"Oh, you're too young to have heard of it"

A large part of my job at Paramount entails giving tours to the public. Last week I gave a tour to a group of mentally disabled adults visiting from Chicago. They were an absolute blast - super enthusiastic, and full of questions. One gentleman in particular was especially inquisitive, and one of the group leaders warned me that he'd talk my ear off, but I didn't mind a bit. At one point, he asked "what's the name of that John Wayne movie with his son and Maureen O'Hara? And it's funny?"

Without hesitation, I replied, "Oh, do you mean The Quiet Man?"

A chorus of impressed murmuring ensued before he responded nonchalantly, "Nope, the other one."

The other one? I was stumped. I contemplated it for a moment.

At this point, one of the other group leaders interjected. Condescendingly, she told him "Oh, leave her alone. She doesn't know what you're talking about."

Welcome to the life of a 24-year-old classic film buff.

*

Look, I get it. There aren't a lot of us out there. If you were to assume that I preferred the onscreen company of Robert Pattinson to Humphrey Bogart, the statistics would be in your favor. I'm not necessarily begrudging the people who make this assumption, although it is narrow-minded and frustrating. What bothers me the most is when I prove that I know what I'm talking about, and people don't hear or listen. In the case of the above woman, I admit I was a tad confrontational. I said something like "I know perfectly well what he's talking about. You know what I did this weekend? Watched silent movies." That may or may not have been what I actually did on the weekend in question, but my point was that it happens often. She replied, as if I had just described my workout regimen, "Good for you!" but quickly added "you probably do it for your job, right?"

NO.

Why could this woman not comprehend that I watched classic films of my own free will? And why is that okay to say, but I'd probably get smacked if I told her "Oh, I bet you haven't heard of Twitter because you're too old"?

What's especially puzzling is that movies (and TV) are the only art form(s) where this happens. No one blinks an eye when people are interested in the literature, drama, music, or visual art of a time before their own. Our culture keeps these artifacts alive - does it not do the same for cinema? Perhaps it's because other art forms are more likely to be taught in school - you're more likely to read Shakespeare and listen to Mozart than you are to be shown Godard. And people invariably know of events that occurred before they were born, so is knowing about that culture really such a stretch? My default comeback to "Oh, you wouldn't have heard of it, it was before your time" is "The Civil War was before your time. Have you heard of that?"

Again, maybe it's a bit catty, but the assumption that people are too ignorant or close-minded to explore culture other than their own is downright rude. I used to work at a video store where I'd get this all the time. Many people snapped out of it once I demonstrated I knew my stuff, but others would continue like the group leader woman and keep condescending to me because of my birth year. If you alter this sentiment somewhat, it pretty clearly becomes something you could not say in public. How about "oh, you wouldn't know about sports, you're a woman" or "you wouldn't know about Easter, because you're Jewish." Please don't think I'm classifying people's attitudes toward me as a hate crime or anything. But it's just so disrespectful to approach people like that.

I know I don't. I'll give people the benefit of the doubt, no matter how small a chance they have of knowing what I'm talking about. If I'm greeted with a blank stare, only then will I go back and clarify. Giving tours day in and day out, you learn to cater to the lowest common denominator. But if people seem pretty savvy, I'll roll with it, no judgment.

So, I implore you: don't make narrow-minded assumptions about people's tastes based on external factors. Talk to them and find out. 

Do you find this to be true? If you're a youngish classics fan, do you get this treatment? Or in general, do people make exclusionary comments about your taste based on some demographic you're in? Relate and commiserate!

Employment in film

Due to the unfortunate timing of my birth, in 2009 I found myself graduating from college smack-dab into a recession. With a film degree, no less. Needless to say, I had a rough couple years there before I wound up in Los Angeles and miraculously snagged an entertainment industry job. It's a temporary position, however, so I'll soon find myself out on the proverbial streets again.

Granted, I didn't have much hard job-searching experience before I graduated, but I can say with confidence that the system has become Kafkaesque and absurd. Applications for menial, minimum-wage positions get thousands of applicants within an hour. You need 2-4 years experience doing PRECISELY the job you're applying for if you are even going to CONSIDER bothering anyone with an application. If you're lucky enough to get an interview, employers ask trick "Google questions" to suss out vague and undefinable characteristics. Or sometimes you just need to be attractive - I've been to interviews where they clearly just wanted to look me up and down, and nothing else.

It wasn't always this way. How do I know? Well, my job-searching experience prior to the recession was relatively painless. A few emails, a few questions, and boom, I'm behind the counter of some retail establishment. But I also know because of movies. One of the many reasons I love cinema is that is gives you a glimpse not only into the more exciting and prominent aspects of a time and place (war, culture, social customs, etc.), but the mundane as well. From an anthropological standpoint, I love watching people in older films go about their everyday business. So as someone who has frequently felt the hopeless, infuriating frustration of unemployment, I have particularly latched on to depictions of work acquisition in films. Now, I understand that narrative films don't always show things exactly as they are - either to streamline them or make them more interesting. But you can still learn a lot about the employment culture of a period from its cinema. Therefore, I present a rough history of American employment as told through the movies:

Obviously, in the way-back times, getting a job was a cinch. This becomes apparent from watching silent comedies, where a hapless hero would often have several jobs over the course of a single film. Normally, the process goes like this: Keaton/Chaplin/Lloyd etc sees a "Help Wanted" sign in a window, goes in to inquire, is asked "can you do (x)?" to which they naturally respond yes, and are hired on the spot. Now, I would imagine this has something to do with storytelling efficiency, especially since these films are often quite short. But the 1920s especially were bountiful times for America, so it's not hard to imagine that many blue-collar workers were hired in this way. (In College [1927], Keaton even manages to find work as a "colored waiter" by applying greasepaint. Naturally, it backfires.)

