Posted by Nathaniel Thompson on March 22, 2017
To view Muriel’s Wedding click here.
Last year, I took a look at the enduring (and sometimes unexpected) impact the music of ABBA, the wildly adored Swedish pop group, has had on the world of cinema. One of the key titles in that study was Muriel’s Wedding (1994), an Australian films from the Miramax-led art house wave that hit theaters during the grunge years. Now that you lucky dogs can watch it right here on Filmstruck as part of a “Starring Toni Collette” two-fer with another Miramax title, Cosi (1996), what better time could there be to take a closer look? [...MORE]
Posted by R. Emmet Sweeney on March 21, 2017
To view Ronin click here.
An Audi S8 sluices through the country roads outside of Nice, running down a trio of anonymous sedans. With the aid of pinpoint braking and navigational support, the Audi sideswipes its final target in the center of the city, taking out an outdoor cafe with it. This brutally exciting sequence halfway through Ronin (1998) typifies its fuel-injected virtues, one in which the cars are the stars just as much as Robert De Niro. It’s been years since I’ve seen it, but I could still recall the make and model of that Audi S8 before the wheelman (Skipp Sudduth) requests it from his handlers. But while the cars are the main attraction, the rest of the film is a slyly elliptical bit of post-Cold War spycraft, as a group of out-of-work spooks are hired to steal a MacGuffin that both the IRA and the Russians are after (Ronin is streaming on FilmStruck as part of its nine-film series “A Movie History of the IRA”). The script was heavily re-written by David Mamet (credited as Richard Weisz due to WGA wrangling), and the film is filled with his weighted repetitions, tangy slang and allusive phrasing, the ex-agents communicating in code, trying not to give themselves away. As on his 1966 racing film Grand Prix, director John Frankenheimer required all the stunt driving to be done at full speed with no special effects. The results are pleasurably stressful, as reflected in De Niro’s white-knuckled grip on the steering wheel – he was actually in a car going 100mph, with his stunt driver operating the vehicle in the opposite seat.
Posted by Susan Doll on March 20, 2017
To view Raw Deal click here.
A shadowy, expressive photography defines film noir. It creates the kind of heavy mood and atmosphere that the German Expressionists called stimmung. The genre seemed to bring out the best in cinematographers, but two have been singled out by scholars and historians—Nicholas Musuraca and John Alton.
Musuraca photographed noir favorites such as Out of the Past (1947) and The Hitch-Hiker (1953), while John Alton’s work in the genre was in B-movies for directors Steve Sekely (Hollow Triumph ), Joseph H. Lewis (The Big Combo ), and Anthony Mann. Alton shot six films for Mann; five of them are streaming on FilmStruck, including the noir Raw Deal (1948).
Posted by Pablo Kjolseth on March 19, 2017
To view My Night at Maud’s click here.
Éric Rohmer, “the most durable film-maker of the French New Wave”, according to his obituary in The Daily Telegraph, established international prominence when My Night at Maud’s (1969) was nominated for two Academy Awards. My Night at Maud’s is being screened on The Criterion Channel of FilmStruck as part of a Blue Christmas theme that invites viewers to “Have a holly, jolly, melancholy, festive season.” With this in mind a black-and-white feature mulling religious and moral questions set in the industrial city of Clermont-Ferrand certainly fits the bill. Rohmer was a champion for authenticity. This means if he was going to film a church mass, it would be a real church mass being delivered to the faithful. If music is heard, it had a diegetic source onscreen and reason to exist. If locations were alluded to, those actual locations were used. And if the story takes place on Christmas Eve, then the film itself had to be shot on Christmas Eve too. This last point is the reason the film was delayed for a year, and may have also contributed to the reason My Night at Maud’s is known for being the third within his Six Moral Tales series, albeit the fourth in order of release.
Posted by Jill Blake on March 18, 2017
To view Brief Encounterclick here.
It’s not often you come across a story centering around infidelity that is portrayed as sweet and innocent, deserving of the respect and empathy of its audience. In film, especially classics, adultery is typically met with some form of harsh punishment, particularly for the women involved. David Lean’s Brief Encounter (1945), based on playwright Noël Coward’s play Still Life (1936), offers a snapshot of the short-lived romance between two people stuck in the monotonous rut that life can occasionally works its way into. Lean’s film handles the delicate, complicated nature of infidelity with sensitivity and compassion. Laura Jesson and Alec Harvey (Celia Johnson and Trevor Howard) are not careless in their affair, at least not at first. They know that any kind of a future together is impossible. They acknowledge their spouses and families back home. They understand the social implications of an affair. Both Laura and Alec are seeking something that was lost long ago in their marriages. Perhaps a sense of adventure or simply yearning for that exciting feeling that comes with a new romance, if only for a brief moment.
