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Büyük oyun (2009)
I Wonder if People Gave It a Low Score for Political Reasons
It's been a full six years since I last posted any comments on the IMDb. But, I thought this was a generally well-made films. It seems like people on the political right, both in Turkey and here in America, would arbitrarily hate this film for its very controversial content. If a person has actually viewed this film, and given it a low score, for whatever reason, that is fine. But, I've noticed that films like these are sometimes targets of campaigns against the film and that in some instances people just give the film a very low score because they hate what it stands for. I was actually very disturbed by this film, but it exposes many of the reasons for the underlying tensions between the west (not just America) and the Islamic world; some of which actually do not directly involve religion. One does not have to agree with the politics of a film to see it as a good work.
Inside Deep Throat (2005)
Unique doc, the best film from Fenton Bailey so far...........
I have seen two other films by documentarian (well, he is not exactly in the Frederick Wiseman mode) Fenton Bailey_ "Monica in Black and White" and "The Eyes of Tammy Faye." All of his film that I've seen focus on sex and scandal, and "Inside Deep Throat" proves to be no exception. This film is a fairly solid period piece_ taking place in the 1970s, and there are very startling interview clips with those involved with the original adult film, including 'actor' Harry Reems, and from celebrities, like John Waters and Hugh Hefner, who comment on the film's cultural impact. The doc also shows how both feminists and right-wingers attacked "Deep Throat." Ultimately, it seems that the controversy and the actual banning of the film in the United States made it more of a commodity with the public. There is actual footage from the original adult film, and while I seriously doubt that it has any artistic merit at all (have not seen "Deep Throat"), the political debate it stirred still seems relevant today and the film illustrates this well. Bailey is no serious documentary filmmaker, like Barbara Kopple, at all- he's even used sock puppets in his films_ but this material is a perfect for this formula. "Inside Deep Throat" also shows America's psychological hangups about sexuality though it does not examine why we are collectively more uptight about sex than most Europeans. This film would also make a great companion piece to Caveh Zahedi's surreal, narrative doc "I'm a Sex Addict." I have personal reservations about adult films. A PBS documentary "American Porn" revealed how abusive the industry is towards its 'actresses,' in a very brutal, shocking manner. But, one also realizes that ultra-conservatives' efforts to use the issue to legislate morality has dire consequences which lead to political/creative censorship in more legitimate documentary forms. For this reason alone, Bailey's latest film is quite a thought-provoking one.
I am shocked this film won the Sundance Audience Award....
"Quinceanera" is a genuinely bad film. The first 15 minutes show promise, but it goes downhill quickly. The plot is convoluted and ridiculous at every level. The subplots are disoriented. And, everything that is going to happen in the film, except for the ultra-ridiculous ending, are telegraphed well in advance. I don't fault the young cast as much as the dreadful directing, and sloppy screenplay. There are many good indy films about Latino issues out there, including "Raising Victor Vargas" and "Real Women Have Curves." Both of those films are more believable. Lastly, if "Quinceanera" proves anything, it is simply this: "Sixteen Candles" and "My Own Private Idaho" don't mix.
Schultze Gets the Blues (2003)
Interesting film, but it falls apart in its second act
I had real high hopes for "Schultze Gets the Blues." It is a very unique film in that it is an evolution of German films, like Wim Wenders' "Kings of the Road" (1976), that explore German fondness for American music. One also wonders if the director of this film was influenced by the documentaries of Les Blank, who has explored traditional American music in many of his films. There are also some interesting characters, including Schultze himself. But, the film genuinely falls apart once the title character arrives in his mental version of "Oz," which is Louisiana. The film have benefited by bringing some of his quirky friends over to join him. But, by only bringing Schultze this road movie feels more like "Castaway" and the surprising chance that the film takes really does not help either. But, it is a noble effort which alas fails because of problems with the screenplay and mediocre editing.
Michael Haneke's finest hour.......
Long takes. Deep symbolism. Unimagineable twists. Disturbing themes. All of this is nothing new for those of us who have seen several of Austrian director Micheal Haneke's films. The title characters in "Cache/Hidden" Georges and Anne are drawn into a sick psychological game when a mysterious message showing the illustration of a dead child with its throat cut and bleeding appears in their mailbox. Strange videos and other drawings soon surface. Every scene has some deeper meaning or purpose. We see Anne (Juliet Binoche) wearing a white dress to prove her pureness. The swimming pool where their son swims represents transitions. And, the TV news reports from the Middle East and the war in Iraq show a parallel between America's imperialism in the name of preventing terrorism and France's colonialism, particularly in Algeria. Even the cinema showing mostly American films towards the end of the films seems to hint that everyone is trapped by capitalism- both in terms of creativity and political expression. The screenplay is very unpredictable. The lighting is flawless, and the music is perfect. It is definitely a stunning, haunting film. Kudos to everyone involved.
