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Fortnight (2010)
A Special Treat!
Fortnight is a very delightful and fun film. An independent movie made in Iowa. There are plenty of laughs throughout, with very clever humor. But it's more than a comedy, much more.
I am very biased, I know a cast member who turned me onto this film. For that reason alone, I'm going to be very favorable, partially why I'm giving it a 10/10 rating. However, I gave it a 10 because it surprised me. It is much better than I expected, a very enjoyable experience. I want to convey the delightful spirit of this film and how fun and satisfying it was to watch. The DVD is available on Amazon. Please check out this film. It'll be worth it!
At the Iowa Motion Picture Association Award ceremony, Saturday, April 23rd, Fortnight was awarded the top prize for "Best Picture", or Entertainment - Long Form. Susan Marcum won the Best Supporting Actress Award for her role as Mallory, in her film debut!
Congratulations Fortnight! Congratulations Susan! You are both very deserving.
Three O'Clock High (1987)
Atmosphere is surreal, characters are comic-book colorful.
Being a big fan of Tangerine Dream, I believe their music provides the surreal, dream-like atmosphere of this movie. The characters are all over-the-top and thoroughly comic-bookish in their vivid and colorful richness. Which is a true delight! It reminds me of the colorful comic-book like characters in Pee Wee's Big Adventure.
Three O'Clock High could have been a commercial success if it stuck to the "formula" and had been dumbed down quite a bit. Thank goodness it didn't! It is a very smart and clever movie with plenty of hilarious ironic twists. The one that comes to mind is the "now, THAT'S a Book Report!" scene. In English class, Jerry attempts to get sent to detention by doing a very controversial, offensive book report only to end up wowing his classmates, turning-on his hot teacher.....and failing to get sent to detention! What bad luck! The irony is delightful.
The characters in this unusual teen comedy seem to follow the formula, the underdog geek to root for, his gothic wanna-be, bizarre girlfriend, his resourceful even-geekier best friend, the gorgeous princess of all desires, the surly, greasy tough guy, the over-zealous campus security guard, and the brooding, snarling principal, among others. However, there is no formula. The only thing that matters is, fight, after school, 3:00.
Most of the scenes in this movie have a surreal dream-like quality to them. I believe it is a combination of the bizarre nature of the material, the clever cinematography, and the Tangerine Dream music. The movie Risky Business has this feel during certain scenes as well. However, Three O'Clock High has this feel throughout the film. No matter when you start watching this movie, it sucks you in and holds on to you until it is over. And then you don't want it to end...
I have a very funny story about first hearing of this movie. Back in college a good buddy of mine came up to me breathless and wild eyed, grabbed me by both arms and insisted he's just seen the most wonderful movie. You see, he had recently been "tuned in and turned on" and he insisted this movie was made for people in his condition. Of course, we all laughed and chalked it up to our good friend just being out there a little too far. But you know what? He has a very good point! One worth verifying from time to time!
This movie makes me think of two of my other favorite 80's, high school flicks, The Breakfast Club and Heathers. Three O'Clock High and Breakfast Club are both "one typical day in the life" of high schoolers, which end up being far from typical. Three O'Clock High and Heathers are both very original, intelligent, and delightfully twisted black comedies. See them all!
Conrack (1974)
As diamonds in the rough go, this one shines brightest.
I saw this movie for the first time a little over a year ago. I've seen it 4 more times since. I had never heard of it before and I consider myself knowledgeable of classic cinema. A true, polished, diamond in the rough.
This gem of a movie revolves around Jon Voight (lead character "Conrack") as a young schoolteacher assigned to Yamacraw Island to teach the islands' children, all in one school. At first, the students reveal they know very little of the world beyond their island home. The heart of the movie is Conrack finding inspiration to awaken their young minds to the world around them. The students quickly reward their teacher with an eagerness to learn and a remarkable ability to grasp concepts that, only a short time before, had been foreign to them. Conrack uses unconventional and clever teaching techniques that happen to be, oh a little fun! God forbid. Learning AND fun? Together? Can't be, or so says the ones in charge. To avoid a spoiler, I shall just say that Conrack finds resistance with the boss man....and the ending is truly bittersweet.
I am a 35 year old white male with some teaching experience, so I should identify with the lead character, Pat Conroy (aka, Conrack, Mr. Petroy). But I don't, I identify with the black kids. As a kid, I was bussed to the school on the other side of town from the 4th to the 6th grade, circa 1979. These kids in the movie remind me of my classmates then. Luckily, in 4th grade as a 8 or 9 year old, one doesn't understand racism. I just remember we were all being kids, playing 4-square, kickball, hide-and-seek, and running relays.
This movie is very moving. There are delightful and poignant moments from beginning to end, non-stop. I found myself many times with tears in my eyes, then suddenly laughing out loud. It's a funny movie.