 

But then, of course, came the Depression, and suddenly things weren't so easy. Even more upbeat films tended to always have the Depression in the background, such as in Gold Diggers of 1933. Four sassy showgirls are between gigs, and never know where their next meal is coming from (frequently, it's the neighbor's windowsill). They understand that job-searching is a full-time job, so they spend every waking hour cajoling, persuading, manipulating and seducing producers and backers in order to get a new show off the ground. Their resourcefulness serves as an inspiration to modern-day job-seekers (well, perhaps minus the seduction part).

Alternately, if you were an employer in the 1930s looking to hire, you could literally pluck men off the streets. That's the approach taken by wealthy families in both My Man Godfrey (1936) and the eerily similar Merrily We Live (1938). Both have daffy women in search of household help - in the former, she finds a butler at the city dump, and in the latter, a tramp on the doorstep becomes the new chauffeur. Irene Bullock in Godfrey finds the titular butler as part of a scavenger hunt, the item in question being a "forgotten man" (a common term at the time for victims of the Depression). Matriarch Emily Kilbourne in Merrily, by contrast, has a patronizing habit of "collecting" and reforming vagrants. There were certainly enough to keep her busy.

The economy improved with WWII, but men returning from overseas were often faced with the unsavory reality of either finding a new job or being stuck with the same one. Dana Andrews' character in The Best Years of Our Lives (1946) is forced back into the same minimum-wage soda jerk position he had before the war, working under a younger man he had previously trained. His disillusionment eventually gets him fired, and despite attaining the rank of captain in the Air Corps, he can find no corporate or civilian equivalent. Broke and refusing to parade around in uniform, his hastily acquired wife leaves him. Fortunately, he eventually convinces a fellow veteran to give him a job building houses, foreshadowing the growth of suburbia and the economic boom of the 1950s.

Things get easier in the 50s. Smooth-talking Chuck Tatum (Kirk Douglas) creates a position for himself at a newspaper in Ace in the Hole (1951), despite having been fired from many previous employers (no background checks or references!). The deal is sealed by the brilliant but desperate line, "I can handle big news and little news. And if there's no news, I'll go out and bite a dog." In Imitation of Life (1959), Lora Meredith (Lana Turner) rather suddenly hires Annie (Juanita Moore) as a live-in nanny simply because Annie found Lora's daughter on the beach and looked after her for a bit. Letting a total stranger live in your house? People were just more trusting then, I guess...

  

In 1961, How to Succeed in Business Without Really Trying opened on Broadway; by 1967 it had gotten the silver screen treatment. Although the musical is a Pulitzer-winning satire, it's actually based on an autobiographical account of a man working his way up from the mailroom to the vice-presidency of a company. Its fundamental premise is that success is entirely contingent on saying the right things to the right people - words to live by to this day. A more direct form of deception was practiced by Frank Abagnale Jr, in the 60s-set true story Catch Me If You Can (2002). Starting at the age of 16, Abagnale conned millions of dollars by impersonating doctors and pilots. Con artists obviously still exist, but I'd imagine that technological innovations have made it exponentially more difficult (in case you were considering it as a career path).

Films of the 1970s featured many drifters who seemed to pick up employment with ease. As with prior decades, jobs that now require advanced degrees and certifications were entry-level - such as Pinky's (Sissy Spacek) new gig at the start of 3 Women (1977). She works at a physical therapy facility for the elderly, but based on the lackadaisical attitude and lack of qualifications among of the employees, it could just as easily be a roadside diner. Today, any physical therapy position (even an aide) requires two-year certificate. Lawsuits much?

The 1980s saw Dustin Hoffman in Tootsie (1982) dressing up as a woman to get work as an actor (well, actress), and succeeding. I would not, however, recommend this as a course of action for job-seekers.

The freshly graduated slackers of Kicking and Screaming (1995) have mostly themselves to blame for their unemployment, but there is a moment that inadvertently foretells the current insanity: "You have a second interview - for a video store?" For the most part, though, the 90s are a boom time, but with abundance comes discontent. Thus in 1999, a significant trio of anti-establishment, job dissatisfaction films were released: American Beauty, Fight Club, and Office Space. Beauty focuses on a more all-around unhappiness, but does feature its protagonist theatrically quitting his corporate job and rebelliously taking up at a fast-food restaurant. (How ironic that many workers today are following similar patterns involuntarily.) Edward Norton's job in Fight Club could not seem more soul-sucking - greenish lighting, sickly-looking employees. Office Space takes a comedic approach, but still depicts the white collar workplace as a unique form of hell from which one must escape.

Career abundance continued into the 2000s, which is why Seth Rogen's character in Knocked Up (2007) gets a cushy tech job despite having never worked anywhere before.

...And we all know what happened next.

Not many films have dealt with the recession head-on. The ones that have, such as Wall Street: Money Never Sleeps (2010) and Margin Call (2011), explore the actual happenings of Wall Street as opposed to the effect on the common man. More peripherally, Wendy and Lucy (2008) focuses on a young woman who's out of money and trying to relocate to Alaska, but the circumstances of her situation are vague. Tiny Furniture (2010) chronicles a mopey underemployed grad who mostly has herself to blame. The title character in Larry Crowne (2011) sets off on a journey of self-discovery after being laid off from the business where he has worked for 20 years. Shawn Levy's Interns will soon go into production, starring Owen Wilson and Vince Vaughn as two laid-off businessman who start back at square one as - you guessed it - interns. 

