Sally, Mary and Irene (1925; d. Edmund Goulding)
For some reason, I forgot to include this gem in my June viewing diary. Considered lost forever, it is one of Joan Crawford’s earliest films – and one where she is actually given something to do, something to ACT, beyond dancing on a table. She dances here, too, but there’s more to it. It’s about three women, all in show business, and the lures of decadence in that world. Like I said, it has long been impossible to find – almost a Holy Grail for Joan fans – my friend Dan has a copy, and so during my visit to New York in June the faithful gathered at Keith and Dan’s to watch it. Me, Keith, Dan, Farran, and Imogen. It was awesome.
The Apartment (1960; d. Billy Wilder)
Such a masterpiece.
Ace in the Hole (1951; d. Billy Wilder)
I do not deny this film’s searing brilliance and perception about how our world works. How the media works. It highlights the worst impulses in humanity. Those impulses will never be eradicated. It’s been the same ol’ shit since we first started clumping up in groups, which was at the very beginning. The film shows the rubbernecking impulse writ large. It’s absurd, it’s grotesque, it’s true, albeit bleak. But it’s not a movie I choose to just pop in and watch. I don’t mind difficult challenging films. But this one … maybe a little bit TOO true? And it doesn’t let up for a SECOND.
Dave Chappelle: Sticks & Stones (2019; d. Stan Lathan)
Justice for Juicy.
Sophie: A Murder in West Cork (2021; d. John Dower)
One of those true crime docu-series on Netflix. It’s a very strange story, but even stranger: I saw it this month and I can’t tell you one thing about it except that her house in Ireland had SUPER creepy vibes.
Design for Living (1933; d. Ernst Lubitsch)
I still can’t believe that 1. this movie exists and 2. that it works as well as it does. I mean, of course it does, Lubitsch has the magic touch. His “worldview” is so ironic and pleasure-seeking and humorous. People have been trying to imitate him for 80 years at this point. I re-watched this glorious film in preparation for Jen Johans’ podcast, where we discussed Pre-Code films. I wanted to discuss this one because the other films we discussed were all hard-hitting gangster movies or social critique movies. This one is a comedy, a champagne-fizz comedy about three bohemians who find happiness in a menage a trois. It’s glorious. It’s Utopia.
The Seven Year Itch (1955; d. Billy Wilder)
Never been a fan of this one, to be honest. I don’t like him narrating as he walks around. It’s clearly not meant to be a realistic film. It’s a meditation on one man’s “itch” and how the itch is triggered by having Marilyn Monroe as an upstairs neighbor, which, I don’t blame the guy. The movie ogles at her mercilessly – HOWEVER: it’s how Marilyn SURVIVES that that is the notable thing, it’s how she skips around the issue, playing it almost totally straight. This woman is too good to be true, of course, but she’s not meant to be a real person. She’s a fantasy. But what a wonderful and adorable fantasy. I also love her moments of humor – the performance is filled with humor.
Three on a Match (1932; d. Mervyn LeRoy)
Another pre-Code re-watch for the podcast. It’s one of my favorites. That LAST SCENE. It may be somewhat hard to track down if you only watch things streaming – but this is included in one of those Forbidden Hollywood box sets, which I have found to be invaluable.
Betty Blue (1986; d. Jean-Jacques Beineix)
I remember seeing this when it came out and being blown away by it. My feelings are somewhat … tempered … now, particularly the mental illness aspect of it – however, the reason to see it is Beatrice Dalle’s supernova-level star quality. Her charisma is a force of nature.
Rear Window (1954; d. Alfred Hitchcock)
I love this movie so much. I never get tired of it.
Can You Bring It: Bill T. Jones and D-Man in the Waters (2021; d. Rosalynde LeBlanc, Tom Hurwitz)
Loved it so much. Reviewed for Ebert.
