesn't take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter Neff: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband's shoulder.
Walter Neff: That tears it. 

Barbara Stanwyck is hot in her platinum blonde hair and white sweater. It's easy to see why Walter Neff fell into her plan so easily. Like all noir vixens, she is duplicitous and irresistible.  Even with the Hayes code still in force, the innuendo in this film is pretty smoking. The famous meetings at Jerry's Market as Neff and Phyllis cruise up and down the aisles of canned vegetables and boxed baby formula are still enticing and fun to watch. If you are from Southern California, it's also interesting to hear all the local references to neighborhoods and institutions. Both USC and UCLA get a nod in the film. Glendale, Santa Monica and Los Feliz are also named. I got a kick out of seeing Walter stop at a drive-in diner and get served a beer on a tray like he was at Bobs or Twoheys. There is also a musical interlude at the Hollywood Bowl.

Edward G. Robinson gets one of his best roles in this movie as the insurance investigator who can't be fooled. There are so many small pieces to his character that make him so interesting. His vest pockets are stuffed with pens and pencils and cigars in nearly every scene. He never seems to have a match and Walter is always so accommodating. I probably was emulating Clint Eastwood when I learned how to light a safety match with my thumbnail, but I could easily have fit into this time period with the way everyone lights up their cigarette or cigar with just a flick of the thumb. Robinson also talks about that "little man" in his chest that won't let him rest until he has done right by the case. He continues to absently tap his own chest as a visual reminder that there is another character located inside of him

The story of the step daughter and her boyfriend, some times distracts from the main focus but I recognize they are effective plot devices to allow the story to simmer more as it comes to a hard boil. The femme fatale and the cold hearted sap she falls in with are epitomized by the two leads in this film. Along with "the Postman Always Rings Twice", these are the essential tropes of a dark film from this period. Wilder's own "Sunset Boulevard" uses the same flashback plot structure as this movie. We know the fate of the lead character at the start of the film, we just have to have the story told back to us in a way that makes it compelling, and the first person descriptions allow some great observations.  Tough talking guys who call their obsessively powerful women "Baby" and hard as flint women who hide some of their emotions behind sunglasses are just what is called for on a hot day in July.


Walter Neff: Yes, I killed him. I killed him for money - and a woman - and I didn't get the money and I didn't get the woman. Pretty, isn't it?

After all the films I saw at the TCM Festival and the Fathom screenings of "Jaws" that I attended last month, these events are feeling more and more like the way I want to see older films. The slide show for the event listed five or six upcoming events that will also be bringing me back to the theater under the umbrella of TCM.

Ant-Man

One of the things that made last years "Guardians of the Galaxy" so much fun was the tone of the story. Yes it did feature a threat to the entire universe and that is pretty heavy, but every character who was conflicted and depressed at times, usually had a sense of humor and the whole enterprise came off as fun rather than angst inducing. The big Marvel film from earlier this year "Avengers: Age of Ultron" is weighed down with sad backstory and depressing philosophy and while it was entertaining, it was also very heavy. This film and story manages to be closer to the Guardians end of the spectrum rather than the Avengers end. Even though there are Avengers tie ins, this is a lighter, more amusing take on the super hero mythos and a solid way to launch another character from the Marvel Universe.


My kids have accused me of having a man-crush on Paul Rudd. That is mostly because he stars in the greatest film of 2008, "Role Models". He is a surprising choice for a super hero movie but a very reasonable one for a comedy, and there is a lot of comedy in this film. While he is not a physical specimen like Chris Helmsworth, Rudd is in good shape and has an appealing face that is average rather than chiseled. His selection reminds me of the decision made before the first Tim Burton Batman film, to cast comedic actor Michael Keaton as the Dark Knight. The suit will do the action material just fine, it is the story that takes place around those scenes that requires the right kind of choice and this one is a hit. Rudd has a sardonic quality to his voice that matches well with the disillusioned ex-con who goes to prison for being a crusader in a hacking scheme. He is given enough background for us to sympathize with him but we also know he is capable of making a bad choice or two.