Ultimately, what it comes down to is that recessions don't make for great cinema. You can't have forlorn hobos wandering through dusty roads, Grapes of Wrath-style. You can't have repressed office drones rebel, like so many movies of the 90s did. From my experience, recessions just create a million little frustrations and disappointments. Perhaps when something or someone breaks through the lingering effects of this recession, we can have a film about it. Another con artist, perhaps?

This is by no means comprehensive - please chime in with more employment-related cinema. How has the recession treated you? Any wisdom and/or horror stories gleaned from movies?

Best overlooked and underappreciated performances of 2011

Well, kids, it's that time of year again - lists are sprouting up left and right of the year's top achievements in cinema. And although there's been a refreshing lack of consensus so far, you're going to see the same names and titles popping up again and again. Most of them have earned it, so I'm not complaining. But as is my tradition, over here in the peanut gallery I like to give a shoutout to the ladies and gents whose fine work this year was undervalued. Thus I present my annual list of overlooked and under-appreciated performances. As always, I offer my disclaimer that these are not necessarily replacements or alternatives for this year's batch of nominees/winners - they're simply worthy of more attention. Onward!

BEST ACTOR

 
Rainn Wilson as Frank in Super
Dwight Schrute has always had a bit of a crazy streak, but Wilson takes that all the way here as a passionate but misguided vigilante. Believing he has been literally touched by God, he starts attacking thugs as part of a greater quest to win back his wife. By day, he's the ultimate sad sack, but by night he can be found bludgeoning people with a wrench for increasingly minor offenses. You know it's wrong, but you can't help but root for him.

 

Joseph Gordon-Levitt as Adam in 50/50
The danger in making a "disease movie" is that the sick person can easily come off as a bland victim. I'm not diminishing the severity of cancer here, but it doesn't really make for compelling drama. Adam does have cancer, yes, but he also has a problem of letting the wrong people into his life and shutting the good ones out. Through JGL's skillful blend of comedy, pathos, and realism, the cancer story becomes a vehicle for a tale of a man letting others in.

Tom Hardy and Joel Edgerton as Tommy and Brendan Conlon in Warrior
Both Hardy and Edgerton should really be on your radar if they aren't already - if nothing else, they're your new Bane and Tom Buchanan, respectively. This film showcasing their great fraternal chemistry slipped unjustly through the cracks, with many blaming a perceived similarity to The Fighter. While it's true that both films feature brothers who participate in ring-enclosed sports, the similarities end there - Warrior is an almost mournful film about a severely damaged family, and how MMA (mixed martial arts) might be the only thing that could bring them together. Edgerton brings a natural realism to the role of the family man with the rowdy past, and Hardy is riveting as the enigmatic, uncommunicative drifter.

Conan O'Brien as himself in Conan O'Brien Can't Stop and Steve Coogan as himself-ish in The Trip
Cuz like, isn't life just a performance, you guys?! In all seriousness, the fascinating thing about these two films (the former a documentary, the latter a mockumentary) is that it's sometimes challenging to discern what's real and what's not. I doubt Coogan is a reckless womanizer, for instance, but is he actually that dismayed by the state of his career? O'Brien, on the other hand, seems like someone who is always "on" and is especially aware of the cameras, making it seem like he's always performing. One thing's for sure: both of them are very, very funny.

BEST ACTRESS

Saoirse Ronan as Hanna
I never saw the point of classifying child actors separately - you've either got the goods or you don't. Ronan towers above others two or three times her age in this electrifying tale of a girl raised by her father to be an assassin. Although somewhat of a kindred spirit to Hit-Girl in last year's Kick-Ass, Hanna has been raised in the wilderness and never known anyone but her father. Thus scenes of her instinctively annihilating adults are mixed in with tender scenes where she tries to have the childhood she was denied.

Kristen Wiig as Annie in Bridesmaids

Aside from a surprise Globes nom, all of the acting love for this film has been directed solely at Melissa McCarthy. I'm not saying she's unworthy, but the fact that everyone is treating a woman doing gross-out humor as a comedic breakthrough is kind of sad. Frankly, I think Wiig's work here is much more nuanced and daring, as she's not only hilarious but fairly despicable and destructive throughout.

Jenna Fischer as Laura in A Little Help
As Pam Beesly on "The Office," Fischer plays nice. For her uglier side, turn to this indie, which is a bit uneven but shows off her acting chops. A former high school beauty turned hometown hot mess, she has petty and insulting fights with her young son and everyone else in her family, but she just wants them to like her. Fischer explores what it's like to have your life be in shambles, but not in the cutesy romantic comedy way (as in "oh no, my job is hard and I trip a lot!").

Mia Wasikowska as Jane Eyre

Confession time: despite being, ostensibly, a girl, this was my first introduction to the tale of Jane Eyre. I therefore have no basis of comparison, but I dare anyone to play the role better than Wasikowska. Naturally, it's unfortunate that we have to go back over 150 years to find a female character this strong without an obvious hook (e.g. an assassin), but I'm grateful to Wasikowska for reviving her with such intelligence and passion.

BEST SUPPORTING ACTOR

Sacha Baron Cohen as the station inspector in Hugo

Cohen does not do subtlety. And really, would you want him to? Playing a man who could easily be a cousin of his garish barber in Sweeney Todd, Cohen is operating in his typically alternate plane of existence, which dovetails nicely with the world of Hugo. And yet, he does find a balance - despite possessing utter dominion over the train station, he is still rendered helpless by a lovely shopkeeper.