For Madmen Only: The Stories of Del Close (2021; d. Heather Ross)
I got a little notification from a PR firm about this one and requested a link. It was very interesting to watch because … I knew Del Close. I mean, not well, but he was a huge presence in the lives of many of my good friends, and I remember going to shows at Improv Olympic, where he would take the stage, or be sitting in the back at the bar. Everyone knew who he was. He was an important mentor to this guy, so that should give you some idea of how in my particular orbit Del Close was. Del Close coached the still-legendary improv team called The Family – in their heyday when I was in Chicago and I went every week to those shows since so-called Window Boy was on that legendary team. (I wrote about that a little bit in this piece. Going to those shows was how I met Window Boy. I opened my review of Don’t Think Twice with a little paragraph on Del Close, Improv Olympic and The Family. And finally, in my Film Comment piece about dramatic actresses who started out in the comic/improv world, I mentioned The Family AGAIN and also quoted Window Boy. No need to hide his identity, not really. I don’t use his nickname here to be coy. It just happened that way because that window piece was so popular. It made me laugh to quote him, and put his name into the pages of Film Comment, but whatever, his comment so perfectly summed up the point I was trying to make.) MY POINT BEING, Del Close was a mentor to all of those guys – many of whom are interviewed for the documentary. Del Close is a legend. A crazy figure but still: a legend. It’s all kind of twisted up in my own autobiography so I had to see the doc. Included is VHS footage of shows at the Improv Olympic, when IO was above the bar at the Wrigleyside – and I swear, I must have been in the audience. The date stamp was, like, winter 1993. I mean, who knows. But I almost never missed a show there. I had friends on other teams, too, beside Window-Boy. But it was incredible to see that footage, and get a glimpse of Window-Boy onstage! Crazy! This doc is extremely niche but I loved it for the walk down memory lane. I remember hearing so many stories about Del, and – when I took in his ravaged demeanor and maniacal eyes back then – I believed each and every story. I don’t think this is out yet. But keep your eyes peeled. I had no idea that Del Close was tapped by Marvel Comics to publish his life story in comic-book form. ?? Wild.
Clockwatchers (1997; d. Jill Sprecher)
I LOVE this movie. I saw it when it first came out and at the time I WAS a temp, and had been one for years, and the whole thing was so accurate I cringed and laughed simultaneously. SPOT ON. That whole temp world has vanished into the ether and it’s such a shame (as droningly boring and weird as the experience was. You are always a guest in any given office. Every day is your first day). What was great about it though (and I didn’t realize this until the faucet was shut off – basically around the time the internet/web exploded) was that it was practically an old-fashioned typing pool. If you had certain skills – typing still constituted a skill – if you could answer phones – if you were polite, helpful, responsible – you could get a job almost overnight, after you took the little test at the temp agency. I started working in Chicago within a week of my arrival. The assignments started coming in. And so I always – ALWAYS had a job. Sometimes I had long-term assignments, sometimes it was only a day, but either way, it gave me flexibility for when I was busy, or going home to Rhode Island, or in tech week for this or that show. You could just call in and say “No assignments next week, please.” You couldn’t do that constantly, of course – you had to establish yourself as available – which I did. So it was so FLEXIBLE and I was able to support myself any time, any where, and it was PERFECT for someone like me. There are still employment agencies but not like that. The whole “admin” class has been radically re-defined – or has been disappeared altogether. Clockwatchers captures it perfectly – the DETAILS – and is as much of a treasure as Office Space.
Mandibles (2021; d. Quentin Dupieux)
Very funny and weird. I reviewed for Ebert.
Nine Days (2021; d. Edson Oda)
Knocked my socks off, to be honest. Feels like a major debut. Reviewed for Ebert.
Annette (2021; d. Leos Carax)
Reviewing. Will say no more.
The Evening Hour (2021; d. Braden King)
This just didn’t do it for me at all. Reviewed for Ebert.
The Deuce, Season 1, episode 1 (2017; d. Michelle MacLaren)
Had a conversation with my brother-in-law about The Wire and I was looking for something else to binge – last year was all about binging – and I love this whole subject/era so I thought I’d give it a shot. So far I liked it and the period is evoked really well.
Mauvais Sang (1986; d. Leos Carax)
A masterpiece. Carax was only 26 years old. This is Orson Welles level of invention. I have been in love with this movie ever since I saw it. That PARACHUTE scene. I reference that one in my head all the time.
Tokyo! (2008; d. Leos Carax, Michel Gondry, Bong Joon Ho)
I remember seeing this when it came out. I re-watched for the Carax factor. Denis Lavant. Just insane. He’s vaudeville reincarnated.
Mr. X, a Vision of Leos Carax (2014; d. Tessa Louise-Salomé)
Documentary about Leos Carax.
Holy Motors (2012; d. Leos Carax)
This was on my Top 10 of 2012. As a theatre nerd, something like this is right up my alley, and not at all difficult to understand. I read a lot of “WTF” articles about it OR film critics who knew all of the movie references but somehow failed to capture the whimsy and melancholy, as well as the greasepaint-roar-of-the-crowd engine underneath the whole thing. Loved it.
Scott Walker did the soundtrack to “Pola X” by Carax!!!
WHAT.
Unfortunately it’s not streaming anywhere right now – I wanted to watch it – or re-watch it – I saw it back in the day but did not know Scott Walker was involved!! What a perfect collaboration.
I hope you continue to enjoy The Deuce. I loved it. Having lived in NYC during 1980-81, I can vouch for the excellence of the re-creation of the era. For example, I know I never ate in that diner, but it feels like I did. If nothing else, the fact that women and people of color get as much attention as white men, if not more, is a relief – although it’s sad that that’s still an issue.
