FilmSocietyMtl Reviews

Faro Nell (1929)

Hilarious mix of deadpan humour and melodrama

[9/10 · 18 June 2018]

I recently viewed a very nice 16mm print of the film and was totally surprised and taken by its oddball qualities. It has a brand of humour that you either get or you don't. If you don't, you are likely looking at it on the surface too much. The melodramatic awfulness of the dialogue is clearly an intentional throwback to the 'horse operas' of 20 years earlier (which would have been displayed as inter-titles) Pre-code sexual innuendo abounds in this one but you need to be paying attention to catch most of it. Altogether, FARO NELL is a comedic gem that deserves rediscovery.

Yue guang shao nian (1993)

Tan your spirit in the moonlight.

[7/10 · 20 June 2014]

The titular boy in the moonlight is actually the young spirit of a man who has been in a kind of vegetative state for the last 30 years. The tortured spirit wanders in that earthly space between heaven and hell, himself exploring the why of his tragic fate. His wanderings take him into the lives of those in his family who hover over and care for his sleeping broken body. The artful pacing, beautiful images and poetic dialogue, mostly uttered in hushed tones, help create a dream world for the story to gracefully unfold in. Not for all tastes, this fluid film is best bathed in rather than consumed. The one jarring aspect is the occasional appearance of cartoon characters that interact with moonlight boy. It is a creative risk that does not quite pay off ultimately. Still, the film is worth using your sixth sense to seek out.

Tai Bei ai qing gu shi (1994)

THE STORY OF PEI-LI is the story of money vs. love.

[8/10 · 18 June 2014]

I had the privilege of watching a nice 16mm print of this fine little Taiwanese film and was genuinely moved by its bitter-sweet tale of pursuing the security of money versus the uncertainty of love. Sadly, many of us choose the former and as this film tells us with humour and pathos, love is all you need. This story of sweet sensitive pretty Pei-Li follows her indecision over what path to take in life as she struggles to raise her apparently autistic child. Her friend and co-worker at the hair-dressing salon, Pi Pi, shows her a way to make good money by selling her body to Japanese businessmen. This would bring Pei-Li much-needed money to pay for her son's treatment in the U.S. But at what cost to her dignity? And is a dark family secret the real reason for her son's despondency? Absurd situations and quirky characters abound which makes this film sparkle with enough originality to keep you attached throughout. Seek it out, watch it with an open spirit, let it move you then give a warm hug to someone who needs it most.

The Hoodlum Priest (1961)

Don't dismiss this Dismas-inspired dish.

[9/10 · 25 February 2012]

After having just viewed a nice sharp B&W 16mm theatrical print of this fine film, I must say; Don Murray's production of HOODLUM PRIEST really deserves to be given serious consideration by cinephiles looking for hard-hitting drama about an important social issue that still has relevance today. It surpassed my expectations for a film having a title better suited to cheaper exploitation fare. Even within a very tightly budgeted film, ace cinematographer Haskell Wexler was able to impart some really nice arty touches with seedy shadowy lighting schemes and the occasional off-kilter frame compositions. There were solid performances all around with the two standouts being Don Murray and Kier Dullea. Irvin Kirshner proves once again that he is quite a solid director with a marked talent for mixing heavy drama with realism. The near final scene in the prison is such a gut-wrenching experience, you'll feel as if you are really there witnessing a mind-numbing horror played so effectively by the young Dullea. So, please dismiss the weaker reviews here and seekout HOODLUM PRIEST, a real hidden gem.

Love & Savagery (2009)

A breath of fresh sea air.

[9/10 · 27 November 2009]

I just caught this film at a local AMC theatre and was happy to be treated to a crisp 35mm print instead of a substandard digital projection. And a richly textured work of this sort definitely deserves the genuine celluloid treatment. The breathtaking photography of an Irish seaside town was matched only by the excellent sound design. The imagery was as intimately rich as director John N. Smith's Oscar-nominated short of the early 80's FIRST WINTER.

The entire cast was pretty solid but the lead Irish beauty played by Sarah Greene simply stole the show. (Let's hope to see more of her in the future!)The camera just adored her from every angle. Stunning.

Yes, it does take a little while to get into the story and absorb the setting, but once the romantic narrative takes hold, it ultimately touches the viewer deep down. The metaphorical use of raging seas along the shoreline makes for effective punctuation throughout the quietly stormy relationship between the two leads. Nice music score too.