The original "Ant-Man" is Hank Pym, played by Michael Douglas. There is an early scene where the CGI budget for the film is largely spent on making Douglas his "Romancing the Stone" are once more. It is very effective and the change in appearance to more contemporary dates is almost startling. There is some exposition about how he lost his company to the apprentice that is now running things. Darren Cross (perhaps not the most subtle of name for a villain character ,-D.Cross) is a genius but has apparently given in to megalomania in part due to exposure to the processes required to develop the material that allows a man to reduce his size to that of an insect. That Pym still has contact with the company as it is reaching a critical deal point is a little hard to believe, but than it is typical of this format that the acolyte wants to impress the mentor as he passes him by. Corey Stoll is a familiar face from action films and TV shows and this is his chance to step into what would usually be the role played by Mark Strong, who was I guess, not available.

Some of the powers of "Ant-Man" are a bit strange. The ability to control ants sounds like one of the oddest super powers to come along. I'm surprised that President Obama did not have it on his list instead of being able to speak all languages. After all, ants outnumber humans substantially and if universal communication is important, you ought to start with the creature that is most prevalent on the planet (outside of termites anyway). The ant connection allows a lot of problems to be fixed in an interesting visual manner, and Scott Lang ( alias Ant-Man) manages to make a humorous connection to the creatures and even imbue one of them with enough emotional weight that what happens to one of billions of insects may actually matter to you. The speed with which he can change size and escape detection is also pretty cool. There is a technology though that seems to minimize this advantage and that makes a fight scene in the middle and end of the movie work a little better. Scott also has a couple of weapons that Hank has created for him that harness the molecular technology that powers the suit. Not much time is spent explaining them but when they are used they both create reasonable solutions to situations and amusing comedy bits as well.

Evangeline Lilly is Pym's disaffected daughter and she will have an important role to play, but right now she is not really a romantic interest for Rudd as Scott. The ex-wife and mother of Scott's daughter is played by Judy Greer, in her fourth movie of the summer season (Jurassic World, Tommorowland and Entourage) but as in those other films, she is underused ( and today just happens to be her birthday, so Happy Birthday Judy). Bobby Cannavale plays the cop/future step father to Scott's child and he doesn't get the suave role he had in "Spy" but he does get to do the comedy material pretty well. Michael Peña does comedy as well and the way he tells a story, reminds me too much of some people I know. Overall it is an interesting cast and the tone of the film is a good change of pace for these comic book films. It looks like there are some future adventures that we will not have to wait to long for, if you have not yet heard, you should sit through all of the credits. 

Terminator Genisys

I suppose it is faint praise to say "I didn't hate it", but that was my first impression of the new version of "The Terminator". I was highly dubious when confronted by the most recent trailer (not the one above) which gives away more plot elements than most of today's narrative revealing advertisements do. This is an attempt to make "Terminator" a continuing project without the messiness of having to deal with the narratives from previous versions of the story told in other sequels. The creators here have the right fulcrum for moving us to that point, but they use it so often, it is nearly impossible to keep track of all the variations.

On a technical level, the movie looks good. The special effects are up to snuff and there are several spots where practical effects seem to be used instead of the now dominant paintbrush of CGI. Believe me, there is plenty of CGI also, but the frequent car chases, crashes, and combat scenes are much more realistic than you would find in most computer generated effects. The opening sequences which are set in the future and feature Reese and John Connor are actually a well told story of that relationship and the events leading up to the original insertion of a Terminator into 1984. The mix of elements from the original into this current version was effective, and although Bill Paxton's punk character is recast, you would almost believe that the sequence was lifted whole cloth from the first movie. Almost immediately though the plot twists start and it is apparent that a complete revision is being undertaken.

Time travel stories are always interesting, at least they are to me, but they can be confounding. It would be helpful to have Doc Brown in the basement with a chalkboard, diagramming all the possible contingencies so that we can keep track of what is going on. Everyone who loves cinema wants a movie that is thought provoking as well as entertaining. The problem with this movie is that the thoughts provoked have nothing to do with morality, politics, society or history. Your brain will start thinking about the mechanisms of the story rather than the implications of the characters choices. Instead of pondering what choice would be the most ethical to make, or whether we as a society are surrendering too much power to the technology we use, you are left wondering "how did this timeline get started, or what happens to the future if John Conner kills his own parents, or how do we get John Conner when his parents don't seem to be getting together?" You end up thinking about the machine that is driving the plot rather than the social implications. That turns the discussion into a nerd fest rather than a philosophical imponderable. Kyle Reese says it himself in more than one scene, this story is hard to keep track of. "Pops" may come along and say it is rather simple, but that does not make it so.