A Wonderful Film............
I have seen many impressive Iranian films over the years. "Ten" may be the very best of them for a variety of reasons. I think the film is remarkable because it looks so simple, but I imagine setting up the camera and capturing the realistic dialogue and plot-line we see in the film had to have taken a lot of preparation. I also think the director deliberately chose scenery to accommodate the backdrop of the film, and he must have driven around Teheran constantly to figure out which images to put in the background. I think the scenes with the murals of new arch-conservative president are very telling. "Ten" seems to have a lot of messages under the radar, including the subversive powers of all governments (certainly including our own in America) to censor art. I think the relationship between the mother and her son is a very poignant one, and it shows how children and adults simply live in different spheres of the universe. Film is strikingly similar in some aspects to American independent filmmaker Rob Nilsson's film "Signal 7" which came out over 20 years ago.
Strangers with Candy (2005)
It's not "Fast Times at Ridgemont High"
I find it highly ironic that I saw this film within a week of seeing The Ramones' 1979 high school flick "Rock N Roll High School." Both are surprisingly similar in that they offer quirky characters, outrageous plot lines and alas a film which doesn't quite work. One of the strangest things about Strangers is that there are so many great actors in supporting roles- Ian Holm, Philip Seymour Hoffman, Matthew Broderick and his spouse Sarah Jessica Parker. But, the lead actors, Amy Sedaris, Paul Dinello- also the director, and Stephen Colbert absolutely suck! They are all one-note actors who fail to show more than a single dimension of their characters. They are tiresome to watch, and most of their supposed-to-be-funny lines fall flat on their face. I will say that Strangers is engaging in some aspects because it makes daring choices. There are times when this makes for some interesting moments, but alas they are few and far between. Ultimately, Strangers feel like a 90-minute episode of "Malcolm in the Middle," which means that this film based on a TV-show should have probably stuck to the small-screen.
Rock 'n' Roll High School (1979)
Disappointing, but interesting....
First of all, this 1978 film is being remade and Howard Stern is involved- isn't that scary? "Rock and Roll High School" would make an excellent companion to the recent doc about The Ramones, "End of the Century." It is truly sad how 3/4s of the original Ramones, except the drummer, have died. I think the film makes a terrible mistake by not introducing them sooner into the film. The screenplay by Joe Dante is OK, but the directing is not. The cast is quite interesting. Paul Bartel is really good as the 'cool teacher,' and PJ Soles is definitely good in the lead. The film really suffers from corny humor, including a scene where Ramones music is shown to make white mice go insane and another where Joey Ramone is force-fed alfalfa. But, there is nostalgia and it is interesting to see how many films "Rock and Roll High School" borrows from, including "One Flew Over the Cuckoo's Nest," "The Rocky Horror Picture Show" and perhaps even "The Blob!" I also enjoyed a key scene involving a pay phone, which have pretty much been reduced to nostalgia thanks to Nokia!
I agree with the majority........this film sucks.........malisef
It is truly a shame that a Turkish filmmaker can make a truly awful film with all the advances in modern technology, books about film-making and online film courses about Ingmar Bergman and Alfred Hitchcock. Who do these filmmakers think they are...........Americans? As a Turkish-American, I am perhaps one of the few people who can criticize the output of films from both countries. After great recent films like "Uzak-Distant" and "Hajar," it seemed like the Turkish industry had completely divorced itself from its infamous past and Cuneyt Arkin's films were ones in which people could only watch after a six-pack of Efes Pilsens. But, "Buyu," which was sent to me by a Turkish friend from Australia is indeed a reminder that bad- truly bad films can still be made in Turkey. The film is predictable, boring and the special effects are woeful. "Buyu" also features shameless sexism and absolutely sick sequences, such as women being raped by spirits-no, I'm not making that up! The acting is really awful. The directing is even worse. And, the editing is truly pathetic. I just hope they don't make a sequel!