Armie Hammer as Clyde Tolson in J. Edgar

Not content to rest on his laurels as a man so stunningly gorgeous it's scientifically impossible, Hammer has been one to watch lately. Here, he plays nicely off DiCaprio's Hoover, being the more socially adept half of their ambiguous partnership. But the most impressive part of his performance is how well he pulls off old age. So often when actors play older, they're going through the motions but something just feels off. Not the case here - I completely bought the athletic, 25-year-old Hammer as the 70-something, post-stroke Tolson.

Ezra Miller as teenage Kevin in We Need to Talk About Kevin
Since the titular nightmarish offspring ages from 0 to 16 in the film, he is portrayed by multiple actors, including two talented children. But it's Miller as the teenage Kevin that really steals the show. Kevin is a nature vs nurture study about the origin of sociopaths that offers no clear answers, and Miller dominates every frame he's in with an utterly chilling and compelling presence.

Jon Hamm as Ted in Bridesmaids

Some people have all the luck...they're gorgeous, talented, AND hilarious. One would never expect the man playing Don Draper to have killer comedy skills, but lucky for us, he does. And they're on full display here, with Hamm as the filthiest, most degrading man you could ever date. 

BEST SUPPORTING ACTRESS

Keira Knightley as Sabina Spielrein in A Dangerous Method
Frankly, I'm surprised that awards-bestowing entities aren't all over this. She plays a historical figure with both physical and mental problems, for crying out loud! But it's never for its own sake - Knightley skillfully depicts Spielrein's journey from stuttering, hypersexual patient to insightful doctor, and walks away as the true focus (and star) of the film.

Jennifer Morrison as Tess Conlon in Warrior
Typically in sports movies, the love story is in the courtship phase (i.e. Rocky, The Fighter, etc). Warrior takes a different approach here by having one of the protagonists be married, thus showing the strain of his career decisions on a preexisting relationship (with kids). Morrison transforms what could have been a throwaway role into something remarkable, balancing a love for her husband with an urgent need to sustain her family.

Ellen Page as Libby in Super

My boyfriend always explains his unconditional adoration of Tom Cruise as an actor by saying that he completely commits to every role he plays, no matter how slight. Perhaps that's why I always love Page - she has an intense "there"-ness apparent in roles from normal to deranged. And boy, this is deranged - Libby gleefully attacks people, rapes men twice her age, and generally revels in chaos. In anyone else's hands it might have just been embarrassing, but Page knocks it out of the park.

Colette Wolfe as Sandy in Young Adult

Playing a gawky townie, Wolfe only has a few minutes of screen time at the end of the film, but she certainly makes her mark. In those few minutes, she summarizes the moral of the film (which isn't quite what you'd expect), makes you laugh with her deadpan comedy, and tugs at your heartstrings.

OVERLOOKED ENSEMBLES

Attack the Block
Ever wonder why aliens only seem to invade the suburbs? Joe Cornish did, so he wrote and directed a film about an invasion in a South London hood. Unofficially tasked with defending the streets are a teenage street gang and the young woman they terrorized earlier in the night. Cornish's cast is comprised almost entirely of inexperienced actors making their debut (with the righteous exception of Nick Frost), and they bring a great energy and camaraderie to the film while replacing time-worn alien-fighting archetypes.

Tinker, Tailor, Soldier, Spy
Gary Oldman is being rightfully recognized for his performance here, but it's really more of a group affair. It's a who's who of British actors working together beautifully for the sake of the story - not even recent Oscar winner Colin Firth has that big a role, but everyone is an important piece of the puzzle.

The Ides of March
This cast is an embarrassment of riches that could easily fill a trophy case with their combined awards. Stars like Marisa Tomei and Jeffrey Wright chip in mere minutes of screen time to this well-crafted, simmering political tale. Additionally, many of the players are going against type - George Clooney as a semi-villain, Ryan Gosling tapping into his dark side without killing anybody, and Paul Giamatti being only somewhat pathetic.

What are your favorite performances of the year that you feel aren't getting enough love?

The year in dog

Movies and dogs are pretty much my two favorite things in the world. So when you combine the two of them, I'm in hog heaven. This year, some canine talent burst onto the scene that could easily be compared to the star power of Asta or Lassie. Beyond those career-defining roles, various films this year were positively peppered with pooches. I'm not just calling them out for being cute, but I truly believe that they were all strong screen presences, even those with limited screen time. Oh, and they're cute!

THE STAR TURNS

Uggy in The Artist

 

We'll start with the pup that won big at Cannes. Yes, Uggy is the lucky recipient of this year's Palm Dog award, which the Cannes jury awards every year for best canine performance. (I pretty much died when I found out that this was a real thing). To call Uggy a scene-stealer would be to call Citizen Kane a pretty good flick. Director Michel Hazanavicius knew the star he had on his hands, so he cleverly cast him as a spunky sidekick, both onscreen and off, to the film's actor protagonist. When I saw the film at the AFI Fest gala event, Uggy was in tow with the film's cast, as if to scoff at the notion that he wouldn't be.

"Arthur" in Beginners

Not only does it appear to be the year of the dog in cinema, but more specifically, the dominance belongs to the Jack Russell terrier. The breed is no stranger to showbiz, having popped up in everything from The Mask to "Frasier," but 2011 was the year it would really shine. In addition to Uggy, Cosmo the Jack Russell gives a great leading performance as Arthur in Beginners. "Leading performance" was not a typo - this dog is in nearly every frame, and has the expressiveness of his fellow actors. Costar Ewan McGregor was so taken with him that he wanted to adopt him after filming, but his trainer wouldn't let him go. And honestly, who would?