The only weak spots for me related to hair and wardrobe that occasionally made it difficult to believe we were in 1969 but I'm sure that was mostly due to the production's budgetary limits. A minor detail in the end.

Overall, this is a sincerely touching and beautiful film made for any viewer looking for a breath of fresh sea air in a world shrouded in cultural smog blowing in from Hollywood. Catch this gem!

Clearcut (1991)

A cut way above the average Canadian film.

[8/10 · 17 August 2008]

Like most Canadians, I tend to shy away from viewing Canadian-made movies, especially if they deal with First People's issues. ("Oh no! Not another one of those".) But CLEARCUT came highly recommended by a friend who is really into intensely horrific stories.

It starts off looking like something we've all seen before with a band of Native North Americans squaring off against the "cruel white logging company". It then takes a neat turn about twenty minutes in when our main protagonist sits in on a sauna session-ritual with some Native elders in a teepee. It is his bloody fever dream within the dark steamy enclosure that begins to set the tone for the rest of the film. And what a film! Righteous "psycho" Native, Arthur (effectively played by Graham Greene) kidnaps our main hero who is a lawyer representing the protesters along with the nasty head of the logging company. Arthur then forces the two on a grueling journey through the forests with the sole aim of vengefully torturing them into seeing things from the native perspective. Relentlessly paced, full of twists and turns and its share of bloody gore, the film pulls no punches.

It is smartly adapted by screenwriter Rob Forsyth, nicely shot by Francois Protat and well acted by Ron Lea with moody music by Shane Harvey. Although purely a dramatic work, it plays out like an old Indian legend and a sick stalker flick. Let me finally state that you don't have to be into Native issues to like this film. It works on many levels and is simply a really excellent entertaining movie!

The Adultress (1953)

Don't throw this one off the train.

[8/10 · 22 September 2007]

I'll have to disagree with some of the more negative comments about this film. Marcel Carne has succeeded beautifully in capturing the mood and major themes of Zola's novel in THERESE RAQUIN. It's nice to see a film from the period dealing with common working class people caught up in the turmoil of love and everyday life. The main romantic leads initially seem a little mismatched but by film's end the ice has more than melted between them. How many times have we seen the female lead fall too quickly for her suitor. Here it takes its sweet time and plays the better for it. Signoret's titular character seems almost a bit too stoic but considering her numbingly bland and lenghty marital situation, it may well be authentic. As many women are in reality, Therese is fiercely loyal to her husband, whether he deserves it or not. The ruggedly handsome Raf Vallone is ideally cast as the trucker who steals her attention and makes a good contrast to her dishrag of a husband. A blackmailing sailor who appears in the middle of the film before making a menacing reappearance near the end is very effectively played by Rolland leSaffre. He is as creepy as Robert Mitchum in CAPE FEAR. Do seek this one out and enjoy the ride!

Carillons sans joie (1962)

Vive la France!

[8/10 · 19 April 2007]

I settled in to watch this movie not expecting much because of its awkward almost banal title; BELLS WITHOUT JOY. Its well-known cast is what convinced me to bother with it at all. The best performance is by Paul Meurisse of LES DIABOLIQUES. By film's end I was genuinely moved by its very gradual build up of character, tension and tight plot. The first three quarters of this true-life story feature no battle scenes. Instead, we get a stand-off involving a small troop of clever French soldiers guarding a small Tunisian town from a large, well-armed division of German soldiers. The only hope for the town is a large advancing army of American soldiers fifty miles away that was sent to free all of Tunisia from German threat. Adding to the peril is the fact that many of the townspeople are Jewish as they would most definitely be mercilessly slaughtered at the hands of the German soldiers. Well-choreographed battle scenes add to the excitement of the explosive last act which looks particularly good in widescreen format.

Thankfully, German characters speak in German with subtitles. Even the American characters sound American, rare for a European movie of that era. One stand out scene involves an African-American soldier playing a soulful jazz tune on his company bugle while a white soldier in his desegregated platoon explains to a French ally that he is from a sadly segregated Louisina.

I would rate this film up there with another fine French effort in the war movie genre; TAXI FOR TOBRUK. Catch this one if you can.

