Thursday, May 13, 2010

Classic Rewind: The Man From Laramie (1955)

Anthony Mann's westerns are of a different breed - brooding, cathartic and lean, these films were influential in the development of the western as a tool for high-stakes sophisticated drama that had been absent from the genre since it became fashionable in the late 1930's with films like Stagecoach ('39), Dodge City ('39) and Jesse James ('39).

More readily identifiable were the collaborations between Mann and Jimmy Stewart, who teamed for five such westerns in the 50's beginning with Winchester '73 ('50) and ending with one their best, The Man From Laramie ('55).

As per usual, Stewart plays a lone gunman on a mission who gets caught up in a ruthless, testy conflict. Far from the well-mannered country boys he played throughout the 30's and 40's and the law-abiding men he would later play, Stewart's career was rejuvenated with these obsessive, on-edge performances - culminating into his role in Alfred Hitchcock's Vertigo ('58).

In The Man From Laramie, Stewart's Will Lockhart makes himself an unwanted guest in the town of Coronado when he tangles with Dave Waggoman (Alex Nicol) over the trivial pickings of a salt field, owned by Alec Waggoman (Donald Crisp), Dave's father, who dominates the landscape with sheer power and fear - the massive Barb Ranch.

Lockhart refuses to leave until he gets the money owed to him from the burning of a few wagons at the hands of Dave, but when he refuses to leave, the suspicions of the Coronado residents (specifically the Waggomans) as to the motives of "the man from Laramie" boil over.

The dry, flat widescreen vistas (shot by the prolific Charles Lang) give Laramie a distinctive flavor in contrast to the chilly mountain passes of The Far Country and the wet greens of The Naked Spur and Bend of the River.

As Alec Waggoman recounts a recurring dream to the titular mystical figure, in which he describes a man arriving to kill his son, the delicious irony is in the misplacement of his apprehension.

Lockhart will inevitably leave Coronado unscathed - his elusive quest simultaneously revealed and fulfilled - yet we get the impression that further scuffles and dark alleys await his unwavering persistence. Sadly, for Stewart and Mann, there would be no more Will Lockharts in their future. [A-]

Cannes Round-Up #1

The first screening as part of the Competition Slate (18 films) was Mathieu Amalric's Tournee, which bowed last night overseas, about noon-ish stateside. Reactions were decidedly mixed.

Variety
's Jordan Mintzer isn't impressed with it at all.
InContention's Guy Lodge liked it, but found the third act disappointing.
Rope of Silicon's Brad Brevet landed on the positive side, but wasn't bowled over, either.
Meanwhile Jonathan Romney at ScreenDaily likes Amalric's performance in front of the camera rather than behind it.

Mathieu Amalric's Tournee kicked off the Competition portion of the Cannes Film Festival on opening day.

Meanwhile, Hollywood Elsewhere's Jeff Wells (who clearly isn't all that into the competition portion of the festival) apparently saw Oliver Stone's Wall Street 2: Money Never Sleeps, but oh, he can't talk about it. If you ask me, based on the clues given, he was displeased, but we'll have to wait a bit.

Today there was an 8:30 am screening of Wang Xiaoshuai's Chongqinq Blues, and despite a reverent approval from Sasha Stone at AwardsDaily, I'm reading a few adamantly differing opinions. More to come on that.

Wednesday, May 12, 2010

Trailer: The Adjustment Bureau

The first trailer for George Nolfi's The Adjustment Bureau (Universal, 9.17) is out and it certainly looks interesting. I love seeing John Slattery in Mad Men garb on the big screen, but mostly this trailer leaves me a bit disappointed.

I'm reminded of Richard Kelly's The Box and Martin Brest's Meet Joe Black for some reason, and the inclusion of the John Murphy piece from Sunshine in the trailer is disconcerting, no film that has used that music in its trailer has turned out unscathed, think about it.

Cannes Film Festival: May 12-23

Ridley Scott's miserable Robin Hood has screened overseas, and thus the 2010 Cannes Film Festival is underway. The web is full of great writers covering the festival from top-to-bottom, your best bets are Guy Lodge at InContention, Todd McCarthy at Indiewire, Jeff Wells at Hollywood Elsewhere, and The Playlist Nation crew.

Making their debut appearance at Cannes is Brad Brevet of Rope of Silicon, so I'll be looking forward to seeing how he handles things for the first time. He already has a great series of pics up of the many advertisements adorning the festival venues and hotels, give it a look.

Although I'm already turned off by Mr. Jeff Wells, who I look up to and even write after, as he has not only seen Robin Hood twice, but kind of liked it - yeesh!

Tuesday, May 11, 2010

The Six Musketeers?