The Doberman and dachshunds in Hugo

You'd think that anyone would disappear into the shadows acting alongside the theatrical Sacha Baron Cohen, but someone found him in a perfect foil in the form of a stone-faced Doberman. Cohen's character essentially regards the dog as a human sidekick, and their relationship is all the better for it. There's also a single shot of the two of them that I won't spoil, but it might be the most delightful doggy moment I've ever seen onscreen. The film also features, in a much smaller role, a hot-tempered dachshund that finds love.

THE SUPPORTING PLAYERS

"Skeletor" in 50/50

Although Rachael (Bryce Dallas Howard) is hardly the best girlfriend to cancer patient Adam (Joseph Gordon-Levitt), she does bring an adopted greyhound into his life as a coping mechanism. Adam doesn't quite take to Skeletor at first, but the dog's mournful eyes from his past life in a shelter radiate empathy, and the two become inseparable. There's a part where the two are snuggled up in bed where I seriously thought I was going to cry. As a doggy bonus, I believe Skeletor also briefly encounters a bulldog when out on a walk.

Laika in Le Havre

Even though the Palm Dog went to Uggy this year, a special jury prize was given to Laika. I'm not sure if that means Laika is a runner-up or actually superior, but either way, the adorable mutt provides a reassuring and super cute presence in the film.

"Jankers" in Tucker and Dale Vs. Evil

(Full disclosure: the spelling of that name is a rough approximation extrapolated from a hillbilly accent.) Like the scary-looking but sweet titular characters, Jankers' odd exterior (indeterminate bulldog mix, different-colored eyes) hides a mellow and sympathetic disposition. Correctly assessing how much he means to Dale, one of the college kids even takes the dog hostage! (Jankers comes through okay though, don't worry.)

The bulldog in Hipsters

 

Ever wish "Glee" was more like Grease, and in Russian? Have I got news for you! Hipsters is a charming little film about the rockabilly subculture of Russia in the 50s, complete with some of the catchiest songs and swell fashions of the year. Cool cat Fred, self-appointed leader of the hipsters, extends his style even to his dog, who has dyed fur and accessories for every occasion.

 

Rowlf in The Muppets

He plays the piano. Nuff said.

Also notable, though I couldn't find a picture: the mutt in Take Shelter. Despite its totally laid-back demeanor, the mentally unstable Curtis (Michael Shannon) starts perceiving it as violent and keeps distancing it from his family. And let's not forget the veritable cornucopia of Golden Retriever puppies appearing as party favors in Bridesmaids! Despite the one pup per guest rule, feisty bridesmaid Megan (Melissa McCarthy) helps herself to a whole armload, and later admits she might have gotten carried away.

And even though I haven't seen Young Adult yet, I'm going to go ahead and include its featured pooch. Just look at it!

Did I miss any? What were your favorite dog performances of the year?

Films that should have been something else

It's rare that films come into being because the idea was best suited for that particular medium. Adaptations obviously happen, as well as transformations during development ("Glee," for instance, was originally envisioned as a film), but it's not like a variety of artists are all chasing the same material. Consequently, it occasionally happens that you wind up with a film that (at least in my opinion) should have been something else, where the strengths play to a different medium entirely and the choice of art form drags it down. Here, then, are some films that I think were "born into the wrong body," so to speak.

Scarface (1932) as a graphic novel
When I finally got around to seeing Scarface, I felt like I was missing something. I love a good gangster picture as much as the next guy, and even Scarface's notable contemporaries like Little Caesar and The Public Enemy seemed much more lively. To me, the film lacked the manic energy that made similar films work. There was too much dead space, too many awkward stretches, too much focus on plot. So I propose it would feel right at home as a graphic novel, where the pace can be more relaxed while still holding interest. The machine gun fire would explode in big graphic rat-a-tats, and stylized artwork (black and white, perhaps) would do the heavy lifting instead of mostly novice actors. I'd read it!
 
The Producers (1968) as a musical
Now, I'm aware this is sort of cheating, since the film HAS been made into a musical (albeit one I haven't seen, so I'm counting it). It's perhaps because I am aware of the musical that the film felt to me like a musical with the songs cut out. The plot is oddly arranged, the shtick gets old fast, and the vast majority of it is two actors stuck in a room getting hysterical at each other. The fundamental premise is so goofy that I think the full musical treatment would really highlight it and bring the absurdity to the max. (I'm clearly right, if a six-year Broadway run and 12 Tonys are any indication).

Beetlejuice (1988) as an art exhibit
Unlike many, I neither unconditionally love nor blindly hate Tim Burton - I take him one film at a time. My frustration with Beetlejuice was that it had wonderful production design - and that's it. The acting, directing, cinematography, editing and story were indifferent. He probably knew that he could get more financing for building a whimsically gothic collection of giant beasties if he shot a film with them. I've been to the recent Tim Burton art exhibit that's been touring the world, but the focus there is more on two-dimensional works and isolated movie props. Ideally, the world he created for Beetlejuice would have been transplanted into an immersive gallery environment where you experienced it firsthand, not once removed through a movie screen.

Once (2007) as an album
Once is about music. Any plot developments or character arcs, most of them minor, are entrenched in the music. So why not just leave it as music? The film plays like a long music video, although that's not even the best description because music videos exploit their visual component. Once does not - the characters just sit around either playing music or just kind of hanging out. Make no mistake; the music in question here is absolutely fantastic. They just didn't need to build a movie around it.