Man vs. Machine... of course, you root for Kasparov
I found this film to be interesting and entertaining. It has a style which is very reminiscent of Erroll Morris. It has been criticized for showing too much favoritism towards Kasparov, but I think most people do root for man over the machine. It is ironic that we are starting to see Russians as protagonists. We've come a long way since "Red Dawn." My main criticism of the film is that much like "Bowling for Columbine," it offers no real resolution. I think that is why it is a good doc as opposed to a great one. Kasparov is a very engaging figure with a strong cinematic presence. He is now involved with politics in Russia. Assuredly, if Ahnuld can make it, why not Kasparov?
If you've seen the play, you will probably be disappointed...
It is quite difficult to adapt plays to film, perhaps it is even more challenging than working with novels, comic books or even video games. Though there are memorable films based on plays, like "A Streetcar Named Desire" and many others. I think "Proof" is one play which does not work. There is a good cast, but somehow it feels forced and everyone seems constrained. I know many of the scenes that have quite an impact on stage such as the sequence where Paltrow's character finds out that Gyllenthal's character has lied to her in a big way, really don't work here. I also think Anne Heche who played the same part on stage would have been a better choice than Paltrow. She really doesn't show the three dimensions of the character that well here. Though, she has been good in other films. It may be worth a look if you've never seen the play, but all in all, it is a disappointment.
Full Metal Jacket Kuwait
Though the latest effort from Sam Mendes, whose first two films I tremendously admire, seem to borrow a bit too much from Stanley Kubrick's films- (not just "Full Metal Jacket") and the film loses much of its momentum in the third act, it is a good war film. One of Mendes' main strenghts is attention for detail. I had first watched the first part of "Jarhead" a week ago, but something came up. I re-watched it in its entirety, and I noticed several interesting tidbits, such as Jamie Foxx's character reading the bible while on the TWA flight, and the lighting during the flashback sequence, that made me appreciate Mendes' knack for symbolism and detail. The film is in many ways about the Iraqi war of today as much as Desert Storm, and it makes little effort to seclude that. While I fully agree with the politics of the film, I think it is technically well-done enough to receive admirers from those who do not share the left-of-center sentiment that Mendes is expressing. As someone who appreciates Westerns, I loved many parallels that this film has with films like "The Searchers," including a magnificent shot of two soldiers in the desert with the sun in the background. The cast is fairly good. I think Jamie Foxx is the one who is most in character at all times, but there are no weak performances at all. The film has many overt references to other war films, including "The Deer Hunter" and "Apocalypse Now!" but in addition to 'Jacket' there are some similarities with films like "Platoon" and "Coming Home." I suppose if the line in the film that says 'No two wars are different. No two wars are the same" is accurate then one could add "No two war movies are different. No two war movies are the same," as well.
Gönül Yarasi (2005)
An amazing contemporary Turkish film...
As a person who has written a 100-page thesis on Turkish 'sinema,' I concur with populist sentiment that "Gonul Yarasi/Lovelorn" is an exceptional film. I think it tops "Eskiya/The Bandit" and now has to be considered Yavuz Turgul's best film. It is amazing to think that someone who first directed a Kemal Sunal (Turkey's closest equivalent to Jerry Lewis, alas Sunal is no longer with us) film in 1976 is among the masters of contemporary Turkish film. He has formed an excellent artistic partnership with Sener Sen, who is once as brilliant here he was in "Eskiya." And, enough words of praise can not be given to Meltem Cumbul. I loved her in "Propganda," loved her even more in Faith Akin's "Head-On," and this is a captivating performance here. I think the fact that her character is named Dunya, which means WORLD in English, hints that her character is a symbol for Turkey's acceptance into the outside world. Dunya's struggles and her bitter setbacks make me believe this might well be Turgul's intentions. I think her ex-husband, represents Turkey's modern state and Sen is a symbol of Turkey's once prosperous past. There is almost too much going on at once to concentrate fully on what is going on in the film! I think one thing which has been incorrectly cited as a flaw in this film is the melodrama element. I think this is such a central element to all Turkish films, whether they be the American film rip-offs of the '70s (Dunyayi Kurtaran Adam/Turkish Star Wars) or the great films of Yilmaz Guney, "Yol" and "Arkadas/The Friend," there is always that aspect of Turkish films. The notable exception seems to be the films of Zeki Demirkubuz and Nuri Bilge Ceylan, but both have stated they have been more influenced by Russian and French filmmakers, such as Tarkovsky and Bresson, than the likes of Guney or Atif Yilmaz, considered to be a pioneer of Turkish cinema- he directed in Sen in many films as well. But, "Gonul Yarasi" is splendid. It is well-edited, well-cast and well-directed. If a person knows nothing about Turkey or Turkish cinema, they may not fully appreciate this film, but I firmly feel that just about anyone who does will really like this film tremendously.