Instead of lingering on plot loopholes or time travel conundrums, I want to discuss for a moment the philosophical question, is Skynet already happening? In 1984, before we had the sort of internet and dependance on technology that exist now, it was scary enough to contemplate. Today, Google and Apple know almost everything that everyone does. The NSA is mining that data, most of us operate electronically in banking, services, communication and almost every other part of our lives. The "Genisys" app in this movie is not far removed from the kind of technological innovation that is going on right now. Earlier this year, there was the spy film "Kingsmen: The Secret Service" which postulated a nefarious takeover of technology that was more cartoon like but which could be plausible because just as in this movie, it recognizes that we are all wired in to each other in some way. A couple of weeks ago, I saw a story about an A.I. experiment where the computer got a bit nasty with the the programmers. That's just the kind of thing that might make us believe that the combination of Artificial Intelligence and widespread dependence on computer technology might not be a match made in heaven. "Terminator Genisys" touches oh so briefly on this concept, but it is mostly focused on building an action plot to attach visual spectacle to.

I don't watch "Game of Thrones" so I am largely unfamiliar with the work of Emilia Clark. She is made up to resemble Linda Hamilton enough to sell the idea that she is the same character. Jai Courtney is an actor I can't quite seem to warm up to. I'm not sure he is being cast correctly but someone has decided he is the next big thing, I'm not sure he's not the next Sam Worthington. Jason Clarke is an actor that I have admired in a number of films but he seems to be directed here to play the character of John Conner a bit over the top in the opening and then a little too subdued in later sections. Arnold continues to be Arnold. I am so much happier with him as the Terminator than as Governor that a couple of awkward moments don't even register. There are some pieces of humor plugged into his part and the usual stoic mannerisms seem to be working. The explanation of his aging is acceptable and I thought the three different time periods he appeared in seemed matched appropriately.

The movie is ambitious and attempts to put all of the elements of the story we have come to know into play. Judgement Day has been shifted somehow and that is one of the unclear lines of thinking created by the multiple time line angle. We don't yet know how Terminator 2.0 gets sent to protect Sarah at age nine, it looks like this is being set up as a series of films and that will be a plot point for another entry. The movie is under-performing in the U.S. market (largely I suspect because of the lingering demand for Dinosaur mayhem). Internationally it may do well enough to justify continuing the series. I don't think anyone will become emotionally invested in the story enough to be disappointed if this is the last in the series, but I won't roll my eyes in disbelief if a new entry is eventually announced either.

If you would like a ranking as a way of assessing this opinion, I'd put the first two films on a level all their own. I prefer the original to Terminator 2 but that is mostly because I love that last sequence with the stop motion and puppetry. "Terminator Genisys" and "Terminator: Rise of the Machines" are also pretty equivalent, to each other. They are action generating plots and each has some spectacular stunt work but neither has the depth or imagination of the first two films. "Terminator Salvation" is a vague memory. I enjoyed it well enough at the time but it is six years later and I have never rewatched it since then so it must not have impressed me that much. I'd be willing to see this film again but I will never be willing to try and figure out all the time line confusion that this entry in the series introduces.

Minions

Much as happened with "Cars 2", secondary characters have been given the lead in a sequel and it craps out. What is cute for brief interludes in a complete story becomes boring as the feature attraction. There are many elements in this film that are clever and fun but the material needs to exist in a context that you can care about and there is no real point or goal for the story other than to be an engine for the next bit. I was a real fan of the original "Despicable Me" and I thought that "Despicable Me 2" lived up to the quality of the original, even if it was not quite as strong. I like the Minions but I did not like their stand alone film.

The movie starts off promisingly, with a clever delivery of the Universal Theme music as the credits start. The first ten minutes of the film are summarized very effectively by the main trailer. We are told of the origins of the Minions and their need to serve the most evil figure they can find. This was a little dicey from my point of view, it leads me to think that Minions would be in places that no one would ever be making a animated comedy about. This point needed to be worked on a little more because it creates a dark theme that is disturbingly distracting. If the Minions had some kind of attachment disorder that draws them to megalomaniacal  figures, then it would not have quite the same undertone.

Once the longer history of the Minions is told, we are dropped into the situation where they are isolated and without a figure to follow. Three Minions go in search of a new evil character to follow. It turns out that the majority of the film is set in the 1960s, and there are only two reasons that this was done. First it is a prequel story to the events of the other films, but more importantly, it allows the film makers to raid the pop charts of the sixties for familiar tunes that the audience will latch onto for brief set pieces. The music is not an enhancement to the story telling, it is an attractant, a form of social pheromone designed to keep the adults engaged while the childish behaviors on screen delight the kids. I enjoyed hearing the Turtles, Box Tops, Stones, Kinks and assorted other icons of the period, but the tunes have almost nothing to do with the material going on in the story. It seems pretty shameless to me that this was just being done for obvious commercial reasons rather than making the story take flight, these interludes look like they paper over any need for narrative energy. I guess I should not really be surprised. The movie really is just a marketing tool anyway.