Jugend der Welt. Der Film von den IV. Olympischen Winterspielen in Garmisch-Partenkirchen (1936)

Sports as visual poetry

[9/10 · 3 April 2007]

If you can put the offensive swastika-laden propagandistic elements aside, you will discover a masterful little film on the winter Olympics of 1936. From its ominous opening credit sequence involving beautiful tracking shots through snowy villages to its very creative rhythmic editing, this film has incredible impact. Most impressive is the quick cutting in the cross-country ski sequences which make several skiers appear to be one. Later on, there is equally impressive cross-cutting from airborne hawks to ski jumpers "flying" through the air. The film contains no dialogue, only occasional on-screen titles in German. The soundtrack is made up of triumphant orchestral music and the roar of on-looking spectators. During the bobsled competition the crowd can be heard to chant "U.S.A.!, U.S.A.!…" While viewing this film, I got the impression that Olympic athletes from that era were more heroic than today's in that their equipment was more primitive and conditions more difficult and dangerous. This minor masterpiece of documentary cinema by Herbert Brieger and Carl Junghans stands alongside the best work by fellow German Leni Reifensthal of OLYMPIAD fame.

Note: Although made by the Nazi party's propaganda wing, this film was made with the help of major Hollywood studios as revealed in the opening credits.

Le panier à crabes (1960)

A moving "movie" movie.

[8/10 · 27 March 2007]

Here is a work by first time director Lisbona that is true to itself and manages to break a few rules at the same time. From the clever self-referential opening scene/credit sequence, to the surprise ending, it weaves in and out of reality. It appears to be an autobiographical piece about a disillusioned young man who decides to make an autobiographical film. It begins with his life as a chemistry student at an exclusive academy in Strasbourg. He falls madly in love with a young woman and decides to marry her. But just before the wedding, she inexplicably calls the whole thing off causing him great heart ache and disillusionment. While wallowing in sorrow, he decides to attend a Film Society (cool idea!) where he develops a new obsession to replace the old; the desire to become a film director. Off to Paris he goes. This occurs at exactly the midway point and thus the film acts as a sort of mirror unto itself. Intense love of another has become intense love of the dream of film directing. But by film's end, as he was once rejected by a loved one, he rejects a career as a film director. Apparently this is exactly how director Lisbona himself felt if we judge by his filmography. He picked up the torch again (one last fling?)four years later in 1964 but has not directed a film since. Solid acting and pacing make this French film a very good viewing experience. The bonus is learning about the Hollywoodesque underbellly of the Paris-based film industry in France.

Tempest in the Flesh (1954)

Religious crosses nestled in fleshy orbs.

[7/10 · 25 February 2007]

Despite its William Castle/Roger Corman exploitation-style structure, LA RAGE AU CORPS has its poignant moments and touches of cinematic brilliance. Book-ended by a mental institution authority addressing the audience, it deals with the sticky subject of young female nymphomania. The American title, TEMPEST IN THE FLESH is rather cheap. The lead role is played by a suitably stunning Francoise Arnoul, one of Europe's celebrated "Femme fatale". (Interestingly, she plays opposite Raymond Pellegrin who starred with Brigitte Bardot in a similarly themed film, LA LUMIERE D'EN FACE that was built entirely around Bardot's breasts. Both films feature the lead actress taking a graphically nude swim for no apparent reason other than to send audience pulses racing.) In RAGE AU CORPS, "Clara" makes an earnest effort to curb her promiscuity by marrying an honourable man, leaving the heavily male-populated construction job where they met and settling in Paris. But the moment her new husband goes away on business, she falls back into lusty "amateur hooker" mode. Inevitably, something violent occurs which lands her in hospital. The film ends with her husband visiting her after a lengthy life-threatening operation. She slowly awakes. Cut to: close-up of her with an ambiguous look of either contentment from having been "cured" or a look of intense "Let's do the nasty. Now." Does she live? Does she die? See this one… if only to try and figure out why so many of the female characters have religious crosses dangling from chains within their sweaty cleavage.

Un Martien à Paris (1961)

Frantic, silly fun.