The Man From Earth (2007) as a play
I had heard a ton of great buzz about this little indie, but it proved to be a huge disappointment. There's an interesting premise buried underneath terrible acting, shoddy production values and elevator music: an immortal, non-aging man has seen all of human history unfold. Instead of being a 20-part history epic, however, the format is a bunch of intellectuals sitting in a room and talking. I don't have an intrinsic problem with this format and have seen many films that use it well, but TMFE is a textbook example of what not to do. Take a few of the sillier indulgences out of the script, cast a powerhouse ensemble of actors, and it could be a pretty great stage play. (Frankly, the way the film is made I was surprised to learn it wasn't adapted from one.)

Black Swan (2010) as a ballet
I'm well aware that the film uses the ballet Swan Lake as a launching point. But Aronofsky's dark, sexy, weird version of the ballet at the end of the film is like no Swan Lake I've ever seen. The offscreen drama of the finale is fantastic too, a virtuosic opera of madness that melds perfectly with the ballet performance. Unfortunately, the rest of the film is Natalie Portman whimpering and clipping her toenails. I'm not dismissing the film entirely, since the ending was one of the more inspired moments of cinema I saw last year. So why not combine the ballet of Swan Lake with the story of a ballerina going mad preparing for it? The histrionics fit the tone of "dance-acting," the production design can remain the same - just cast actual dancers who have been trained to emote through their bodies. 

Le Havre (2011) as a photography series 
Aki Kaurismäki's latest film immediately pulls you in with its stunning lighting. It's a strange thing to single out, but it's highly theatrical and makes the rainbow palette of the film really pop. The rest of the film, however, isn't nearly as notable - flat characters, a story that overestimates its importance, and barely enough energy to keep the thing moving. But viewing stills from the movie, they look like a carefully choreographed photography series spring-loaded with possibilities. I can totally picture them in a gallery or museum. The nature of film as a moving picture really does these compositions an injustice.

What do you think? Can you think of any films that seem destined to be something else?

Second-tier and loving it

They can't all be winners.

Even the strongest, smartest, most talented directors will misfire occasionally. It happens, and it's forgivable. But what about the works that lie between masterpiece and failure? The films that, far from being nonentities, are proudly second-tier? It often seems that you can learn more about a director from these films than from their best works. Sometimes in plumbing the depths of a director's filmography I'll discover a film that I either consider generally underrated or actually superior to the anointed classics. But that's not what I'm talking about here - today I'm celebrating films that, despite being far from the big leagues, are still worth your time. After all, you have to have SOMEWHERE to turn after you've seen all of the best and brightest. So here are some of my favorite second-tier films, listed by director - because "minor (name of director)" doesn't always have to be an insult.

Alfred Hitchcock

Masterpieces include: Psycho, Rear Window

But do check out: Foreign Correspondent (1940)

I've long contended that a Hitchcock film is never a waste of time. Even if it's not a classic, there will be memorable scenes, shots, and tricks from the Master of Suspense. FC takes a bit of time to get going, but its greatest strength is that you never know who you can truly trust. Joel McCrea is fine in the lead, but it's the suave support team of Herbert Marshall and George Sanders who truly shine. Hitch's keen eye for imagery also gives us visual treats like a chase through a sea of umbrellas, and a tense encounter in a windmill. It never quite coheres in the manner of, say, North by Northwest, but it's entertaining nonetheless.

John Huston

Masterpieces include: The Maltese Falcon, The Treasure of the Sierra Madre

But do check out: Key Largo (1948)

Humphrey Bogart and Edward G. Robinson face off as a hurricane traps them (and others) in a hotel. It's Bogie being Bogie and EGR being EGR, but I could watch that all day. Lauren Bacall's unique appeal is held back to "generic female" levels, but Claire Trevor steals the show as a pathetic, boozy broad (and won an Oscar for doing so). It's stagy, and not quite as tense as it perhaps should have been, but sweaty gangsters pointing guns at each other while the wind howls outside does cast a certain spell.

Michael Curtiz

Masterpieces include: Casablanca, Mildred Pierce 

But do check out: Young Man with a Horn (1950)

Curtiz' output is divided into two categories: Casablanca, and all the other stuff. In picking through the "other stuff," however, I've discovered that he was one of the most talented of the studio system's journeyman directors. Even without a distinctive style, per se, the consistent quality of his films suggests more than coincidence. So while I could go on and on about, say, Four Daughters or Life With Father, I'll focus on one of his more modest successes. YMwaH stars Kirk Douglas as a troubled jazz trumpeter (based on 1920s cornetist Bix Beiderbecke), and he elevates the film from the "forgettable studio system film" gutter it might otherwise occupy. He modulates perfectly between charm and pathos, all against a great soundtrack. Lauren Bacall costars as his tempestuous wife, and Doris Day is also on hand to play a shyer, more nervous version of herself. Even though the film opts to have the protagonist reform instead of dying the early death that Beiderbecke did, it's still fairly intense in its depiction of downfall (considering the era).

Otto Preminger

Masterpieces include: Laura, Anatomy of a Murder 

But do check out: The Moon Is Blue (1953)

Preminger is associated with noir and drama, not sex comedy. So it's a pleasant surprise to watch his deft handling of the latter. Known more as a curio that significantly weakened the Production Code, it's actually quite funny. The trio of William Holden, David Niven, and the otherwise unknown Maggie McNamara outwit and outflirt each other as they get into increasingly ridiculous situations. Oh, did I mention the main plot is that they're both competing to deflower her? The bad news is that it's pretty talky and starts to drag, and one can't help but wonder what it might have been like in the hands of a Hawks or McCarey. Still, it's quite amusing, with a knockout performance by McNamara as a horny ingenue (in 1953!).

