Sunday, April 14, 2019

Cinema Shame: American Gigolo (1980)



My 2019 Cinema Shame challenge got off to an auspicious start. Seven days into the year not only had I posted my challenge but I had also already seen two of the movies on my list. Then months passed, I never reviewed those films and now I find myself mid-April having to start all over again. But no sweat. Let's begin from the beginning.

My challenge for this year is to watch 10 films from my birth year 1980. These are films I've never seen before (hence "Cinema Shame").  I kick off the challenge anew with American Gigolo (1980). 

Written and directed by Paul Schrader, American Gigolo stars Richard Gere as Julian Kaye, a handsome gigolo whose clientele mostly consists of the wealthy elite of Beverly Hills. With the help of his madame/boss Anne (Nina van Pallandt), he plays both escort and sex therapist to older rich ladies. Julian, or "Julie" as some call him, is very devoted to his job. He wears Armani suits, drives a Mercedes Benz (a 450 SL R107), speaks multiple languages and knows how to navigate the social scene. One day he meets Michelle (Lauren Hutton), the wife of Senator Stratton (Brian Davies). The two have a wild love affair. In the midst of it all, Julian gets a secret side gig from his shady pimp friend Leon (Bill Duke) who sets Julian up with a couple. Weeks later the wife from that gig has been found brutally murdered and detective Sunday (Hector Elizondo) is on the case. All fingers point to Julian who is clearly innocent. He's been set-up. But by who? And why?

"Legal is not always right. Men make laws. Sometimes they're wrong." - Julian Kaye





American Gigolo was filmed in early 1979 and released February 1980. Something I love about the 1970s and the early 1980s is Hollywood's newfound comfort with on-screen sexuality. We lose that later on and to this day people are more put off by sex in film than they are violence which, in my opinion, is an utter shame. I love how Julian Kaye enjoys his work and takes pride in offering quality service to the women who hire him. In one scene he discusses working for three hours with a client to achieve a particular goal that had previously seemed impossible. The portrayal of gender dynamics in the film was perhaps what drew me in the most. Julian's boss is a woman, his most trusted allies are women and any toxic relationships in his life all come from men. 

It's not a perfect film but I enjoyed American Gigolo  not only for the portrayal of sexuality (which at times was still a bit corny but hey its 1979/1980) and the exploration of gender roles but also for the crime drama aspect. Julian Kaye is solving a murder mystery while simultaneously trying to clear his name without revealing his own illegal activities. Richard Gere is charming as the debonair yet reserved gigolo and he's worth the price of admission alone. I had never seen Lauren Hutton in a film. I remember growing up in the 1990s, the age of the supermodel, and Hutton was still highly revered as one of the greats. 

Have you seen American Gigolo? If so, what did you think?

Monday, April 8, 2019

Stan & Ollie (2018)



"They had reached the top..."

The year was 1937. Comedic duo Stan Laurel and Oliver Hardy, simply known as Laurel and Hardy, were at the top of their game. While filming Way Out West, Laurel, who had been taking a more active role in the writing, direction and production of their films, had a falling out with producer Hal Roach. When Laurel parted ways with Roach, Hardy didn't follow suit and found a new partner in Harry Langdon. But there was no Hardy without Laurel and vice versa. The two quickly reunited and continued their legendary collaboration.

"We're not exactly spring chickens anymore."

Fast forward to 1953 when Laurel and Hardy are about to embark on their second European tour. They traveled all across the UK doing stage productions of their famous skits. The tour's main purpose is to drum up the needed support to make their next film, a spoof on Robin Hood, for the Associated British-Pathe studios. That film was never meant to be. This tour inevitably was to be their last hurrah. Before Hardy shuffled off his mortal coil and Laurel retired, they would prove once again that they could make 'em laugh.

Directed by Jon S. Baird, Stan & Ollie (2018) is a heartfelt ode to two comedic geniuses whose identities were inextricably tied to each other. Written by Jeff Pope and A.J. Marriot, the story focuses on Laurel and Hardy's final European tour in 1953 but dips back to 1937 when they were at a crossroads in their life and career.

The film stars Steve Coogan as Stan Laurel and John C. Reilly as Oliver "Babe" Hardy. Coogan and Reilly embody the spirit, the mannerisms, the personalities almost effortlessly. They really captured the magic of Laurel and Hardy's comedic chemistry and how their characters drew from their real life temperaments. It's quite astonishing how Coogan and Reilly transformed themselves into their characters. Reilly wears a prosthetic suit made to look different depending on if the scenes were set in 1937 or 1953. Usually prosthetics look rather fake but the make-up team on this movie did an amazing job because Reilly really indeed look like Hardy. They made several, more subtle changes to Coogan's appearance but they were still incredibly effective.

Coogan and Reilly are playing two sides of Laurel and Hardy. We see them as performers but much of the film is about them as business partners. Laurel is the tireless workaholic always coming up with new ideas and ventures and Hardy is the more relaxed fun loving one who just enjoys performing. Coogan and Reilly do a great job portraying both sides of their personalities and the film shows how these sides sometimes blend together.