It shows potential, but proves to be mediocre
Overacting, a sloppy ending, soap opera twists and a director trying to be too hip ultimately work against some good acting, mainly by the supporting cast, and what is a good fast-moving screenplay in the first two-thirds of the script to make for an OK film that had a lot going for it. There are some films which would be better if they ended at the 75 minute mark. I have to think "Heights" may be one such film. But, there is a great moment in the film when the title character goes into a hospital to check on someone she knows and gets caught up in red tape. We've all been there. Of course, people who are in the medical field may not sympathize with her as much as the rest of us. I think that one moment in the field captures what post-9/11 America is really all about-a bureaucratic nightmare devised of measures which are supposed to make us feel more secure. But, alas one great moment and a really talented, gorgeous Elizabeth Banks in the lead can only go so far.
Lilja 4-ever (2002)
Wow! A Truly wonderful film
I don't believe in spoilers, so I will keep this short and simple. I have seen three of Lukas Moodysoon's films: "Together" and "Show Me Love" (I prefer the original Swedish title with F.....g in the title) and this is his absolute masterpiece. All three films have shown that Moodysoon has an incredible talent for knowing exactly where to place the camera. There are other contemporary European directors of my generation with this caliber of talent, including Faith Akin (and, I am not merely saying that because we are both of Turkish descent), Michael Winterbottom and Michael Hanke to name just a few. There is great symbolism and amazing acting here. It is definitely a film which transcends borders and the theme is very timely. It reminded me a lot of another exceptional film that uses angels, Wim Wenders' "Wings of Desire." I am just stunned and blown away by this film.
The animated Naked Lunch
I really enjoyed this crazy Oscar-winning Oscar short (animated category). It played here at the Grandin Theatre in Roanoke, Va. My friend Jason Garnett, manager of the cinema, took a huge risk in bringing the shorts collection to this small city in Southwest Virginia. The film really reminded me of Naked Lunch. This is a Canadian film and Lunch's director David Cronenberg is also Canadian, so perhaps my reasoning is not far-off. Plus, both works deal with creativity and substance abuse. If "Ryan" has a fault, it is that the comedy and the dark central themes are at times an uneasy combination. But, the animation is absolutely remarkable. It makes for a surreal quality that makes feel as though they are looking at a Salvador Dali painting instead of watching a film. This is definitely not a film for children, but for adults, it is stark look into the dark world of drug abuse.
Interesting offering of Turkish pop cinema
I was much more impressed with "Vizontele," the last collaboration between Cem Yilmaz and the director of "GORA." But, "GORA" has its funny moments and production-wise, it is a considerable improvement over Turkish films in past generations. As a Turkish-American, I have a slightly different view of Turkish films than most people who live in Turkey. I have liked some Turkish films like "Baalayka" and "Polizei" more- neither of which are popular films, but I have been slightly less impressed with domestic box office hits like "Ucurtmayanlari Yurmasinlar/Don't Let Them Shoot the Kites" (1989). I think there are some major problems with GORA as the last message poster from Ankara pointed out. The film is way too long, and there are far too many bathroom jokes. And, though the film has better production values, Cem Yilmaz is not quite the exceptional talent that the late Turkish comic actor Kemal Sunal was. (Sunal was in "Polizei" and was to star in "Baalayka" before dying of a heart attack preparing for a flight to work on the film!) But, "GORA" does illustrate Turkey's dilemma of trying to find a place in the world. The aliens in this sci-fi/comedy seem to show how Turkish people see the outside world. And, there are some funny moments such as when Yilmaz pretends to be a sensitive man to woo an attractive alien woman. It is also funny to see people from outer space speaking fluent Turkish! Yes, I'm still laughing over that one! Unfortunately, I don't think the film's humor would carry over to viewers outside Turkey who are unfamiliar with the complicated cultural traits of the country. It is for this reason that Sunal is deservedly an icon in Turkey, but not a familiar figure in other nations. When it comes to Turkish humor, the rest of the world will sadly never get it.