Minions are working for a corporate overlord who is selling toys, not really selling a movie. When "The Care Bears", and "He-Man" and "G.I. Joe" were accused of it in the 1980s in TV shows and Movies, it was not as annoying as this is. This movie is more subtle, but still just a big ad for product.

I wanted to like this movie. I still find the Minions cute and if they are used in the right way, they can be funny. This movie ran out of steam for me as soon as the main evil character appears. The senseless nature of the Minions recruitment and the stupid plot points that follow are the laziest kind of storytelling one can imagine. When Sandra Bullock's character tells the three Minions a bedtime story and makes up the plot on the spot and just uses the situation they are in at the time, she was actually doing more work than the writer of this film.

Those of you who are sick of the Minions will be gloating over this disappointment. It is going to be a leading candidate for negative lists at the end of the year. Those of us who still like the Minions will be able to move on and go back to the original two films without being wrong. In the film it is often the Minions who cause a plan to go awry, it was not the characters of the Minions who failed here, this time it was the person they served.

Jaws Week Finale: Lots of Posts

So here is a list of links to Jaws Posts that I have some connection to. To begin, we will review all the posts that I have put up on this site in the last five years. To sweeten the deal I'm posting some fan art I found on line that has nothing to do with the post, it just looks cool enough to draw attention to the links.

Video Preview of Jaws Weekend

This is just a short couple of videos in anticipation of the first Fourth of July Post on the movie. It includes what might be the only "Unboxing" video of a Laser Disc.




First July 4th Review

The original post on my Movie A Day Project on the Summer films of the 1970s.

Jaws 2

The only sequel worth bothering to watch. Not a great film but not an embarrassment like the others.

OK, this is not fan art but it was cool.

Video Preview of a Book Gift for Amanda's Birthday

This is an Ad for a great book, that was way too expensive, but with which I indulged my youngest child.

Robert Shaw Film Festival Jaws

During a week long project on some Robert Shaw films, I go off on the neglect by the Academy of this magnificent performance.

Roy Scheider gets Props for Jaws

I felt a little guilty all these years not mentioning the fine work of the lead of this film, here I try to correct that oversight.

Epic Vlog Link on a Screen of Jaws

You have to have some time to enjoy this. It's like a podcast with video and a couple of clips thrown in. One of the most fun projects I've done for the blog.

Jaws Diorama Picture

Random Crap on the Internet that I shared.

Getting the Jaws Log Signed

A story about meeting the Screenwriter and getting my book signed. Wow, am I geeking out or what?

OK, This is also not fan art, it is an Ad.

Steven Spielberg Directing Actors

Jaws is mentioned in this post that I did for a blogathon last year.

Moments Without the Shark

Last weeks list of moments that remind you that there is a shark in the story. View it on the Blogspot version of the site to be able to see all the video clips.

Robert Shaw and Brian Keith get Mugged

Another post where I rant about the neglect of Robert Shaw by those people who gave awards out in 1975. This was for a blogathon done in conjunction with this years Academy Awards.

40th Anniversary Links

10 Scenes Without the Shark that remind you there is a Shark.

Inside the Crest Theater Waiting for a Screening

Tee Shirt Marketing Lives

Crazy People

Everyone Likes Move Quotes

You Don't have to be a Star to Make Jaws Better

OTHER Bloggers

Here is some work on the subject from others that I admire.

Best Movie Ever

The genetic recipient of my disease shares her views on the movie.

Best Scene Ever

The Indianapolis monologue, treated with respect. This is from the only person I know who is a bigger fanatic than I am about the movie. She used the "Indianapolis" monologue as part of her admission essay to U.S.C..

The Following is a Poem by my On line buddy Eric. I love the creativity and the courage it takes to put your voice out there in this form.