// I know I never ate in that diner, but it feels like I did. //
I feel the same way!! My first visits to New York as a child were around that time, and I remember it vividly even though I didn’t really have a conception of what I was seeing. I remember all the hanging out, and people engaged in crazy arguments or bickering – and it all seemed so foreign and fascinating.
and yeah, so far I love the cast – it’s early on, but it’s an interesting mix of people.
that picture of levant hahaha! his fingernails! I have to see this.
I’m sorry for the comment spam I’m just catching up on everything after a crazy couple of months. Unknowingly I must have watched Seven Year Itch within days of you! I had been thinking about Marilyn’s mouth, the way she moves it, the way she holds her lips. Unlike anyone else that has ever been photographed. Everything has been said about her of course but still the fact of her on screen is always startling. SYI surprised me in two directions: how unsuccessful and almost unpleasant it was in its relentless jibing about weakness, and how stunningly sexy and present and unironic Marilyn is. How does she do it, how *is* she that! My DVD has a short TCM piece about SYI and the documentary footage of her broke my heart. To have so much meaning invested and impressed upon such a tiny body. Like a pharaoh.
// his fingernails! //
ha!! I know! Tokyo! is interesting – and he’s the only European director who contributed something – and it’s classic because he basically wanted to do a story where Tokyo is attacked by a madman – a kind of monster – similar to all those old monster movies. Only it’s a dude who comes out of the sewer, and all he eats are flowers. He literally grabs bouquets out of people’s hands and shoves them in his mouth.
I love the comment spam! It’s always so good to hear from you!
// how unsuccessful and almost unpleasant it was in its relentless jibing about weakness, and how stunningly sexy and present and unironic Marilyn is //
right?? I really love your thoughts here. It really is so unpleasant – and the caricature of the WIFE is atrocious. Cackling at how silly and childish he is. A vision of emasculation. Marriage in the 50s. It’s stifling on both sides.
// How does she do it, how *is* she that! //
It’s such a mystery. She somehow slips through the cracks of what the movie wants of her – how her sexiness is treated like an old-fashioned freak show – and yet there she is, friendly, adorable and – this is key – oblivious. Oblivious to what the movie is saying about her – but of course MM wasn’t oblivious at all. It was her talent that allowed her to highlight the character’s simple kindness and friendliness – only “camping it up” in those very funny fantasy sequences.
She was a wonder!!
It really is so unpleasant
Right? Wilder was like, “the movie sucks because we weren’t allowed to actually they had sex,” which a) the implication is hardly a stretch and b) I don’t think that would have fixed what’s really wrong here, Billy boy. Such an odd stumble from him! Maybe he was too invested in the fantasy sequence side of things? I don’t know. Still, he knew Marilyn’s genius, and he brought her in for SLIH even with all the difficulties she had in SYI, and Sugar Kane is a true masterpiece.
It was her talent that allowed her to highlight the character’s simple kindness and friendliness
Exactly! She straight up says she prefers to have sex with married men — she has a lot of sex! And because of her talent it’s just the sweetest and most untroublesome and natural thing. It doesn’t doom her in the slightest. That aspect felt radical to me and how m any people in the world could ever have pulled that off?
// b) I don’t think that would have fixed what’s really wrong here, Billy boy. //
Totally! It would have been totally weird to have them have sex. Tom Ewell is the opposite of sexy (if he’ll forgive me from beyond the grave). The two barely have any chemistry. Marilyn Monroe’s primary chemistry was always – ALWAYS – with the camera. It was her most important relationship. It would just be gross if they hooked up – and it’s a little gross ANYway!
// Maybe he was too invested in the fantasy sequence side of things? //
I don’t know either. It doesn’t even FEEL like him – except for the semi-nasty portrayal of marriage. Marriage doesn’t fare well in his movies. There’s barely a picket fence in sight in all of his films! Even the end of The Apartment … it feels tentative. They’ve found each other. He tells her he loves her. She doesn’t say she loves him back. She says “Shut up and deal” – which is PERFECTION.
You hope she finds peace with a man who loves her, who’s seen her at her worst and loves her anyway … but .. who knows? Billy Wilder wasn’t a happily ever after kind of guy.
So … I don’t know about SYI. and that talking out loud thing he does. I don’t understand the choice. It’s just always been strange to me. She makes it worth it – she’s fun to watch!
// It doesn’t doom her in the slightest. That aspect felt radical to me and how m any people in the world could ever have pulled that off? //
It is so radical. When people imitate her, they miss that aspect of her – or … she’s very very difficult. It’s something about what she does with her eyes – that sleepy in-a-daze thing – and … honestly it seems conscious, like she chooses when to do it – although it may have been second nature by this point. Because then there are times when she opens her eyes really wide – and … it’s hilarious. When she gets earnest! I love earnest Marilyn. She was in on the joke – and that is key!