"Git away from that winda!!".... "Sir, if you're prepared to accept crap, I should tell you that rabbit just did it in your lap."..... "So, you the white schoolteacher, Mr. Conrack. My grands LOVE Mr. Conrack. You a good looking teacher, you a good looking white man."..... "wind 15 mph from the east. Small boat warning. Small boats beware. Big boats OK, don't gotta worry 'bout nothing.".... "not a fry cook, but Eleanor Roosevelt, not a share-cropper, but (something Latin)...that's Latin..hey wait!".... "Conrack sing like a frog....I sing good, whatcha talkin' 'bout?!".
It still mystifies me that I still hear nothing about this movie or that it has very little reputation or following. I intend to seek out more reviews, comments, background, and "making of" tidbits, if they are out there. What amazes me is the acting given from the untrained kids. One of the kids, Mary, I understand was an actress, and you can tell. However, the other kids have plenty of lines and genuine reactions. I wonder how they did it! I'm guessing that Conrack and Mary had precise dialogue to work with while some of the scenes unfold naturally or ad-libbed.
Conrack is a special movie. In my opinion, it is one of the very few movies that are so good AND so unknown. Others in that category are King Rat ('65), Dark Passage ('47 with Bogie and Bacall), Gods Must Be Crazy ('80), and Bad Day at Black Rock ('55). I recommend them all. But first, take a seat in the class of Mr. Conrack.
The Wild Bunch (1969)
What's all the fuss about?
I'm certainly in the minority in not really liking this film. It is in the AFI's Top 100 list at #80. Why? The editing and color make it appealing to the eye, and the brutal violence was shocking for the time (due to Hays code being lifted in 1968). I can see why others find it fascinating. Just not me. I really like William Holden, Ernie Borg-9 (that's how he signed an autograph for me), and slow drawlin' Ben Johnson. But their talents were wasted. I kept getting the impression that Holden was trying to make the best of poor lines, and doing poorly. I usually don't like Robert Ryan, but he was almost likable. I wish he'd a shot the "gutter trash" early in the movie. If I had a gun, I'd a got Mr. "Black Liar" while he was happily running from corpse to corpse claiming guns, boots and other loots.
Throughout the movie, I struggled to figure out what was going on and why. Why are they together? Why are they being pursued by the "gutter trash"? Why don't they mourn their own dead? Why are they in this town? How can they stay put for so long without Thornton catching up, yet when their out in the brush, Thornton's right on their trail? Ugh. I could go on... I've heard there is a version of this film with scenes deleted. I must have seen this version.
I'm a huge fan of classic films. I find many movies made these days are splashy, flashy, "fresh", edgy, action-packed, and a big waste of 2 hrs. The Wild Bunch reminds me of a movie made these days, lots of flash and "style", but no substance, coherence, continuity, or reasonableness.
If you want to see a high quality Western, try "Once Upon a Time in the West". If you want to see Holden's best, watch "Stalag 17". Rating 5/10
One by One (1974)
The Quick and The Dead
mild spoilers present...
I did not recognize the title "One by One", when I was searching for this film on IMDb. I recently saw the 1977 release of "The Quick and The Dead" on Speed Channel. The host opens the film by warning the viewer of the disturbing scenes within the film, especially the very beginning. I'll be 3 for 3 in user reviews' commenting on the opening sequence. I can't get it out of my mind. The shock value makes anything on RealTV or YouGottaSeeThis seem tame by comparison. Two track workers cross heavy race traffic to assist a stalled driver who is inexplicably running around his car in a very agitated state. The first worker just misses getting clipped by a passing car, the second worker is not so lucky. I did not know that the driver in the incident was also killed -- the video footage does not show what happens to the car, nor is there any comment on the incident in the film. However, you do see exactly what happens to the stricken track worker. Horrifying, yet strangely fascinating.
The film plays like a documentary of the sport of Formula 1 racing circa 1973. They mainly profile four drivers, Francois Cevert, Peter Revson, Mike Hailwood, and the great Jackie Stewart. Cevert, Revson, and Hailwood all perish in crashes (none shown) before the release of the 1977 version of the film. Stewart is the only one to make it out alive. It gave me a real appreciation of Jackie's talent and impact in Formula 1. I've only known him as the cool Scottish voice of so many races on TV. I'm a Nascar fan, thus the recommendation to watch this film if you are a fan of any kind of racing is true. I only occasionally tune in to F1 these days. Michael Schumacher has made the competition quite boring. However, I knew I would like this film because it was of the same era as one of my all time favorite movies, "Grand Prix (1966)" with James Garner. Both films convey the sense of mortal danger and relative insanity of these drivers competing only for glory, while living lives of basically lonely, idolized heroes -- modern day gladiators.
What is interesting is the difference between the F1 cars depicted in "Grand Prix (1966)" and "The Quick and The Dead (1977)". While the F1 cars of today don't look a whole lot different than the ones in the 1977 film. If you can manage it, treat yourself to both films in one sitting or tape rental cycle.
The Miniver Story (1950)
Not so bad! Quite good on its' own.
Minor spoilers may be present.