Paralleling their story was Lucille Hardy (Shirley Henderson) and Ida Laurel (Nina Arianda), the two devoted wives who have their own comedic dynamic as polar opposite characters. Danny Huston plays the irate Hal Roach and Rufus Jones plays Bernie Delfont, the duo's tour manager.

By the end of the movie I was working my way through a box of tissues because I got so emotional. This is a beautiful film. A sincere portrait of a partnership and a friendship. It's essentially one big love story that turned me into a puddle of goo.

I watched this movie with my husband Carlos and he had confessed to me that he'd never seen a Laurel and Hardy film. I stopped Stan & Ollie to show him Liberty (1929) which is my favorite of their films. We also watched the original dance sequence from Way Out West (1937) which is recreated a couple of times by Coogan and Reilly in the film.

You don't have to know Laurel and Hardy to appreciate the film. However, if you are indeed a fan it makes Stan & Ollie all the more special. This film is a treasure. Go seek it out.




Stan & Ollie is available on DVD and Blu-ray from Sony Picture Classics. The Blu-ray extras include three vignettes: Making of Stan & Ollie (4 min.), Playful Prosthetics (3 min.) and Dancing Duo (3.5 min), a Q&A with Cast & Crew (30 min.), deleted and extended scenes, theatrical trailer and other Sony related trailers.


Please visit my MovieZyng Store for other Sony Picture Classic releases and a wide variety of classic film related DVDs and Blu-rays.


Monday, March 18, 2019

SXSW Review: Sunset Over Mulholland Drive

Actress Connie Sawyers

"We take care of our own."

Founded in 1921 by Charlie Chaplin, Mary Pickford, Douglas Fairbanks, and D.W. Griffith, the Motion Picture and Television Fund Home (television was added later) seeks to care for members of the industry who were in need of full-time support. More than just a nursing home, the MPTF is a thriving community of retired visionaries. As Ted Witzer, former talent agent says, MPTF's community boasts "an incredible wealth of talent... just a little bit older."

Directed by Uli Gaulke, Sunset Over Mulholland Drive is a documentary that takes an intimate look at a group of MPTF residents and how they come together to collaborate on a project. The film was shot on the campus in 2017 and features the following residents:

  • Connie Sawyers - Actress
  • Ted Witzer - Talent Agent
  • Joel Rogosin - Television Producer
  • Deborah Rogosin - Therapist
  • Tony Lawrence - Screenwriter
  • Jerry Sedley Kaufmann - Director
  • Anne Faulkner - Actress
  • Daniel Selznick - Television Producer
  • Wright King - Actor
  • Phil Haberman - Sound Editor 
  • Dena Dietrich - Actress 
  • Duke Anderson - Sound Engineer
  • Maggie Malooly - Actress
  • Brett Hadley - Actor

I had the pleasure of visiting MPTF last Spring so I was particularly excited to see this film on the slate for this year's SXSW Film Festival. It's important for us to recognize the contributions, both big and small, that the MPTF residents made on the entertainment industry. So many figures from the past have been forgotten and overlooked and that's why classic film fans, like myself, know how valuable it is when the spotlight is focused on them. We cannot risk losing their stories forever.

The film focuses on a creative writing group which is organized by an MPTF staff member. It encourages individuals to write down their stories to preserve their legacies for their families and for future generations. About half way into the film we see the group work on a sequel to Casablanca, imagining what would happen if Rick and Ilsa reunited many years later. It's not the most interesting part of the documentary. This helps to give the film a storyline but I was much more interested in hearing from the different subjects than I was in finding how their project turned out.

Classic film lovers will appreciate all the references to films like Gone with the Wind2001: A Space Odyssey, Planet of the Apes, A Streetcar Named DesireAmerican Graffiti and many others. The different residents discuss working with people like David O. Selznick, Susan Hayward, Dean Martin, Elvis, etc.

Some of my favorite moments in the film included Connie Stevens talking about her career, the sweet story about how John Lawrence found love again after his wife passed away and seeing actor Wright King watch his scene with Vivien Leigh in A Streetcar Named Desire. Pretty much any moment when the film lingers on a scene or interview with one of the residents is a highlight for me.  A few of the subjects have passed away since the filming making these moments even more special.

There are beautiful shots of the MPTF campus. And as someone who's been there I can tell you it's stunning in real life. There is a short tour at the beginning but I wish we learned more about the history of MPTF and about the different facilities on campus.

Sunset Over Mulholland Drive is an important documentary for the sole reason that it brings awareness to those elderly members of the entertainment industry who have contributed so much but are at risk of being forgotten. There are times I felt the film a bit rushed and that perhaps it could have gone in a different direction. Until I get the MPTF documentary of my dreams, I'll be pointing people to this one as essential viewing.




Sunset Over Mulholland Drive had its world premiere at the 2019 SXSW Film Festival as part of their Documentary Spotlight series.

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