In what should be a race to the theaters, Warner Bros. and Summit have apparently both greenlit two entirely separate Three Musketeers films. Paul W.S. Anderson (Death Race, Resident Evil) will direct the version for Summit, which will go 3D, while Doug Liman (Bourne Identity, Mr. and Mrs. Smith) will go to work for Warners.

The internationally-flavored cast on Anderson's "contemporary re-imagining" has also reportedly been lined up, with Logan Lerman as D'Artagnan, Ray Stevenson as Porthos, Luke Evans as Athos and Matthew Macfadyen as Aramis.

The villains are interesting to say the least with Christoph Waltz as Cardinal Richelieu, Mads Mikkelsen as Rochefort and Milla Jovovich as Milady de Winter. On a more tentative note, Orlando Bloom is also reportedly in talks to play the Duke of Buckingham.

I'm sure Warner Bros. will counter with a more high-profile cast, but certainly that assembly by Summit is an interesting mix.

Vamp-Girl

After seeing Chloe Grace Moretz in Matthew Vaughn's Kick-Ass, I'm fairly confident that she will be a kind of dominating presence in Matt Reeves' Let Me In, the hotly contested English-language remake to the much beloved 2007 Swedish pre-teen vampire film, Let the Right One In.

But the question is whether or not director Matt Reeves (Cloverfield) can spin a film as quietly chilling and uniquely provocative as Tomas Alfredson's and resist from turning the thing into a watered-down, loud and easy spookfest. If what I'm hearing from producer Simon Oakes is accurate, you can expect plenty of the latter.

Chloe Moretz notwithstanding, there's really no point in giving this thing a look - it's the perfect example of a film that simply doesn't need to be remade. The included screenshot is further proof, as it looks like a carbon copy of the exact same scene from Alfredson's original. Let Me In hits theaters on October 1, 2010.

IGN's Top 25 Westerns

IGN, in a 5.10 article, posted their Top 25 Westerns of All-Time as a tie-in to the video-game release of Rockstar's Red Dead Redemption.

Considering the source (not that IGN is a bad site, but at the end of the day, it caters to a large, young video-game/fanboy demo), it isn't a bad list at all. A bit too populist and a bit too modern, it nevertheless will suffice as a decent list. Here goes:

1. Once Upon a Time in the West (Sergio Leone; 1968)
2. Unforgiven (Clint Eastwood; 1992)
3. High Noon (Fred Zinneman; 1952)
4. Shane (George Stevens; 1953)
5. The Wild Bunch (Sam Peckinpah; 1969)
6. The Searchers (John Ford; 1956)
7. The Good, The Bad and the Ugly (Sergio Leone; 1966)
8. Butch Cassidy and the Sundance Kid (George Roy Hill; 1969)
9. The Magnificent Seven (John Sturges; 1960)
10. The Man Who Shot Liberty Valance (John Ford; 1962)
11. Rio Bravo (Howard Hawks; 1959)
12. The Outlaw Josey Wales (Clint Eastwood; 1976)
13. My Darling Clementine (John Ford; 1946)
14. Tombstone (George P. Cosmotos; 1993)
15. The Professionals (Richard Brooks; 1966)
16. 3:10 to Yuma (James Mangold; 2007)
17. McCabe and Mrs. Miller (Robert Altman; 1971)
18. The Naked Spur (Anthony Mann; 1952)
19. Will Penny (Tom Gries; 1968)
20. Pat Garrett & Billy the Kid (Sam Peckinpah; 1973)
21. A Fistful of Dollars (Sergio Leone; 1964)
22. The Gunfighter (Henry King; 1950)
23. Silverado (Lawrence Kasdan; 1985)
24. Little Big Man (Arthur Penn; 1970)
25. The Treasure of the Sierra Madre (John Huston; 1948)


The biggest problem first off is the egregious praise given to two of John Ford's most overpraised westerns (Liberty Valance and The Searchers) while neglecting two of his best: Stagecoach ('39) and Fort Apache ('48).

Secondly, there isn't nearly enough Anthony Mann, with The Far Country ('55) and The Tin Star ('57) noticeably absent alongside the similarly neglected Robert Aldrich's Vera Cruz ('54).

I also look forward to the day when George Stevens' Shane ('53) is rightfully removed from Top 10 vicinity so that kid can stop shouting his name. And The Magnificent Seven is actually pretty good, but it loses major points for just stealing the plot of Akira Kurosawa's Seven Samurai and not capitalizing more thoroughly on one of the greatest western casts ever assembled.

And lastly, I've always thought that Sam Peckinpah's Pat Garrett & Billy the Kid ('73) was his masterpiece, not The Wild Bunch ('69). I need to do a western list myself, but I still have so much lesser-known stuff to see to accurately compile it, so I'll hold off for now.