Doc Hollywood hearkens back to the days of older, inoffensive entertainment, including a scene with an outdoor late night showing of The General (1927), though there are a few moments that belie the film’s mild-mannered demeanor, mainly an early scene when Lou is introduced to us, completely and gratuitously nude. A local resident who was present for much of the filming in Micanopy, Florida, the stand-in for the fictitious Grady, later said that the nude scenes were included specifically to avoid a G rating.
It’s a Date is impressive in that it presages the post-war bobby soxer films by a few years, as well as the Hawaiian fashion trend; in fact, Peter Stackpole’s now-famous photo spread featuring Hawaiian and Polynesian fashions in Life Magazine didn’t go to print until after It’s a Date was released. This was clearly meant to be a trendy film, one to appeal to the younger crowd, particularly the ladies who were Durbin’s biggest fans.
My Fellow Americans is exceedingly kind to its two leads, who are allowed to be charming and charismatic and fun, and whose sheer exuberance turns a strange tale about the attempted assassination of two former presidents into a delightful, lighthearted comedy.
It’s that connection between the corrupt past and the corrupt neo-Soviet present that gives The Russian Woodpecker its heft. The film never unearths anything startling, and its attempts to fool you into thinking it has are done in bad faith, but the film remains a compelling reminder of just how quickly we humans tend to fall back into old habits, even old habits that are likely to kill us.
Victor/Victoria happily embraces the been-there-done-that tone of a film that, fifty years after the original, knows its plot should no longer be scandalous. The genius of the film’s nonchalant sexuality is that gender-bending, drag and homosexuality were still salacious in 1982, and Victor/Victoria shows better than any other film before or since just how ridiculous that is.
The Taking of Pelham One Two Three is one goddamned entertaining film. Pelham is also exciting, especially for a film that consists largely of guys talking into radio mics at people they’ve never seen. Matthau is tough and confident — so confident, in fact, that he handily pulls off wearing the most beautiful, outrageous clothes, two yellow and red catastrophes duking it out with each other across his chest throughout the entire film.
Profiles in History have teamed up with Invaluable for Auction 83, an enormous, three-day event that opens tomorrow at 11:00 a.m. and includes items that date back to the silent era.
Underneath that stereotypical late-60s conservative backlash veneer are some really interesting points being made, points that director Mel Stuart sadly seems to have not noticed.
Gold is an odd little bird, irresistible and entertaining despite being a bit thin on plot. It’s believable and thoughtful and the performances range from good to fantastic. It’s hard to imagine getting all worked up over alchemy here in the amazing futuristic year of 2016, but it’s easy to do with Gold.
The failures of the women in Woolf are reflective of the time in which it was made, which is ironic, considering this was very clearly intended to be an indictment of America’s sociocultural clime. It succeeds as being timeless far better than almost any other social consciousness film, and certainly is one of Albee’s best in this regard, but the need for the play to destroy Honey and Martha is telling.