Following on from the roundup of four of my Blindspot and “What Do You Mean You Haven’t Seen…?” reviews the other day, here’s another quartet.
In today’s roundup:
Clint Eastwood | 116 mins | download (HD) | 2.40:1 | USA & Germany / English & Hmong | 15 / R
Clint Eastwood’s modern Western (thematically speaking), about a grumpy old loner who overcomes his inherent racism to bond with the immigrants who now dominate his neighbourhood and eventually come to their defence, is a well-liked film, generally regarded as a late career highlight for the director-star. I imagine it would play very nicely as a companion piece and/or counterpoint to his earlier Oscar-winner, Unforgiven — both are stories about old men in one final fight, essentially. Here, that comes with a subtext about the price that’s paid for standing up for yourself. It may be the right thing to do, and maybe it ends up with the right result, but the good guys really suffer to get to that point.
While that aspect of the film is ultimately powerful, I was less won over by the actual filmmaking. It feels like it’s been jiggered around in the edit, with some odd bits where it just jumps into a new scene. Even before that, Nick Schenk’s screenplay occasionally features very heavy-handed dialogue, of the “explain what the character is feeling right now” variety. It’s especially bad when Eastwood just talks to himself in order to vocalise these points for the sake of the audience.
Still, if you’re immune to such niggles then it remains a potent — and timely — tale of doing what’s right for the defenceless. Such themes never die, I suppose.
Franklin J. Schaffner | 112 mins | Blu-ray | 2.35:1 | USA / English | PG / G
The original instalment in the long-running franchise (it’s up to nine films across three go-rounds now, plus a couple of TV series) sees astronaut Charlton Heston land on a mysterious planet where apes have evolved to have human-like intelligence, while men are mute wild creatures dominated by their simian betters. And eventually there’s a twist that everyone knows, which is a shame because I bet it was pretty darn surprising before that.
Coming to Planet of the Apes for the first time almost 50 years after its release, there’s an unavoidable quaintness to some of it, mainly the monkey makeup. It was for a long time iconic, but it’s been abandoned in favour of hyper-realistic CGI in the new movies and therefore shows its age. That said, while the apes may not be as plausible as those produced by modern technology, the performances underlying them are still strong. It contributes to what is really a parable about dominance and oppression; colonialism inverted onto a white man, that kind of thing. All wrapped up in a sci-fi adventure narrative, of course.
Honestly, it’s not just the effects that have improved — as a piece of speculative fiction, I think it’s now been outclassed by the recent trilogy. It’s still a cracking adventure, but a bit “of its time”.
Robert Altman | 160 mins | Blu-ray | 2.35:1 | USA / English | 15 / R
Robert Altman’s low-key epic about 24 characters and how their stories interact, overlap, and collide across five days in the city of Nashville, Tennessee.
The sheer scope of that makes it a tricky film to interpret. There’s a lot going on, much of it in snatched conversations and moments that leave it up to the audience to piece together what matters and why. Collision must be a theme: within the first hour there are three car crashes or near misses, and the climax is certainly a collision in its own way. I’ll be honest, this isn’t a fully-developed thought, so I’m not sure what the point of it might be. It’s a small element of the film, really — something like all the music being performed is much more obvious and therefore maybe more relevant.
I guess I’m searching for meaning because the film in general is just casually observational of a bunch of characters meandering through a few days. Maybe there doesn’t need to be meaning — maybe that is the meaning. It’s certainly one way to interpret the finale. So, I kind of liked it — or, rather, admired it, perhaps — even if I didn’t necessarily ‘get it’.
Michael Powell & Emeric Pressburger | 100 mins | DVD | 4:3 | UK / English | U / PG
I finally get round to watching this on a ropey old DVD, and then they announce a new 4K restoration (which was released in UK cinemas earlier this month). Hopefully a Blu-ray will follow. It will be very welcome, because I imagine this film will look magnificent in properly restored HD.
It begins with an incredible opening scene, in which an entire relationship is founded and ended over the radio in about five minutes. From there it’s the story of a World War Two pilot (David Niven) who avoids death by a fluke, then properly falls in love with the voice from the other end of that radio call (Kim Hunter) before the afterlife comes a-callin’ to take him where he was meant to be. Or maybe that’s all just a vision induced by the injury he sustained. Either way, he must argue his case to remain on Earth.
It’s a grandly romantic film — it is all about the triumph of love over everything else, after all — but with a particular fantastical bent that I think remains unique. It has the wit to present a mildly irreverent stance on the afterlife, not taking the whole “life and death” thing too seriously. While the final result of the airman’s trial is never in doubt, the delight is in the journey there.