[15 January 2007]

This film barely qualifies as Science-Fiction but it does succeed as wacky French comedy. Done on a very low budget, filming largely took place in the streets of Paris with the natural citizens of that city involuntarily playing "background extras" who occasionally looked straight at the camera. Even a shaky car chase scene seems to have been done "on the fly" without permits. All of these exposed seams actually add to the film's charms and give it a sense of immediacy. Prolific comic actor Darry Cowl does a sort of one-man show in his usual stuttering, panicky style. It was nice discovering a French comic talent as entertaining as Louis deFunes. After the stiff cornball opening pre-title sequence on a cheesy planet Mars, I expected to be irritated by the film but it ended up moving along so quickly, I had no time to be bored. Definitely an odd bit of Gaullic "psychotronica".

Le Beau Serge (1958)

What a nice movie! "Quel Beau Film!"

[12 January 2007]

Born in 1930, this contemporary of Jean-Luc Godard, Francois Truffaut and Eric Rohmer really was, like them, a vital part of the French "New Wave"...if only to have helped usher it in via a neo-realist approach. This is Claude Chabrol's first film and it launched him on a career that spanned 40 years and included mostly thrillers, often inspired by Alfred Hitchcock. Other of his notable works include LES COUSINS (1959), OPHELIA (1962), LE BOUCHER (1969) and MADAME BOVARY (1991) An "enfant terrible" and a genuine eccentric, he approached the making of this first film in a way that would later be identified with the "new wave" movement. He used mostly inexperienced actors, crude editing, lots of location filming and imbued it with a sense of spontaneity. Focusing on content over style allowed him to carve out a distinct piece work that is both compelling and a fine study of human nature. From opening shots of pensive lead actor J.C. Brially* riding a bumpy bus into his childhood town to the powerful closing shot of Gerard Blain shocked into sobering up, this film will have you looking at LE BEAU SERGE with adoration. *(Catch Brially starring in one of the finer French horrror films made; LE DEMON DANS L'ILE)

La croix et la bannière (1962)

Beautifully poetic ending makes it a real gem.

[8/10 · 5 January 2007]

The thing you will initially notice most about this film is the fact that there is no dialogue for an uncomfortably long time after the opening credits. It opens with a sort of cat and mouse game in a bustling French metropolis; A shoplifter steals a gem-encrusted cross-and-banner-shaped necklace and decides to temporarily hide it inside a purse sitting on a store shelf. What he does not count on is a beautiful young woman immediately buying the purse and taking it home with her, oblivious to the fact that valuable jewels are hidden inside it. The rest of the film has the would-be thief desperately trying to arrange a meeting with the woman so he may reclaim his stashed goods. What appears to be the beginning of a dark love triangle, ends in tragedy so poetically played out it takes your breath away.

Docteur Laennec (1949)

A film worth catching... much more than lung disease!

[7/10 · 5 January 2007]

Most medical bio-pics I have seen tend to focus on the banal scientific aspects which usually don't lend themselves to engaging film or theatre. This picture focuses mostly on Dr.Laennec as an inwardly passionate but outwardly detached person. The inventor of the all-important stethoscope is followed from his early medical career to the end of his life. Since his biggest efforts were battling against a veritable plague of tuberculosis, much of the film is steeped in dusty, phlegm producing, agonising death. Don't expect a bright uplifting picture but do expect a fascinating character study of a man driven hard to find a cure to a deadly disease. I noticed that the lighting and camera work were particularly striking for a medical bio-pic and was not surprised to later find out that it was lensed by master cinematographer Claude Renoir, relative of the great Jean Renoir. Lighting in this film was very similar to his CRIME AND PUNISHMENT. One impressive scene involves a slow deliberate tracking shot into the chest area of a marble Christ figure on a large crucifix as Dr.Laennec contemplates the source of horrific lung disease.

Les requins de Gibraltar (1947)

Succeeds in unexpected ways

[8/10 · 5 January 2007]

The submarine spy plot storyline would suggest a typical B-movie effort without much substance. However, this film is so full of interesting characters, it elevates itself against the odds. Talented actress Annie Ducaux drives this film forward with her amazing transformation from drunken barroom dishrag to high society spy. Lots of plot twists, suspense, super villains and "high tech" spy gadgets to keep the viewer's interest. (With one of the creepiest heartless killers you will ever see in a spy movie)This is not the first French made film I have seen that features a very British story and characters. Most others I have seen fall flat and are awkwardly executed. Again, LES REQUINS DE GIBRALTAR, somehow works beautifully despite this odd mix.