Time Out - Bill Maher "Driver" Movies

Recently in our Facebook chat room (everyone is welcome to join here) someone asked: “DRIVE or BABY DRIVER? Which do you prefer and why?” I’m with him:

Bill Maher on “Driver” movies. Enjoy! ***Warning: Some may find this satire crude and offensive.

"Now Listen to Me..."

Just some thoughts on current happenings:

Our monthly feature of “Classic Film Screenings from around the world” will be suspended as there are no reliable reports of future theatrical screenings during the Corona virus pandemic.

There are 16 recommended films to watch on Turner Classic Movies in the U.S. this month:

There have been quite a few movies centred around boxing over the years from 1937’s Kid Galahad to 2018’s Creed II with plenty of standouts in-between such as 1956’s Somebody Up There Likes Me, 1962’s Requiem for a Heavyweight, 1972’s Fat City and 1980’s Raging Bull. None of these however get as straight to the punchline as 1949’s knockout noir The Set-Up, previously reviewed here and happening again on TCM Saturday, April 4 at 10:30am PST and again on Sunday, April 19 at (early morning) 4:45am PST.

Cinema's Most Treasured Image #185

Later on Saturday, TCM is showing one of the most astute explorations of small town American life, 1971’s The Last Picture Show, previously reviewed here. This is one of the finest films of the ‘70s and can be seen Saturday, April 4 at 6:45pm PST.

(From left) Timothy Bottoms, Ben Johnson, Sam Bottoms

This will be a really bad day for anyone who encounters Them! (the giant mutant ants that is). The 1954 motion picture, however, is an exhilarating creature feature, previously reviewed here. Them! will march on TCM Tuesday, April 7 at 10:15am PST.

From the same director who brought us Citizen Kane comes another kind of cinematic hero (of sorts). Michael O'Hara, like the deeply flawed Kane, is flawlessly played by his creator Orson Welles. Unlike Citizen Kane however, this film fell under its producer Harry Cohn's butchery with considerable footage lost and destroyed forever. Nevertheless, what survives is vastly entertaining and not to be missed. The Lady from Shanghai (1947) was previously recommended here  and will arrive at TCM Tuesday, April 7 at 7pm PST.

Cinema's Most Treasured Image #78

Woody Allen’s most personally heartfelt 1979 film Manhattan, may still be his finest. Previously recommended in February here, interested viewers can decide for themselves Thursday, April 9 at 7pm PST.

Cinema's Most Treasured Image #21

Another type of "love letter" to New York City and its inhabitants is Hidden Gem #61, Hal Ashby's personal and distinctive 1970 directorial debut film The Landlord. He'll pay you a visit Thursday, April 9 at 10:30pm PST.

Diana Sands, Beau Bridges

Director Michael Curtiz brings inspirationally to life the unsuspectedly stylish film noir 1947’s The Unsuspected, previously reviewed here, Friday, April 10 at 2:15pm PST. 

Claude Rains

John Huston's The Treasure of the Sierra Madre (1948) is indeed an unforgettable American treasure and a prior TCM recommendation here. Its cinematic riches can be uncovered on TCM Saturday, April 11 at 12:45pm PST.

(From left) Humphrey Bogart, Tim Holt

MGM's 1952 musical Singin' in the Rain was not adapted from a theatrical production, though the film was later turned into one, being first presented on stage in 1983. Its abundant creativity, innovation and driving energy place this film at the top of all cinematic musicals ever produced. Singin' in the Rain has been reviewed as a past Blu-ray selection here and will joyously dance its way onto TCM Monday, April 13 at 3:15pm PST and again Sunday. April 19 at 3pm PST.

(From left) Donald O'Connor, Debbie Reynolds, Gene Kelly

1944’s Laura is director Otto Preminger’s slick and assured amalgamation of mystery (whodunnit) and film noir (obsessive desire, gruesome murder etc) elements. This film was briefly reviewed here. Included is a comparison between the detective played by Dana Andrews and James Stewart’s retired investigator in Vertigo. Laura will come to life on TCM Tuesday, April 14 at 8:45pm PST and again Monday, April 20 at 9:15am PST.