 Look to the Summer of 1975
All of the ocean will come alive
Look to the water for the great white fin
And you’ll know what sort of trouble you’re in
Look at the shark’s eyes, lifeless and black
Look at the shoreline ahead and know you’ll never get back
Try to swim, try to scream, try to pray
The great beast just won’t go away
Close your eyes and hold your breath
And await the mighty jaws of death
But when you do open your eyes, that’s when you’ll know
It was all on the movie screen, just for show
So thank you Steven and Peter for forty years of great fun
‘Cause when it comes to summer blockbusters, JAWS is still the best one!

From "And So it Begins" a fellow blogger who is also a film maker, shares some notes on our feature.

I've read Alex's blog for two or three years. He is very sharp and well versed on movie techniques. I liked what he had to say here.

1001 Movies to See Before You Die

 Steve Honeywell took on a blogging task that I don't have the patience to do, he has written a post on every film from the book 1001 Movies to see before you die, and then he has added on top of that, hundreds more because he can't stop himself. He posts something everyday and is on of my daily stops. The above link will take you to his Jaws post.

Reblog of Fogs Post

This is a link to a link, I reblogged it on my site when Fogs put up the article. Dan Fogarty did a series of posts he titled "Movies Everyone Must See", this is his work on Jaws and I'm happy to share his efforts with you.

It Rains...you get Wet

Michael from "It Rains... You Get Wet" is a gentleman when it comes to movies. He is thoughtful, polite and honest. I'm happy to say he is a friend. His story includes a period of time when he was sick of this film. He has since recovered.

Keith and the Movies

My on-line friend Keith posted an end of summer entry on images from "Jaws". Take a look see.

Digital Bits

Finally, I came across this epic post which has data and interviews galore and may be my new favorite past time. If you read any post other than mine, this should be it.


Happy Clicking everyone.

The Faces of JAWS

Everyone knows the stars of the movie "Jaws". Between them, the three actors had Oscar nominations for five other roles and one win for best actor. All three leads had long and distinguished filmographies. I would never say anything to diminish the contributions that they made to the film. The movie however has a background cast that is made up not of necessarily great actors but great faces. When you look at the characters, most of whom appeared in only one scene and often without a line, you get a real feeling for the community of fishermen and tourist business owners and other locals that are likely to make up the population of Amity Island.

Robert Shaw's Quint is shadowed in his scenes on land by a mysterious, mute, slack jawed lackey with a dog. He may be Quint's usual assistant, but he apparently knows better than to get on the Orca with Quint in full Ahab mode. Ben Gardner's most famous moment occurs underwater and at night, but he lends credibility to the film as the charter boat captain that thinks all of the bounty hunting fishermen are looney.

Locals like Polly, the Chief's secretary, seem to have aged under the sun and the fog of the island. We only see the back of the irate store owner as he berates the jobber who failed to bring in the correct summer stock, but we can tell from his posture and the face of the man he is confronting, he expects people to listen to him. The harbor master is almost a parody of old sea captains from the area, and by the way he was a dead ringer for my Father in Law.

If you want to look despair in the eye and have it followed up by fury, glance at Mrs. Kitner as she confronts the Chief on his feckless handling of the original shark attacks. The local motel owner is scowling at the news that the beaches are closed and she drops the dead bird on the conversation when she tells the crowd at the public meeting that the joke about the bounty being in cash or check is not funny. Her eyes tell you she sees no humor there.

The collection of oddballs they gathered for the successful bounty hunters is hysterical. One guy looks like the kid from "Deliverance" all grown up, the other two look like bowling pros who are slumming for the weekend by fishing for shark. The media guys are played by real media guys, slightly out of their element. Benchly looks like a condescending elitist, pontificating on camera about the island being terrorized.  Screenwriter Gottlieb is mostly in the background but fits as the reporter who is more booster than newsman.

The stuntman who dies in the estuary looks more like he belonged in the little rowboat he occupied than any day sailing vessel. The poor kid on the beach who can't find his dog, victim number two who is often over looked, Pipet, has a nice forlorn expression. College boy drunk who missed out on getting with Chrissy and being dessert, has the long blond hair of a college crew member on Hartford's rowing team. Best of all, the two little stinkers who play the practical joke with the cardboard fin are perfectly snotty and whiny when they get caught. The speed with which the younger one throws his partner under the bus was amazing and he had the face of a squealer to match the performance.

None of these were big parts but they were all essential to making the movie entertaining as it sets up the confrontation that takes place in the last act.    

One last face to include from this evenings screening, TCM Host Ben Mankiewicz.  If you left before the credits were over, you missed a nice little coda that was also an ad for "Double Indemnity" next month.

 See you in July Ben.