Stanley Donen

Masterpieces include: Singin' in the Rain, Charade 

But do check out: The Pajama Game (1957)

Donen is one of my favorite directors, a man who, like Curtiz, has a body of work riddled with hidden treasures (Two for the Road and It's Always Fair Weather, for instance). So after watching The Pajama Game, I didn't think too highly of it. But later, in describing it to someone else, I found myself saying "Yeah, it's okay except for this one part. Well, and this other part. Okay, so just these three parts. Well..." The thing is, Donen can stage a musical number better than anyone in town. Add in choreography by Bob Fosse and the numbers here are truly special, from the sultry sizzle of "Steam Heat" to the no-holds-barred insanity of "Once-a-Year Day." If the film was all song and dance, it might be truly sublime - but since it isn't, the end result is rather uneven.

Nicholas Ray

Masterpieces include: Rebel Without a Cause, In a Lonely Place 

But do check out: Party Girl (1958)

My boyfriend prefaced my first viewing of Party Girl with "It's like, not that good objectively, but there's just something about it." Frustratingly vague as that is, I was forced to agree. Cyd Charisse is luminous but not exceptional, Robert Taylor is good but not memorable, and Lee J. Cobb is just straight-up hammy. Charisse's two dance numbers are bizarrely incongruous but entrancing. The plot is thin, but it all looks gorgeous. It's campy, tense, sad, and fun all at once. There's just SOMETHING about it!

Joseph L Mankiewicz

Masterpieces include: All About Eve, Julius Caesar

But do check out: Suddenly Last Summer (1959)

This somewhat campy offering is unusual fare for Mankiewicz, known for his solid studio films. On one hand you have Katharine Hepburn absolutely feasting on the scenery as a demented and delusional recluse, and on the other you have up and coming star Elizabeth Taylor giving a heartbreaking and shattering performance (with Montgomery Clift pulled between them). And let's not forget about homosexuality, cannibals, and lobotomies - oh my! It's based on a Tennessee Williams play, and it was as faithfully and competently adapted as possible considering the weirdness of the source material. It's been viewed alternately as a cult classic and just a regular classic, so watch it and decide for yourself!

Billy Wilder

Masterpieces include: Sunset Blvd, Some Like It Hot

But do check out: Irma La Douce (1963)

Does reuniting the leads from The Apartment, relocating the action to Paris and making everything ten times sillier sound like fun to you? It is! Irma lacks the sophisticated sparkle of Some Like It Hot, the dark bite of Sunset Blvd, and the pathos of The Apartment, but it does have Shirley MacLaine as the world's cutest hooker and Jack Lemmon as a suitor pretending to be different customers so he can have her to himself. The humor is broader than in Wilder's other films, which isn't a bad thing but might seem that way to those familiar with his work. Some sources claim it's the first major Hollywood film to address prostitution head-on, and consequently there's a bit of a giggly feel to it all - but you'll giggle right along with it.

Pedro Almodóvar

Masterpieces include: Talk to Her, All About My Mother

But do check out: Pepi, Luci, Bom y otras chicas del montón (1980)

It seems a bit improper to put a debut film on this list, but of the many Almodóvars I've seen, this seems to fit the bill best. Perhaps that's because it meanders amiably without getting into the more twisted stuff he became known for (although people DO pee on each other). It's good-natured anarchy that stays enjoyable, not awkward, as you watch an auteur find his voice.

Woody Allen

Masterpieces include: Annie Hall, Hannah and Her Sisters

But do check out: Everyone Says I Love You (1996)

I still can't believe that Allen has essentially cranked out a movie a year for the past four decades. When you're that prolific, you have the opportunity to touch on a variety of genres: slapstick, drama, crime, romance, mockumentary - and the musical! Despite the typical trappings like pop songs and choreography, this is hardly a traditional musical - his ensemble cast was told about the musical element only after they signed on, and he made everyone use their own singing voices, no matter how unimpressive. Viewers consequently discover that Edward Norton and Alan Alda are rather good singers and Julia Roberts is not, while navigating a feather-light plot through lovely locales (and a Groucho Marx party). Directors often trip up when working in homage, but Allen takes a relaxed enough approach here that everyone (audience included) has fun.

Joel and Ethan Coen

Masterpieces include: The Big Lebowski, No Country for Old Men 

But do check out: Intolerable Cruelty (2003)

The Coens' track record is so damn near perfect that any slight fall from grace is especially glaring. I actually avoided this film for a while because of its bad reputation, but was quite surprised to find it was a perfectly charming homage to screwball comedy (if there's such a thing as cool, even-tempered screwball comedy). Perhaps it's just my low expectations talking, but George Clooney steps nicely into the archetypal Cary Grant role (what an original comparison, right?) and Catherine Zeta-Jones proves to be an effective foil. Unlike classic screwball cinema, however, the Coens have some trouble maintaining the needed level of energy and rhythm of dialogue. Yet it's a nice throwback to a genre that peaked 70+ years ago.

What are your favorite second-tier films of acclaimed directors?

Eight outrageous Pre-Code moments

When you watch a lot of movies, like I do, it really takes a lot to shock or surprise you. I can sit through the most depraved sexuality or most graphic violence and not blink an eye - it's just a matter of expectations. A sudden blood-soaked battle royale in a Pixar film, for instance, is going to elicit double takes from even the most jaded viewers because you're not expecting to find it there. Fans of cinematic dissonance, then, would be well-advised to check out some Pre-Code cinema.

