A young ex-boxer and a priest team up with the sister of a victim of the local mob to find out who killed her brother and try to stop the mob from unfairly controlling all of the work and wages that should be going to the dockers in the area.
This is one of those films that everyone says is a classic but I hadn’t got round to seeing. All I can say is- the people who say this is a classic are undervaluing the film greatly. I knew as I was watching this that one of my favourite films that I hadn’t even seen for the first time from start to finish yet was unfurling before my very eyes.
Karl Malden, Eve Marie Saint and Lee J Cobb are all remarkable.
But then theres Marlon Brando. One still of him from this movie, any still of him from this movie is worth a million Monets. The fact that he went into acting and the movies specifically is a wonder. To see his face, his expressions, everything about him in this film projected onto a huge cinema screen reminded me why I love the movies. Flawless.
I missed this when it was first released. However, at the time I saw clips of the fights scenes and the slow mo bullet sequences and was duly impressed. What would i think of the film on first viewing almost 20 years later?
I never lost interest during this film and I can see why it was such a huge hit in 1999. Its heartening when any highly stylised film which isn’t utter base level bilge to take megabucks at the box office.
But heres where The Matrix succeeds brilliantly. It offers mind blowing concepts- but isn’t too deep. It offers striking visuals- which unfortunately quickly became de rigueur as many other films, commercials and pop videos copied this visual style. Not the fault of the filmmakers and as they say, imitation is the sincerest form of flattery.
Certain parts of the film feel like a comic book fans fapfest. The costumes assumed by the main protagonists would only be thought cool by basement dwelling geeks. Black PVC, long coats and clumpy boots- a cyberpunk’s wet dream. Soo late 90s.
But this film did dare to take to the masses something original and daring. It succeeded. Fair play especially in these times of stale remakes and turgid reboots. But don’t try to interpret things too deeply. Beneath the surface isn’t a whole lot of depth or substance. Precisely why it was so massive.
The scene need the end where we learn that Neo really is ‘the one’ is one of the most bombastic, unintentionally hilarious sequences in modern cinema. I don’t know if its pure cheese, genius or both. Which is noteworthy in itself.
But for a film that tries to show us what the modern world is really like and what it revolves around I’ll still stick with They Live. A film that accomplishes its mission statement with less gloss, has infinitely more depth, substance and charm and does so on a substantially smaller budget than The Matrix.
From the director of the quite extraordinarily brilliant How To Survive A Plague comes this film.
Marsha P Johnson was a black transvestite/drag queen (there was no ‘transgender’ then) who hung around Christopher Street in the 60s until her mysterious death when she was pulled out of the Hudson River in the early 90s. As we hear from one person captured on video back then who witnessed her body being recovered there appears to have been some kind of wound on her head. Could there be more to Marsha’s death than just the officially held cause being accidental? Was it suicide or homicide?
David France expertly tracks the work of Victoria Cruz in unearthing and unravelling what happened to Marsha whilst celebrating this revolutionaries life. Moments of this documentary are sometimes very shocking. One such is when Ms Cruz telephones a retired member of the NYPD who she asks to meet to discuss the circumstances surrounding Johnson’s death. ‘Definitely not’ he responds to her meeting request. He then warns her ‘Don’t go playing detective’. Sinister.
This film feels like new unexplored relics and answers from LGBT history being unveiled right before your eyes.
However, there are politics at play regarding the film. Some members of the non-white trans movement are slamming France’s work as hes a white cisgender (non-trans) man who is making this film rather than a trans person of colour. There have been accusations of theft of material from another project that was being made by the trans community regarding Johnson. There are also accusations that David France could get funding and distribution because hes white and cisgender. I think these accusations are just a case of sour grapes. If you are a filmmaker who has made films before, have a proven track record and can actually accomplish these projects through to fruition then you will get funding and distribution. How long have we been waiting for the fictionalised short film Happy Birthday, Marsha? I’m amused that its fictionalised- so was Stonewall in 2015. Lets see if there are protests regarding this new film if events are seen to be historically accurate.
Also, does it matter whether the person making the film is trans or cisgender or what their ethnicity is when the film they make is as great as this?
There seems to be a huge emphasis on Marsha and Sylvia Rivera when it comes to LGBT history and the Stonewall Riots. But when anyone else is represented they are lumped together and not given the same kind of detailed analysis or be the centre of attention. I’d love a similar documentary on Danny Garvin, Martin Boyce or the person widely believed to have started the riots- Jackie Hormona (Marsha P Johnson admitted in an interview that when she arrived at the Stonewall Inn on that fateful night in 1969 that the rioting had already started. The interview is here- makinggayhistory.com/podcast/episode-11-johnson-wicker/ She dashed off to Bryant Park to tell Sylvia Rivera who had taken heroin). You don’t know who Garvin, Boyce or Garvin are? Thats very telling.
A great documentary. Now lets hear about other Stonewall voices.
Why is it that when I see that Film 4 funded a film that its going to look like its been made for TV and lacking in scope or depth?
This film could have been a massive example of social justice warrior filmmaking (damn those white men in power!) But instead there are so many twists and turns that characters who were earlier stereotyped as either ‘goodies’ (the strong woman, anyone of colour, the white man labelled a ‘faggot’, the midget…) or baddies (white men with power to abuse, of course) are in fact shown to be three dimensional and fully nuanced. Everyone is capable of good and evil. Yes, even white men can be good! Its a miracle. I hope Oprah has seen this movie.
Sometimes the film’s comedical stance works wonders, sometimes it feels awkward seeing as the film is about makes the rape and murder of a young woman.
The lead character of Mildred is one of the most interesting I’ve seen in a long time and is played to perfection. In fact there are great performances all round. Woody Harrelson is fast building a filmography that would be the envy of any actor.
But the film doesn’t knit together quite right. And sometimes its ‘politiks’ feel so holier than thou that I wanted to vomit. Mildred only looks happy when embracing her black co-worker. Virtue, anyone?
On the plus side, its photographed beautifully with Ebbing looking absolutely gorgeous.
So, not a masterpiece. But with enough redeeming qualities to ensure you’re not looking at your watch.
WARNING- The ending of this film is so sugar coated that you will become diabetic.
This film is basically saying ‘Life sucks whether you have a facial deformity or not’.
Julia Roberts is great (as per). Owen Wilson is in a film that isn’t an utter embarrassment for once (way to go).
But the film feels like an overlong episode from some bright and breezy TV show. Theres no real depth even though the subject of someone being different could be examined perceptively in relation to human nature and people’s vicious pack mentality.
Theres also some vile stereotyping going on here. All the bullies within the film are white and stinking rich. The goodies either have a facial deformity, are related to him, aren’t white or are a member of another religion (the Jewish headmaster). Social justice filmmaking. Urgh.
If John Waters had made this film, the lead character would have accentuated his unique looks, dressed in drag and owned this film. Maybe Mr Waters could remake this. In fact I think hes already made that film- it had songs, dance routines, Divine and was called Hairspray.
Watch Mask instead. You get Cher and bikers thrown in as well.