Paramount Summer Classic Film Series- A Clockwork Orange

This has always been the controversial film, but especially at our house. My late wife rarely disliked movies but when she did she did so with a passion and "A Clockwork Orange" is one of the films that she loathed. The reason that makes it controversial at our house is that it's a film that I have loved since I first saw it in the mid-70s. Despite our difference of opinion on the movie I continued to watch it every few years. And last night's screening gave me a little bit more insight into why my dearly departed love disliked the film so much.

Not only is the film misanthropic it is highly misogynistic and rarely offers any sort of redemption for those attitudes. Alex DeLarge, the self-described hero and narrator of the film, is a loathsome violent criminal, who has disdain for any conventional rules, although he is capable of putting on a facade of politeness when it suits him. There are three distinct scenes where women are helpless as they're being assaulted by multiple criminals in the story. None of these woman are really given much of a chance to be a fully realized character. Although the defiance of the cat lady who is the final victim of Alex, is at least an attempt to give a female character a personality in the story.

The movie is a dystopian view of a not too distant future, and although the book was written in 1962, and the movie came out in 1971, 2024 does not feel as if it is too far in front of a world very similar to the one depicted in this story. The plot goes a long way toward trying to criticize the nearly fascist political party in charge of Britain and its criminal justice system. And although Alex suffers as a result of the treatment that he receives, it's awfully hard not to sympathize with the victim that turns the tables on him at the end of the film. The whole tone of the movie is one of cynicism directed at irredeemable youth, intransigent bureaucracy, and conniving political creatures.

As much as she disliked the film, my wife would have agreed with me about Malcolm McDowell the star of the movie. He is perfect in this movie. Director Stanley Kubrick notoriously a perfectionist, must have worked McDowell to near exhaustion to get some of the scenes that resonate so well especially in the final sections of the film. When the Minister of Justice starts hand feeding Alex in his hospital bed, he is mocked subliminally by the smacking noise that Alex makes with his mouth each time he's ready for another bite of food. The political obtuseness of the minister is one of the points of the film. There is a theme in the movie that also concerns free will, but that feels like it is only there is as justification for making us feel guilty about the treatment that Alex receives.

Alex's parole officer, is not a particularly pleasant person, but he seems to have one of the most accurate views of Alex of anyone in the film. The corrections officer at the prison, is seen as a totalitarian tool, but he also has a keen understanding of Alex, although one that is so single-minded that it seems unreasonable. And that's in spite of what we know about Alex and his character. This may be one of the faults that critics of the film justifiably point to because it makes Alex a victim when what he really is, is a monster. The feckless parents and the manipulative Justice minister are reflective of the powerless society that has allowed this sort of crime spree to exist. Kubrick, and apparently Anthony Burgess the author of the book, seem to be trying to have it both ways, abhorring the aberrant behavior of the young thugs, but also averting our eyes in horror at the brainwashing of those same thugs to condition them to be more social creatures.

The movie has the added bonus of a synthesizer heavy score that frequently manipulates classical music into its themes. There's nothing wrong with a little Beethoven to go along with your ultraviolence. 

Paramount Summer Classic Film Series-Star Trek II: The Wrath of Khan

 

Once again we are back at the Paramount for another Summer Classic film. This time it was the first film of this season in the "Robert Rodriguez Presents Series", "Star Trek II: The Wrath of Khan". Local hero Director Robert Rodriguez chooses films that he was inspired by or has some connection to and then introduces them with behind the scenes stories and tidbits about the actors. The villain in this film was played by Ricardo Montalban, who made a couple of the "Spy Kids" movies with Rodriguez. The director noted how the question always comes up about Ricardo's physique and whether he wore a prosthetic chest piece. That is in fact Montalban's own chest, and the costume designer was so impressed with his appearance, they created costumes that accentuated his look.

Director Rodriguez also recounted the sad history of Montalban's back injury and the surgery years later that confined him to a wheelchair. Of course movie magic allowed the actor to run in one of the "Spy Kids" films and that was a nice moment that he shared with us. The director has a long list of notes in a notebook that he refers to as he prowls the stage like a tiger, not from anxiety but rather enthusiasm. He surveyed the audience and found one person who saw Star Trek II when it opened, at the same theater he had done so back in San Antonio in 1982. That audience member was presented with a nice picture book about the making of the movie. I suspect it was also autographed by our host.