Cinema's Most Treasured Image #65

Another film well worth seeing is Network (1976), previously reviewed here. This “mad as hell” exposé of just how far some TV executives will go to exploit for profit, amongst other things, a former news anchor’s severe “on the air” mental breakdown, will itself air on TCM Saturday, April 18 at 2:45pm PST and again Thursday, April 30 at 5pm PST.

Cinema's Most Treasured Image #221

Immediately following Network, is a film a few of you may have heard about: 1944's Academy Award Best Picture Winner Casablanca. This choice may come as a surprise to readers more familiar with my past articles since it is included on a list of overrated films and reviewed here. There is no denying the fact that this film casts a magical spell and is certainly capable of sweeping one up in its appealing blend of romance, sacrifice and political intrigue. Besides, for those who haven't seen it or seen it enough, how are they to know if my criticisms are sound? This 1942 classic, one of Hollywood's proudest, airs Saturday, April 18 at 5pm PST and again on Sunday, April 26 at 8:30am PST.

Humphrey Bogart, Ingrid Bergman

My previous recommendation, and linked to a past review of,Casablanca, was criticised for its emotionally underwhelming Parisian flashback, partly due to the fact that we did not see the romance develop before these rather lukewarm scenes took place. Prior to this film, however, Casablanca's producer Hal Wallis and one of its contributing writers, Casey Robinson, made Now, Voyager (1942) where the romance witnessed from start to finish comes alive with fervour, maturity and elegance. Previously reviewed here, Now, Voyager will set sail Monday, April 20 at 2:30pm PST.  

Cinema's Most Treasured Image #157

Next is a film noir bonafide classic The Narrow Margin  (1952), a previous TCM recommendation here. This little firecracker is set to explode Tuesday, April 21 at 6:45am PST.

Cinema's Most Treasured Image #242

If I was in charge of choosing a single film noir for someone only willing to see one in the entire canon, I would select 1944’s Double Indemnity as its most fulfilling and accomplished representative. It has been previously reviewed in Opening Up a Treasure: Double Indemnity. Thoughts of adultery, greed and murder will manifest themselves on TCM Friday, April 24 at 5pm PST.

Cinema's Most Treasured Image #63

My final recommendation of the month is Todd Browning's shockingly bold and terrifying 1932 film, Freaks, previously reviewed here. They will appear on TCM Wednesday, April 29 at 12:30pm PST. 

Cinema's Most Treasured Image #47

TCM's current monthly schedule can be confirmed by clicking on any of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

A Happy Birthday shout-out to the immensely talented New Zealand born filmmaker Jane Campion who turns 66 on April 30th.

Some of her notable directorial efforts include An Angel at My Table (1990), The Piano (1993, also written by and an Academy Award nomination recipient for Best Director), The Portrait of a Lady (1996) and Holy Smoke (1999, which she also wrote and a personal favourite). Jane also contributed strongly to the intense TV crime series Top of the Lake (2013 - 2017).

This month’s Soundtrack recommendation is James Horner’s newly expanded score to the 1994 epic Legends of the Fall.

This western period film’s greatest strength is in portraying the emotional bond and interdependencies of the brothers and their patriarchal family. Its glaring weakness is a predilection for basing so much of the narrative on some of the characters' “deeper” romantic feelings over infatuations that appear to derive from no more than their intended's looks.

As to the film’s music, James Horner really outdid himself with this thematically rich and lavish score (perhaps too lavishly applied for some). His artistry provides a unified overview to scenes of war, personal conflict, romance and the great outdoors with sumptuous themes perfectly accompanying John Toll’s Academy Award winning cinematography. More information on this limited 2 CD set from Intrada can be obtained by clicking on the image.

Make or Remake, which is better? Part 1: The War of the Worlds (1953) or War of the Worlds (2005)

My Blu-ray recommendation this month is an upcoming release on the Criterion label (North America Region A) and in Australia on the Imprint label (U.K., Europe, Australasia Region B, however this particular issue is Region Free): Paramount Pictures' 1953 sci-fi classic The War of the Worlds.