Lakposhtha parvaz mikonand (2004)
The Iraq you won't see on FoxNews
I was very impressed with Bahman Ghobadi's film "Turtles Can Fly." With his other two films "A Time for Drunken Horses" and "Marooned in Iraq," he has now proved himself to be an effective realist. Though like most Iranian filmmakers, the ethnic Kurdish Ghobadi may be seen as a director who is too slow for fast food cinema tastes here in America. But, he allows every character to evolve and their stories to be told. The film's two most moving sequences involve one in which the title character Satellite tries to save small female child from American land mines, and another where the main girl in the story walks towards a cliff where she will contemplate suicide. With a series of flashbacks, we quickly understand why she is on the verge of taking such a desperate leap. The film also shows hope upon the outset of the American invasion. The Kurdish citizens are clearly burned out with Saddam Hussein and desperate for a change. But, it is clear from the moments that leaflets are dropped from planes that the American forces will be there for other reasons which have nothing to do with freedom for the Kurdish people, or any Iraqis. The film is not likely to change anyone's political view of the Iraq War here domestically. Conservatives will see the Kurds' plight as a good reason why we have to stay in Iraq. Liberals will see that the promise of an invasion without hostility is an impossible one because of vast cultural differences and in the end, nothing will really change in Iraq at all. I am one who believes films can not change a person's politics, and it seems clear that Ghobadi himself has mixed feelings about the whole affair. It should be noted that Ghobadi's "A Time for Drunken Horses" was the first Kurdish-language film to be shown in my father's country, Turkey. I am not Kurdish myself, but one has to find the fact that Ghobadi broke the barrier very ironic since Turkey is actually the country with the world's largest Kurdish population and because Turkey's best known filmmaker, the late Yilmaz Guney, was of Kurdish descent. Guney is also considered to be the best filmmaker of Kurdish heritage ever. But, just as Nuri Bilge Ceylan ("Uzak/Distance") is challenging Guney's place on the mantle as far as Turkish cinema, Ghobadi might well soon be recognized as the foremost Kurdish filmmaker who ever lived, if he isn't already. However, none of these factors should take away from Guney's merits. He still deserves far international recognition for his work, but since he died in 1984, it seems that his torch has perhaps already passed on to other hands.
Match Point (2005)
Woody's best film in 15 years (or more)
I was very impressed with "Match Point." The screenplay actually bears resemblance to a tennis game, and I mean the kind that McEnroe and Borg played back in the '70s! I had listened to a portion of the new operatic version of "An American Tragedy," which was the basis for the Elizabeth Taylor-Montgomery Clift film "A Place in the Sun." I did not realize that it was Woody Allen's main source of inspiration for this film until after the fact! This film marks a radical departure from recent film, such as "Anything Else" (which I liked, but few seemed to), and bears very little resemblance to the Allen we have grown to love over the years. The film more closely resembles "Interiors" and "Crimes and Misdemeanors" more so than "Annie Hall" or "The Mighty Aphrodite." There are great performances as well. Brian Cox is really good as a tyrannical father figure. Emily Mortimer is also outstanding as the clueless Chloe. The film also hints at a Hitchcockian influence. You don't have to be a Woody Allen fan to like this one.
Gegen die Wand (2004)
Another solid film from Faith Akin
As a Turkish-American, my praise for "Head-On/Gegen die Wand/ Duvarlarla Karsi" is perhaps predictable and it does admittedly contain a degree of subjectivity. But, one must realize that Akin has succeeded where other talented Turkish-German directors have not. There was a genuine, noble effort called "Yara" (an earlier Turkish-German film) which demonstrates how hard it is to make a cross-cultural film which is universally accepted- one which is not isolated to either one country of origin (in this case Turkey or Germany) or the other. "Yara" had many great performances, and moving moments with wonderful cinematography, character acting, and an amazing film score, but it still did not meet its overall creative objective. "Head On" does just that though. Birol Unel and Sibel Kekili are profoundly amazing, as is Meltem Cumbul and the rest of the supporting cast. The film is also well-edited and it sticks to its complicated theme throughout. We really feel for everyone involved, even many (but, certainly not all)of the antagonists, and care about them. The film is brutal and harsh in its depiction of both Germany's cultural isolation towards immigrants and in backwards social mentalities in conservative Turkish circles which both oppress those who fervently oppose them and prevents those who challenge the mentality from getting past the discrimination which results from the darkest aspect of Anatolian life (which alas does not change with immigration). A tough film which should stand the test of time. But, it is not quite as profound as the Turkish film "Uzak/Distant" which was released here in the USA last year. Nor, did I enjoy it as much as another current German film "Downfall," which I (it alas seems to be a minority view) found absolutely riveting. But, along with "In July," there can be no dispute of Akin's talents which will be challenged by the high expectations many of us in the world Turkish community have for him. But, he has clearly earned that.
