TCM
TiVo ALERT
For
September
23–September 30
DAVID’S
BEST BETS:
CLAIRE'S
KNEE (September 28, 2:30 am): This 1970 French film,
directed by Eric Rohmer, is an excellent erotic comedy about a
diplomat in his 30s who becomes obsessed with a teenage girl. Well,
not really her - he's in love with the thought of touching the young
girl's knee as a sort of sexual conquest. However, the film is so
much more than that. It's about a man trying to recapture his youth
before getting married with the implication that marriage means his
life will forever change and not for the better. It's about a younger
teenage girl, Laura, Claire's half-sister, and her maturation. It's
about Claire, who appears to be care-free and not very bright, but
someone who is also insecure and vulnerable. Its story is brilliant
and incredibly emotional. The legendary Roger Ebert described it as
"a movie for people who still
read good novels, care about good films, and think occasionally."
That sums it up quite nicely.
THE
INFORMER (September
29, 2:00 am): This 1935 film, directed by John Ford, is a
fascinating and intelligent drama about a simple man in desperate
need of money and even more so in desperate need of attention. Victor
McLaglen is captivating as Gypo Nolan, the simple man in
question. He is kicked out of the Irish Republican Army during
its 1922 War of Independence for not killing an English Black-and-Tan
as retribution for that man's murder of an IRA member. Now even
more desperate and an outcast in his hometon, Gypo sells out a
friend wanted as a fugitive, for 20 pounds. Gypo proceeds to
spend nearly all of the money on liquor, food and
showing off. After passing the blame for the incident, that leads to
the death of Ford's character, onto someone else, Gypo finally admits
what he did and realizes how wrong he was. The film - with Oscar wins
for McLaglen and John Ford - is a morality story that is dark, tragic
and raw.
ED’S
BEST BETS:
PATTON (September
25, 8:00 pm): George C. Scott was never better in this biopic of
World War II’s most iconic general, and the Academy knew it as
well, awarding him the Best Actor Oscar for his efforts (which he
refused). It’s a good, old-fashioned epic. We knew who the Good
Guys were and who the Bad Guys were, and never the twain did meet.
There are historical inaccuracies galore, but this is Hollywood. If
it’s a case of legend versus fact, print the legend. Karl Malden is
excellent as General Omar Bradley, and Michael Bates makes for a
feisty Montgomery, with whom Patton was always in competition. Does
it tell us much about the inner Patton? Not really, but just go along
for the ride. You won’t be disappointed.
THREE
ON A MATCH (September 26, 1:00 am): The Pre-Code era
was noted for producing some pretty strong films, and this entry was
among the strongest. Ann Dvorak, Joan Blondell, and Bette Davis are
three childhood friends who have a reunion at a restaurant and vow to
stay in touch. They then light their cigarettes on one match, hence
the title. The famous superstition predicts bad things for those who
do so, and each suffers her share of the bad life. However, the one
who falls the furthest gives the movie both its twist and its
reputation as among the most lurid of the Pre-Code films. Humphrey
Bogart is on hand as well as (what else?) a gangster. He turns in a
good performance, as does Warren William, playing a good guy for
once. For those new to Pre-Code films, this is one to watch.
WE
DISAGREE ON . . . HUD (September 24, 9:45 pm)
ED:
A. Hud is one great movie, boasting a
good story, a great script, excellent acting from its leads,
wonderful photography from the great James Wong Howe, and taut
direction from Martin Ritt. Based on Larry McMurtry’s
novel, Horseman, Pass By, it’s a uncompromising look at
the gulf between the values of the Old West, personified by Homer
Bannon (Melvyn Douglas) and the New West, more ruthless, less
traditional, personified by Paul Newman. Newman gave one of his
greatest performances as the amoral Hud Bannon, whose philosophy of
life was that he interpreted the law in a lenient manner: “Sometimes
I lean to one side and sometimes I lean to the other.” Hud is one
of the great heels of film, and Newman's usual scenery chewing
actually helps, rather than hinders, the progression of the plot.
When his father discovers his herd has contracted hoof and mouth
disease, Hud’s solution is to sell them off before anyone finds
out. Hud also wants to lease out the ranch for oil exploration, which
Homer is dead set against. In between the two are Hud’s nephew,
Lonnie (Brandon DeWilde) and housekeeper Alma Brown (Patricia Neal),
who Hud is forever trying to seduce. Hud is also a
wonderful character study. As we get to know the Bannons, we
gradually discover why they are what they are, especially Hud. And
near the end, with Homer’s death, there is no soapy deathbed scene,
where Hud sees the error of his way and promises to reform, Alma
returns (after Hud has driven her away), and Hud and nephew Lonnie
work the ranch together while Hud learns the value of good, hard
work. Academy awards went to Douglas, Neal, and cinematographer Howe.
Shooting the film in black and white was a terrific idea, for it
emphasizes the rift between father and son and keeps the film somber.
If ever a film deserved to a labeled “Essential,” it is Hud.
DAVID:
C+. First, a declaimer: I'm not a big Paul Newman fan
and really don't understand why people consider him a great actor. I
can't stand Cat on a Hot Tin Roof, and can only
tolerate Cool Hand Luke, The Hustler and Nobody's
Fool. I don't dismiss him as he's made some excellent pictures;
just not enough of them to earn his status as a Hollywood
legend. Hud definitely falls into the "can only
tolerate" category. Newman was often given the anti-hero role,
and this film is yet another though numerous reviews of the 1963 film
state the viewing audience saw his character as the hero, unable to
tell the difference. To summarize, Hud (Newman in the title role) is
an arrogant, self-centered, hard-living son of Homer Bannon (Melvyn
Douglas, who is splendid in this film), a successful and honorable
rancher. The two clash with a full-scale blow-up when their cattle
get hoof and mouth disease. Hud wants to sell the cattle without
disclosing the disease while Homer is dead-set against it. The
film fails to provide insight into the troubled father-son
relationship except to show their personality differences. Also,
Patricia Neal is very good as a middle-aged housekeeper abused by
Hud, and Brandon DeWilde is fine as Lonnie, Hud's nephew who idolizes
his uncle to the point of being blind to his many faults until the
end. But the storyline is weak and lacks originality. Some have
called it a Western ripoff of 1955's Rebel Without a Cause,
another highly-overrated. I can somewhat see it except Hud is a
stronger character than James Dean's brooding Jim Stark. Despite some
good performances, Hud is a dull and shallow movie.
Among the memorable lines in this flat film are: "It don't take
long to kill things, not like it takes to grow," from Homer, and
"Nobody gets out of life alive," from Hud. Words to live,
or die, by.
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