If one expects this sequel to match the impact of the classic MRS. MINIVER (1942), it may result in disappointment. However, taken on its' own as a picture made in the early 1950's it is good viewing. Greer Garson is her sparkling self and Walter Pidgeon is equal to the task of reprising the role of the original.
There are some liberties taken in following the original story to the letter. The most glaring oversights are with the Miniver children. There is no mention of their eldest son, Vincent (Vin) a widower as a result of the war. Perhaps one of the most important storylines in the original, Vin's existence is completely ignored in this film. Not even a casual reference that he is away or has been killed in the war. And there is a splendid opportunity for the family to comment on Vin when they sit down to a meal and Kay remarks it is the first time they are ALL together for the first time since 1940. To me, this is the lone disappointment in the sequel. I would love to find out the behind-the-scenes negotiations that resulted in why Vin's character was eliminated. The other inconsistencies are minor. For example, little Toby with thick, curly brown hair has become a thin blond pre-teen who has just returned from America? Why? And daughter Judy has seemed to grow up quite fast and quite beautifully. And she comes hopping back from Cairo? Boy, the Miniver children are quite the travelers! If one can overlook these details and enjoy what has remained consistent, this is a film that can be enjoyed. There are references to some of the original storylines. When Clem Miniver has returned from the War, he and Kay take a stroll and reminisce with the old boat and speak of Dunkirk. And a brief mention of roses has Kay remember fondly having an award winning rose named in her honor. The Miniver house is the same, even the always-behind grandfather clock at the landing of the stairs.
The newcomers to the film are actually quite recognizable. Toby is played by James Fox who I recognized as an adult in KING RAT (1965), which is a fascinating movie set in a Japanese prisoner of war camp. Fox plays Toby very confidently and shares a most hilarious scene with Pidgeon in demonstrating the "Home Run". Cathy O'Donnell plays daughter Judy who is currently (and not secretly) having an affair with a married Brigadier General, egad! Earlier, O'Donnell played a sympathetic wife-to-be of a returning (armless) veteran in BEST YEARS OF OUR LIVES, THE (1946). The character of Spike, the American officer "in love" with Mrs. Miniver, is played by John Hodiak who played a tough guy in Alfred Hitchcock's LIFEBOAT (1944). I don't recall Spike's character in the original, but his presence in Kay's life plays a small role to remedy Judy's immoral affair. By the way, I highly recommend all three movies referenced in this paragraph.
I found it refreshing to see a picture that depicted "life after...". And in this case after the War and squarely about the Miniver family. There's very little if any danger or suspense which was present in the original. It reminded me of the episode of Star Trek: The Next Generation in which Picard's character visits home after his terrible ordeal of being assimilated by the Borg. The episode followed a particularly intense two-part cliffhanger and was a refreshing soft change of pace. It is the only ST:TNG episode I can recall without any danger or trouble. The Miniver Story has this same calm life-after-the-great-storm feel, with the possible exception of Kay's grim secret. That's all I shall say about that other than it provides a sad, but wonderful scene between Kay and Clem when the secret is revealed. I thought the chemistry between Garson and Pidgeon displayed in the original is very much intact here. The scene where Clem declares "You women are fantastic..." and ends with him smacking Kay on the fanny is belly-laugh funny. He rants about how the English women provide lavish meals for foreign visitors in spite of scarce resources, thus misrepresenting England's temporary post-war poverty. Meanwhile Kay is on the horn making plans for such a meal while pleasantly ignoring Clem's rant. Classic comedy. Greer Garson shows remarkable flexibility in two scenes, one very serious in tone, the other lively and full of wit. In the serious scene, she is reading a letter from the USA she has recently received from Spike. Judy is listening riveted in the background as Kay reads about how when the war ends, some relationships have to end. She is making the point that Judy should consider ending the affair with Steve, the married general. As Kay is nearing the end of the letter, she looks up and continues reciting the letter without missing a word, obviously having already memorized such an important letter in a short period of time. This scene was preceded by Kay visiting Steve, with Judy's blessing, in order to meet this mystery man Judy claims to be in love with. The dialogue between Kay and Steve is very witty, engaging, and quite revealing. Near the end of the scene, Steve is passionately playing a piano piece that demonstrates the love he still possesses for his estranged wife. Kay recognizes this and makes it known to Steve that she feels he is still in love with her. He reluctantly agrees. As Kay leaves Steve's apartment he continues playing the haunting piano piece that left quite an impression on me. In fact, I rewatched the part when Steve plays the two versions, his and his wife's interpretation, to see if I could detect a difference. "His" version was played with more feeling and with a flair, while "Her" version was more mechanical and mathematically precise. However, at first listen I had to agree with Kay: "No, I can't tell any difference. They sound quite the same to me."
I felt compelled to write a positive review of this film after finding only one unfavorable one available so far. I viewed MINIVER STORY, THE soon after watching the original for the first time. I had low expectations based on what little had been written about it, and was pleasantly surprised. If you like an ending that resolves everything, this one is for you. It is by far not a happy, sappy ending but one with a mixture of triumph and tragedy. Check it out! 7.5/10.