Cool, brutal film
I must admit it is refreshing how European (and true domestic indies) tackle subject matters that Hollywood would not touch with a proverbial 10-foot pole. Of course, the French film industry has produced some fluff like "Jet Lag" in recent years too, but "5 x 2" proves that many brave films still come from Europe. The film explores a broken relationship from the final divorce settlement to the couple's initial meeting at a French resort. There are graphic sex scenes along the way, and stark dialog, such as an instance in the film's second sequence when the title character asks his gay brother's lover about their sex life in front of both his brother and his wife. There are also many surprises along the way, including what happens on the 'wedding night.' Francois Ozon's film is also filled with deep symbolism. An American tourist is indeed a symbol of intrusion. And, subtle moments along the way, including the title character's odd behavior during the birth of the couple's first child show how something so seemingly strong came unraveled in a stark, harsh manner that could only 'end' in divorce. The film has some sloppiness and some of the melodrama is not as restrained as it would need to be to be considered one of the best films released here in les etats unis this year. I liked "Swimming Pool" for its similar handling of difficult subject matter, but this is a slighter stronger film and it is definitely superior to Ozon's "8 Women." I expect to see more solid films from Ozon in the future.
Der Himmel über Berlin (1987)
Still my favorite German film
I initially saw "Wings of Desire" some ten years ago on video. I have seen it since on DVD. It is a unique and magical film which captures everything that Wim Wenders has achieved as a director, before and since. Wenders has many Hollywood influences, including John Ford and Sam Fuller (who was in "The American Friend"), but he also takes in the best elements of international cinema. The performances here are genuine, and the cinematography is breath-taking. I also like the sequel, though it has more detractors. Wenders would have made a great photographer, musician, or a novelist, but those of us who love movies are glad he chose cinema.
Word Wars (2004)
Interesting, but the focus should have been tighter
Films are won and lost in the editing room. This fact is even more apparent with documentaries. I think the subject is amusing, but the film does not have the suspense of the spelling bee doc "Spellbound" nor does it capture the humor of those who are ultra-obsessive about their hobby as well as "Barbie Nation." I think better editing would have raised the quality of this film. And, there is too much emphasis on Stephan Fatsis. I think there could have been more interviews with neutral observers, such as hometown reporters who have covered the respective subjects. The film does however show a degree of objectivity, which at times had to be a challenge given the overwhelmingly ridiculous lifestyles of those in the film. I think the bigger question, which was better addressed in "Barbie Nation," is what drives this obsession? Is the nature of our commercial society, that some people will just never know when to 'say when?' On the other hand, one must also admire the determination of the subjects to achieve what they have. In the most competitive country in the world, perhaps there is no other way to win!
Trouble in Paradise (1932)
An early erotic masterpiece
Wow! There are few films that one hears about for many years before finally getting around to watching and then finds that the film is indeed as good as everything you've heard about it. It was a snowy day here yesterday, so I had a chance to watch this film twice in a row. There are so many nuances that one picks up a lot of things they missed the first time around. It may come as a surprise to some but the film bears a lot of resemblances to Hitchcock films, particularly "Rear Window." Miriam Hopkins is absolutely delightful here, and the film is also a strong influence on Billy Wilder's work, particularly "Some Like It Hot!" "Trouble in Paradise" is a pre-code film, and Ernst Lubitsch is brilliant enough to let A LOT slip under the radar. I love the "Harem" sequence. The film has to also one of the best comedies about thieves ever made I recommend it for your next 'snowy day.'
Drums Along the Mohawk (1939)
A unique film since it is a "Revolutionary Western"
Well, I chose to do an oral report for a WEsterns class a few years back. Since the film is now out on DVD, I thought I'd write some thoughts about it. It is perhaps one of the best 'overlooked" Ford films. I am one who likes "Mogambo" though! Nevertheless, Henry Fona is great here as a patriot leader who must fight off the local tribe to secure his family. It is a very visual film, and the DVD should enhance its' qualities. It is also very well-edited and has a great score. Alas, as one other person pointed out here, it came out in 1939 and it has been overshadowed by Ford's own "Stagecoach." The film also proves Ford worked well with other actors besides John Wayne, most notably Fonda and Jimmy Stewart among many others.