"The Wrath of Khan" was a follow up to "Star Trek the Motion Picture", which was financially profitable but at a huge cost. The sequel was done with a miniscule budget in comparison, and the production was taken over by the TV unit of Paramount to hold down costs. Still, there are several great production moments in the movie, including the battles between the two starships and the Genesis Project video. There are several spots where shots are cribbed from the first movie but it is not egregious. The fact that "Khan" was a continuation of an original series episode was discussed and Rodriguez had edited together a ten minute version of the episode for us to watch before the movie.

You can read my thoughts on the movie here, and  here, and here. This is a movie that I adore and every chance to see it on the big screen should be jumped at. There are two things I would like to add about the screening. Robert Rodriguez explained that another way to save costs was by skipping the more expensive Jerry Goldsmith as the film composer and hiring James Horner. The future Academy Award winning composer was the go to Roger Corman and Star Trek II was his big break. Ironically, Director Nicolas Myer said he was hired because they could not afford Goldsmith, but when Meyer returned to the series for Star Trek VI, they could no longer afford Horner.

The other thing I wanted to mention was the beautiful artwork done by Bob Peak. The prolific film poster illustrator did images for all of the original cast movies, but his work on Trek II was superb. So good in fact, that I draped myself in it for the Sunday night show. 

The Bikeriders (2024)

 

It's been almost a week since I saw this film, and I'm still not sure how much I liked it. To be honest, the faults of the movie are largely a result of a screenplay which is based on a book. Unfortunately, it is a photography book and it has no narrative structure. Writer/Director Jeff Nichols has attempted to create a story to match the looks of the 60s motorcycle club, but it feels like a set of tableaus rather than a fully formed plot. The choice to have it told through a series of backward looking interviews, by a subject who would not be privy to some of the details or events, is also a bit befuddling.

The three stars of the film all have something to offer, but there is also a drawback to what they are doing.  Tom Hardy plays Johnny, a motorcycle racing enthusiast who commits to forming a riding club. The people who join this club are largely outsiders who are looked down on by others and frequently spurned by their own families. Hardy has the attitude and look of a tough guy who is really a family man, but his articulation in the film comes with a voice that sounds like a feckless Elmer Fudd, more than the cool Marlon Brando that the character admires. Everything he does feels like he has to be pushed to do. The most powerful action he takes, in retribution for an attack on his protege Benny, is done as a collective action, and it is clearly their numbers which gives him the upper hand. Is that power going to be used for somethin? Can Johnny hold onto the power? Will the authority of his position corrupt him? Some of these get a little attention, but are not deeply developed because there really is no story. Johnny is an incomplete character.

Speaking of incomplete characters, Benny is basically just a cliche dressed up as Austin Butler doing James Dean. As a laconic, nearly mute protagonist, Benny has the look of the character he is supposed to be, but there is even less depth to him than to Johnny. Butler is promising enough early on, where his good looks and quiet demeanor suggest sexy bad boy. As the film plays out, we just know him by his anti social ways, rather than his character. He is a walking stereotype of the dangerous sexy boy that the girl is attracted to. When it comes to physicality, Butler is great, when it comes to emotions, there is only one scene, near the end of the picture, where we get the slightest insight into how he really feels.

Jodie Comer is the real star of the film. Her character, Kathy, is the narrator for the events, and she has a couple of incidents in the movie where she gets to show her chops. Her choices may be the most controversial because of the accent that she uses for the character. I know that it is based on the actual voice of the real Kathy, because of an interview we got after the advanced screening. In the live stream event, she told the story of listening to a tape of the woman who was the source of the material about the club/gang. The approach is disconcerting at first but I thought she sold it pretty well. Others may have difficulty living with it.

The movie looks terrific. It is shot in a way that accentuates the images so that they look like they came from a picture book. This choice may also undermine the drama of the film. There are dozens of needle drops that reflect the times and the subculture of the motorcycle club. Very few of them are the biggest hits of the artists that are being played, they rather are strong lesser known tunes that fit the themes and images of the film. You won't be hearing "Leader of the Pack" by the Shangri_Las, but you will hear that group frequently in the film. Steppenwolf is nowhere to be found but Gary U.S. Bonds is. These were good choices to avoid a paint by the numbers motorcycle movie. It's just too bad that the narrative and the visuals make the movie feel like a slideshow rather than a story. 