Cinema's Most Treasured Image #41

Film fans who prefer recent cinematic fare may find Steven Spielberg’s 2005 remake War of the Worlds more accessible and satisfying…

War of the Worlds (2005)

… full of astounding special effects as it is (or perhaps the purposely dour and abstract, even more contemporary British TV mini series released in 2019). One of the chief weaknesses with Spielberg’s version resulted from making the Tom Cruise character an average Joe instead of a scientist as portrayed in the earlier 1953 film. In the Spielberg remake, the mostly banal, although overly emphatic, family drama is disassociated with the 'war' taking place: they're just trying like everyone else to escape the onslaught; those intimate moments are poorly presented (little Dakota Fanning's persistent screaming is especially irritating and the son running off and then magically reappearing at the end represents a new low in juvenile storytelling). Spielberg's focus on the (admittedly very) special effects fails to give enough relevance to his characters and therefore limits our involvement in their plight. When we would react in basically the same way as those on the screen, little is left to ponder or even discover about these individuals in relation to whom they are fleeing from. One exceptional scene does aggressively depict how the aliens feed off humans (a motif taken from the H.G. Wells novel) when Cruise’s character along with his daughter are abducted. There is also an extended scene of creepiness with a character played by Tim Robbins, although it is on such an extreme personal level that it seems uncomfortably odd compared to, not to mention at odds with, the greater conflict at hand. John Williams’ music is reviewed as a soundtrack recommendation here.

(Out of 5 Treasure Chests)

Ann Robinson, Gene Barry

Compare that to the 1953 version whose central character, Doctor Clayton Forrester, authentically played by Gene Barry, remains connected to what is happening at a higher level. This heightens the tension on a vaster scale as we additionally stay connected to the central conflict. In addition, there are multiple exhilarating scenes of distinction that don’t rely on an enormous budget to capture our attention: the Pastor who attempts to communicate with the aliens by reading from scripture (the first indication that God is not taking sides), the military's reaction to their useless weapons, the siege of Forrester’s vehicle and supplies in downtown Los Angeles which represents humanity's last hope, * the feelings expressed between the two main characters (Forrester’s romantic interest, a science instructor, is played with sincerity by Ann Robinson) in a time of extreme crises, and the narration provided by Cedric Hardwicke… (Morgan Freeman is no slouch but his narration for the 2005 version lacks the command of his predecessor and sounds rudimentary by comparison). All these elements combine to deliver a complex human dimension to drama that resonates. Even the Academy Award winning special effects in this 1953 adaptation are pretty impressive (newly restored to their original technicolor glory): those spacecraft gliding over downtown L.A. like some elevated souped-up Corvettes destroying everything in sight are still a marvel to behold, not to mention appear more technologically advanced compared to the later versions’ long-legged walking machines. George Pal creatively co-produced. Byron Haskin commandingly directed Barré Lyndon’s character focused adaptation of H.G. Wells’ novel. Leith Stevens provided the alternately eerie and rugged score.

* This is an all-important moment near the story’s conclusion since Dr. Forrester, after conferring with top ranking military advisors, has determined that the only chance to save mankind is the scientific equipment on board his truck. The military’s armaments, including an atomic bomb, are totally ineffective. Therefore it is up to Forrester, after having retrieved a blood sample from an alien at the farmhouse, to find a biological weapon to stop the invaders. When a desperate mob seizes the truck and destroys his supplies, the frightening feeling of impending doom is heightened considerably. *** SPOILERS *** At that point we are unaware that downtown L.A. already has what turns out to be a lethal biological weapon of its own: smog.

Verdict: The War of the Worlds (1953) is the winning film.

(For Part 2: Point Blank (1967) or Payback (1999) in the series, click here).

More information on Criterion’s upcoming Blu-ray from Amazon.com can be accessed by clicking on the accompanying image.

This title will also be released on Blu-ray from Imprint in Australia (Region Free) and made available from J.B. Hi-Fi there. Click on the image for more information.

A.G.