Long-time readers are probably familiar with the Code, but for those of you just joining us, The Production Code was a system of Hollywood film censorship in place from 1934 to 1968. Naturally, the existence of said Code means there was an era before it, which is generally considered to be between the birth of talkies and the strict enforcement of the Code (it was technically implemented in 1930, but without teeth). Consequently, films of this era could get away with a lot. Pre-Code transgressions, at least for me, fall into two categories: dryly anachronistic ("ah, since it's Pre-Code, that criminal act can go unpunished") and the truly startling ("WTF? I'm rewinding that!"). I'm not expecting that the average viewer would be scandalized by a lack of petticoats, but just to prove you can really get some kicks from the early 1930s I've compiled some of my favorite "wait - WHAT?" moments from Pre-Code cinema.

Lesbian kiss in Morocco (1930)

Marlene Dietrich, who was probably personally responsible for at least one film censor's heart attack, plays (what else?) a slinky cabaret entertainer who eventually falls for Gary Cooper. But before that, she finds time to plant a smoldering kiss on a female patron, mid-performance, FOR ABSOLUTELY NO REASON. My use is of all caps here is not to express indignation or disgust, but rather to underscore how profoundly random this moment is. It doesn't serve the story and is never mentioned again - it's just Marlene being Marlene. She was openly bisexual and added the kiss to the script herself - and insured its inclusion by taking a flower from the woman that would create a jarring continuity problem if the shot was cut.

 

Oh, and she's wearing a top hat and tux.

Laughed-off murder in Night Nurse (1931)

The perfect film for those who enjoy seeing Barbara Stanwyck prance around in lingerie, this film has it share of sordid and tawdry moments but none top the ending. Stanwyck's Lora has been engaged in courtship with a gangster, whose method of conflict resolution is sending a couple of thugs to rough up the person in question. Being a kind and reasonable person, she's initially horrified at this approach. But in the very last scene, a dead body (I won't say whose!) is delivered to the hospital, and we cut to the gangster admitting it was his thugs' doing as the two of them drive away smiling into the sunset. It's hardly prudish to say that a nonchalant murder makes a strange ending to a film that has otherwise upright morals.

"Jazz Up Your Lingerie" from The Smiling Lieutenant (1931)

If your lover abandoned you for someone else, you'd probably be pretty upset and/or angry. Franzi (Claudette Colbert) is both of these things when she loses the lieutenant in question to a virginal princess (Miriam Hopkins), but by some insane twist of logic she figures that the guy might as well have good sex. So naturally she sings a song to her rival called "Jazz Up Your Lingerie" that is exactly what it sounds like. Really, it's the only logical outcome when one woman demands of another, "let me see your underwear."

This will be stuck in your head all day. You're welcome.

Cocaine use in Three on a Match (1932)

I would expect to see cocaine use in a movie (even a Pre-Code one) about the dangers of drugs. I was not expecting it to casually pop up as a byproduct of one woman's moral decline (particularly seeing as she is part of an ensemble cast). After her character is offscreen for a while, she reappears with dark circles under her eyes and a distinct nose-wiping twitch. Lest you think you're imagining it, a hoodlum played by Humphrey Bogart (!) chides her with "Oh, that" while mimicking her gesture. Her lover and some of his underlings appear to have the habit too, making their apartment a bona fide 1932 crack den.

Marijuana in Jewel Robbery (1932)

Before Danny Ocean, before Thomas Crown, you could get your sexy, suave criminal fix from William Powell. Playing a jewel thief whose heists are like acts of seduction, he has Kay Francis at hello. But since not all of the witnesses are equally charmed, he subdues them with his secret weapon - marijuana cigarettes! They're not explicitly referred to as such, but the giggly behavior of those smoking them makes it pretty obvious.

The dress gag in This Is the Night (1932)

This film opens with Thelma Todd snagging her dress on a car door and having it ripped off. This causes virtually the entire population of Paris to stop what they're doing and excitedly sing "The lady has lost her dress!" Throughout the film, it seems that the inanimate objects of the world are conspiring to see Ms. Todd in her skivvies, as her dress is ripped off over and over. In fact, the film is wryly summarized in the BFI database with the single sentence "Comedy in which a flirtatious wife keeps getting her dress caught in doors."

The premise of Design for Living (1933)

What if you were in love with two people and didn't have to choose? That's the notion put forth in the film adaptation of the Noel Coward play, though one of the lines of the love triangle (the one connecting the two men) is removed. Scheming Gilda's solution to the fact that she's been sleeping with two best friends is to have the three of them move in together. They explicitly declare that there will be no sex in this arrangement, but let's just say that if they were successful at maintaining that rule, the film would be a lot shorter. The scandal is somewhat lessened by the fact that Gilda somewhat staggers the ensuing affairs and has them in different locations, but ultimately the film seems to endorse polyamorous relationships.

The premise of Baby Face (1933)

I almost didn't want to mention Baby Face because it's so obvious - anyone can tell you it's basically THE Pre-Code film. But you can't avoid it. It's about Barbara Stanwyck sleeping her way to the top of a corporation. It makes "Mad Men" look subtle and progressive. Some of the setups seem like the start of pornos, except the characters shut the door on the audience instead of letting them watch.

I also want to give a shoutout to Ecstasy (1933), which I can't technically include since it's not an American production, but it features gratuitous female nudity and an extended scene of female orgasm. In 1933!

Let me offer the disclaimer that not all Pre-Code films are this racy, or even very good. But there's a lot of fun to be had, and with many of these films running about 60-80 minutes in length you don't have much to lose. 


What are the most outrageous Pre-Code moments you've seen?