X (2022) Re-Visit

 

It is no secret that the Ti West film "X" was my favorite movie of 2022. Along with the immediate prequel "Pearl", director west has created an indelible set of characters, tied together by sexuality and a desire for fame. In two weeks we will be getting the next chapter in this franchise, "Maxxxine", and it is my most anticipated film of the year. I am always happy to see a movie that I love on the big screen, but this week's screening was special because at the conclusion of the film, we get the five minute opening of "Maxxxine" as a dessert. The amazing Mia Goth, should have been nominated for an Academy Award for the tremendous work she did in "Pearl", and it looks like there will be more of that caliber work in the new film. The tone of the clip we saw was perfect, and the exit line that leads to the titles, tells us that this character is a force to be reconned with. I can hardly wait.

As for "X", this movie continues to impress me with it's verisimilitude of the late 1970s film scene. The rag tag band of pornographers runs into a older couple that has a dark history and a misanthropic perspective of the world. The movie provides a variety of horror thrills, from slashers, to animal attacks and body horror. That it does so with a great sense of style and humor is what makes the film so memorable. The aforementioned Mia Goth has a dual role in the film, and she hits the right marks of both a scream queen and a horror villain. 

The obvious horror influences are "The Texas Chainsaw Massacre" and "Psycho". The setting at an isolated farm in Texas with a weird family of residents is supplemented by the group arriving in a van, and going through some of the same stages of travel as were found in that 1974 classic. The "Psycho" connections are slightly more subtle but also more plentiful. There is an infirm old lady, watching from an upstairs window. Voyeurism is at the heart of the story as we peek at the sex being filmed for a low budget porno, the main antagonist does some peeking as well. "Psycho" gets name checked by the film student/director of the movie within the movie, and he has a shower scene that anticipates the Janet Leigh treatment he receives just a few moments later. The stud film star, who is acting sympathetically to the old man in the story, gets the Martin Balsam treatment. 

In an early scene in the movie, we are treated to a Peeping Tom's overhead view of Maxxine taking a nude swim. Included in the overhead shot is an encroaching crocodile, which is disappointed at the last minute, but Director Ti West knows that Chekov's crocodile must play a part in the mayhem, and he does not disappoint. Brittany Snow plays the cocksure actress who can both make it and fake it. Martin Henderson as the ambitious film producer manages to be slimy but also somewhat charming and polite. Jenna Ortega was in her third horror film of the first half of the year when she gets tempted to the dark side of sexual fame. Her hysterics in the final act are one of the things that make the climax feel so much like "Texas Chainsaw Massacre". 

Although there is gore a plenty in the film, the sense of terror does not rely on those bloody images. Two example perfectly explain what I am talking about. Wayne, the producer has a encounter with a rusty nail that invokes more horror than his final confrontation with a pitchfork. Ti West knows how to milk that suspense, and when the sudden puncture away from the foot happens, it is almost a relief and comic by comparison. The second scene that shows off the horror bona fides of the director comes when Mia Goth encounters Mia Goth in her bed. It is as disturbing as is possible while also having some sympathy for the horrible Pearl. 

I hate that I have to wait an extra day to see "Maxxine", we have some other commitments. I guess being an adult carries the weight of responsibility with it. Although I have to say, loving these movies may undermine all that I do in the rest of my life to prove I am a grown up. 

 

Indiana Jones and the Last Crusade (1989) Father's Day 2024

 

There is a long history of seeing "Indiana Jones and the Last Crusade" on Father's Day. Here is a link to a video blog post on one of those visits several years ago. 

This film has a couple of great ideas, that play out perfectly for a Father's Day screening. The opening sequence, featuring a Young Indiana in what must have been his first big adventure, sets up both the character, and his somewhat contentious relationship with his father. We hear Dad's voice but barely see the back of his head. When Sean Connery returns in full force later in the picture, he is the personification of the impervious father figure. It is as the adventure plays out that Junior and his dad start to mend fences and build bridges to a more familial relationship.