She drove Wilder crazy but he obviously loved what she brought to the camera.
Weirdo movie. Repressed as hell. You think back to the frankness of Double Indemnity and Sunset Boulevard – which was 1950, but it feels more like a late 1940s movie – and then there’s SYI and you think – the 50s were so WEIRD.
//the 50s were so WEIRD.//
This jumped out at me. I recently finished Heather Clark’s Red Comet: The Short Life and Blazing Art of Sylvia Plath. Loved the book. Clark quotes from a speech that “liberal darling of his day” Adlai Stevenson gave at Plath’s 1955 graduation from Smith.
This was the liberal view of women’s opportunities at the time? Told to some of the most educated (and typically middle to upper class) women of the day? Welcome to the machine.
Clark makes the point several times that women in the 1920’s and 1930’s had greater life choices than women in the 1950’s. This makes me think of a quote from Karen Armstrong’s Fields of Blood: Religion and the History of Violence “We humans are profoundly artificial and tend naturally toward archetypes and paradigms. We constantly strive to improve on nature or approximate an ideal that transcends the day-to-day.” The ideal to be approximated for women in the 1950’s seems like a straitjacket. And maybe some of the rebellion from that resulted in the caricatured wife SYI or Jim’s awful mom in Rebel Without A Cause. It sounds like a stifling way to live for everyone.
mutecypher – August has been a bear so it took me a while to get back to this. This is so fascinating – I haven’t read that book but it sounds right up my alley. There were those who didn’t “buy in” to all that propaganda – the girls alongside the boys in On the Road – the bohemians – etc. – but in terms of the mainstream, it had to be like you were living in a totally insane world. I wrote about this a little bit in one of my pieces about the Ed Sullivan Show, in particular Elvis’ first appearance on it. A woman who is no longer famous with a quavery soprano sings this song about basically keeping his supper warm, and she is wearing a tasteful dress, long white gloves, and she walks along a set made up to look like a garden arbor.
Two or three acts later comes Elvis, shaking and shimmying and going crazy, the young audience SHRIEKING.
These acts were back to back practically!
Lester Bangs wrote in his famous obit for Elvis something that kind of sums this up:
“Lenny Bruce demonstrated how far you could push a society as repressed as ours and how much you could get away with, but Elvis kicked “How Much Is That Doggie in the Window” out the window and replaced it with “Let’s fuck.” The rest of us are still reeling from the impact. ”
// Clark makes the point several times that women in the 1920’s and 1930’s had greater life choices than women in the 1950’s. //
SO true. Something really shifted in the 50s – but it was a relatively short period – dating from the end of WWII when “the boys” came home – and women were expected to leave the factories and go home and be Betty Draper. Many of them did. But many MORE didn’t. (Meanwhile, like you point out, working class women always worked. This was generally a middle-class problem.) The fear of women’s liberation was acute in the 50s – and, hell, men’s liberation too – which is what Jack Kerouac and Elvis and et al. represented. Men were trapped by all this too. I always think of Revolutionary Road – SUCH a harrowing book about all of this. The movie is quite good – and Leo di Caprio in particular … he doesn’t understand why his wife feels trapped – AND he can’t really see that HE is trapped too. The conformity – the pressure to conform – looks AWFUL now – no wonder the children of these parents flipped the fuck out in the late 60s – it always makes me curious who Plath would have been if she had made it to the late 60s, and on into the 70s.
// nd maybe some of the rebellion from that resulted in the caricatured wife SYI or Jim’s awful mom in Rebel Without A Cause. //
absolutely!! and in Rebel without a Cause – the HORROR the son feels when his dad puts on an apron. So Freudian!
Thanks for the book rec too.
Sorry to hear about your August. Mine began when I was told to find a new place to live. I had been wondering if that shoe was going to drop once I began receiving the sort of sour looks that Reynolds Woodcock started giving Alma in Phantom Thread. I lack her mushroom knowledge so I couldn’t try that method of repair. But the new place looks good and I like living with my daughter and our cat.
I hope things get better for you.
Moving is so stressful! Good luck!
My brother in law died in November, leaving three small children – and my sister his wife. we just now were able to spread his ashes (because of Covid). Months later. and I moved to help out my sister – basically a huge life change. so. It’s not really a temporary kind of bad time. we just need to get used to our new normal. but it’s all very unfair and we miss him desperately. He had just turned 50. :(
A terrible thing. This awful time makes even mourning worse.
yes. Not being able to gather together as a family was agonizing. Thanks.