Posted by Greg Ferrara on March 17, 2017
To view The Boys from Brazil click here.
Alternate histories have always had a devoted following and have been around for years. Since World War II’s end, many alternative histories have focused on Nazis, with premises like “What if the Nazis had won?” or “What if the Nazis were victorious?” (Fatherland, The Man in the High Castle) or “What if the Americans had elected a Nazi sympathizer” (The Plot Against America) or some variation on those basic themes. But only one book/movie had the guts to ask, “What if the Nazis lost, like they actually did, but the party stayed alive in South America, like they actually did, and Josef Mengele, the notoriously cruel, sick and incompetent Nazi quack, cloned Adolph Hitler and then a group of Nazis spent years making sure each clone (all 94 of them) had the same exact upbringing as Hitler in order to reproduce him to lead the Fourth Reich?” No one else asked that question because, holy crap, what a stupid question! But Ira Levin asked it because that man knew how to take a premise no matter how ludicrous and turn it into entertainment gold. Anyway, the resulting book, and then movie, The Boys from Brazil (1978) is about exactly that because somehow, someone thought that if you recreated Hitler’s childhood, you would somehow also replicate the exact world conditions that brought Hitler to power in the first place. Oh wait, I don’t think they thought about that part.
Posted by Kimberly Lindbergs on March 16, 2017
To view The Criminal click here.
Joseph Losey is one of my favorite directors so I was thrilled to discover that his work is currently being spotlighted at FilmStruck. While looking through the collection of films available to stream I was inspired to revisit The Criminal a.k.a. Concrete Jungle (1960), a low-budget British crime thriller about an underworld kingpin named Johnny Bannion (Stanley Baker) who organizes a high-stakes robbery that goes terribly wrong. When he finds himself behind bars a second time, Bannion has to rely on his brawn, brains, bravado and faith to survive.
Posted by Nathaniel Thompson on March 15, 2017
To view That Obscure Object of Desire click here.
Somehow it seems utterly appropriate that Alfred Hitchcock and Luis Buñuel released their cinematic swan songs only a year apart. That might sound strange on the surface, but these two men had earned reputations as the greatest of all cinematic manipulators who traded in subverting their audience’s expectations at every turn.
Posted by R. Emmet Sweeney on March 14, 2017
To view He Walked By Night click here.
He Walked By Night (1948) strips the police procedural to the bone. There are no backstories or love interests, just the case at hand, rigorously filmed by director of photography John Alton and directors Alfred Werker and Anthony Mann (FilmStruck is streaming five Anthony Mann/John Alton Noir collaborations: T-Men , Raw Deal , He Walked By Night, Border Incident  and Devil’s Doorway ). Inspired by the 1946 crime spree of former Army Lieutenant Erwin Walker, the movie is obsessed with process, of both the cops and the killer. The police methodically trudge through witness interviews and crowdsource a sketch of the suspect, while the equally conscientious criminal attempts to wipe his identity from public record. Made in the semi-documentary style popularized by The Naked City (1948), though on a lower budget, it can be no-frills to the point of abstraction, as both sides of the law disappear into the shadows of Los Angeles’ sewer system. [...MORE]
Posted by Susan Doll on March 13, 2017
The Thin Blue Line (1988), which is available for streaming via FilmStruck as part of the series Documentaries by Errol Morris, is more than a documentary. It is an investigation into the case of Randall Adams, who was falsely convicted of the murder of Dallas policeman Robert Wood.
Randall Adams was one of the hundreds of rural poor eking out a meager living on the margins of working-class Texas. His (mis)fortunes turned from bad to worse when he met David Harris, a wild teenager with a penchant for violence. The two hung out for a brief time before parting ways after Adams declined to allow Harris to crash in his motel room. A short time later, Adams was arrested for killing Officer Wood during a routine traffic stop. The primary witness was Harris, who claimed he was in the passenger seat when Adams pulled out a gun and shot Wood. Intent on a quick conviction, the Dallas County Sheriff’s Department “discovered” other witnesses in addition to Harris who swore that Adams was a dangerous murderer.
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