I love the sequences in Venice, the Austrian Castle and the rally in Berlin, they all remind us of the time and places that Dr. Jones lived in and how he boldly traversed the world. The action scenes that take place in the deserts of the Middle East however, are the most memorable, including a tank/horse chase that is choreographed brilliantly.

The film is loaded with memorable moments, some of which have become memes that are used all over the internet. This is not a full blown review, but there are other remarks you can find on the site if you like. 

Paramount Summer Classic Film Series-Alice in Wonderland

 

Another packed family movie, although this one was presented under the "Banned Camp" label that the film series is using this summer. Steven Janise, the programmer spoke at the start of the show, pointing out that the original book of "Alice in Wonderland" appeared on some lists of books banned by schools or libraries. It was not more specific than that so I can't tell you why.

The film experienced a renaissance in the late sixties when the drug counter-culture embraced all of the weird elements of the movie, and if you watch the movie, you will see why. This film is loaded with characters right out of a dream or a nightmare. The background flora and fauna are terrifically designed and would hold up in a contemporary film even if the form of animation was different. 

"Alice in Wonderland" does not really have a structure. The main character of young Alice, simply wanders through the enchanted world, encountering odd stories and characters along the way. Although nominally chasing the white rabbit, there was no real purpose for doing so, and if she spends ten minutes listening to a story or song, it is perfectly acceptable because all that happens next is another story or song .The Walrus and the Carpenter is a little creepy, since the adorable baby oysters get eaten, but at least it happens off screen. The Queen of Hearts is a little shrill too often for my taste but the game of croquet was a lot of fun.

The Cheshire Cat and the Caterpillar are exactly the things that hippies smoking pot or dropping acid would relate to. They are surreal moments in an abstract kind of film  that feels very ahead of itself, until you hear the songs. The songs are all standard child friendly 50s fare that have no hooks but are not unpleasant. 

Lush backgrounds, fluid characters and amazing designs are the reason you want to see this movie. It is a lot of fun at times, but it does get a little tiresome with the story pattern repetition.  

Inside Out 2 (2024)

 

I admired the original "Inside Out" from 2015 but I was not really a big fan. Some of the bloggers I follow loved it the best of all the Pixar films, but I found it only modestly satisfying. I have never quite put my finger on why it failed to resonate with me more, until I saw the sequel, to which I had the exact same response. It is fine, with some very clever moments, but there is something not quite right. I think my ambivalence is a result of a very small story arc, that is breached only by a long series of nearly random elements. It's the exact same pattern in both movies.

The best part of the films, is the creative production design and visualization of the concepts. We are getting a simplification of a complex mental process, and if we keep it at that level it works. The problem is that every time a concept is established, a new variation comes along and changes the immediate direction of the story and the process. Of course you need to have complications, but they should grow out of the world that is being created, and not simply imposed on the characters or scenario. As a result, each solution is less of a journey accomplished than an ex-machina imposition. There are simply too many of them to stay compelling, it undermines the drama.

Another reservation that I have detected, is an inherent flaw in character development. The emotions don't really have any legitimate  range. Joy needs to stay joyful, because that is her whole reason for being. If she can have other emotions, why do all of the separate characters exist? Her best line is that :"Maybe that is what happens when you grow up—you feel less joy." She utters it mournfully. She also has a breakdown and becomes frustrated that she needs to be joyful all the time. The scenario is clever but it sets out some impossible to meet rules for a story to work.    

There is a lot to like about the film. Anxiety as a character is a good add, but needs a little bit of moderation from the other new emotions. The Brainstorm sequence made me laugh out loud, as did the parade balloons of future occupations. The stream of consciousness continues to be a clever idea integrated into the world that has been created here. Visually, the movie succeeds at every turn, with creative imaging and beautiful execution. The sequences of Riley skating and playing hockey are exquisitely presented, and as I've said before, I'm not really a hockey fan.

All of us have gone through the things that Riley is facing in this film. It is tough to balance the conceit of the emotional universe with the daily experiences of the main character. I thought it was a bit more involving in this version of the movie, because we spend so much more time with Riley as a whole character. Joy on the other hand, is basically repeating the same mistake she made in the first film, with a different set of complications that just get resolved arbitrarily. I'm happy the film is doing well, I want the movie business to continue and hits make that happen. I just wish this hit was a little more deserving.