Tag: classic movies

Aliens


Aliens (1986)
★★★★ / ★★★★

“Aliens” picked up as we made the grim discovery that our heroine named Ripley (Sigourney Weaver) had been in hypersleep and wandering in space for 57 years. The second surprise was the fact that humans started to colonize the planet where the aliens had been incubating. To no surprise, the human colony, which included a brave little girl named Newt (Carrie Henn), had lost contact with the scientists and a request was made that Ripley join a crew to investigate the strange happenings. The feel of this installment felt considerably different. While the first one was more about the concept and horror of being abandoned in space, this one was more action-oriented and more concerned about the gadgetry such as the weapons and the vehicles used by the characters. That wasn’t necessarily a negative as long as the tension remained relatively equal or greater than its predecessor. And, in some ways, it was able to surpass the original. A definite stand-out was the alien’s ability to learn via trial-and-error. We learned about the aliens such as they tend to hunt in packs and there was a sort hierarchy among them. By learning more about the enemy, we understood their capability but at the same they became that much more terrifying because we now had the knowledge of their great ability to adapt in order to survive. They showed signs of intelligence, not just creatures that wanted to kill for the sake of killing. Two other elements I noticed about the film were the fact that the aliens were easier to kill and they were much more visible. In Ridley Scott’s “Alien,” the organism was practically invincible and we only really saw the creature’s full body toward the end. In “Aliens,” the approach was much more obvious and body parts (along with the highly acidic blood) were flung all over the place. However, that’s what I admired about the sequel: It was different than the original but it was able to make it work for itself and deliver adrenaline-fueled space action-adventure that kept my heart tugging at a frantic pace until the last scene. That is, when Ripley had a duel against the queen of the aliens using a highly familiar-looking robot from Cameron’s “Avatar.” What it did preserve was the feminist undertone that “Alien” played with which was a smart move because the movie was first and foremost supposed to be Ripley’s quest for survival. If I were to nitpick for a flaw, I would say the crews’ interactions toward the beginning had quickly worn its welcome. I especially found Bill Paxton’s character highly irksome and I wished he was the first one to be killed. A redeeming quality was Michael Biehn as Ripley’s potential romantic interest. “Aliens” was not only highly entertaining but it managed to justify that it was a necessary sequel by playing upon existing ideas and expanding new ones.

Alien


Alien (1979)
★★★★ / ★★★★

A spacecraft containing a crew of seven (Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto) was supposed to be on its way to Earth. After waking up from hypersleep, the crew discovered that they were nowhere near Earth because their ship, known as Nostromo, received a transmission. One of the rules of their mission was if the ship received some sort of signal, it was requisite that they investigate the source which most likely could be extraterrestrial. This film held my attention like a vice grip right from the opening credits. There was something eerie and cold in the way the camera scanned the darkness of outer space. It made me feel small and almost insignificant. Even though I knew that Ripley, Weaver’s character, was the hero of the story, I liked that I didn’t immediately notice her. Her character only began to grab my attention when one of the three crew members was infected with an alien larvae and she refused to let them inside due to a risk of infection. Naturally, their leader ignored her sound reasoning and it was only a matter of time until the crew met their gruesome demise. Ridley Scott’s direction took the film to the next level. Stumbling upon an alien planet could have been done in a cliché manner such as showing too much disgusting slime and, worse, showing too many alien creatures in the beginning of the film, taking away some of the effective scares found later in the picture because we would know exactly what the alien looked like. Instead, Scott used the alien planet’s environment to mask certain corners but at the same time highlight the areas closer to a light source. Since it didn’t show too much, it took advantage of my imagination, making what I didn’t see much scarier than what I did see. (But what I was still horrified when I saw the alien in larvae form.) Granted, most of the crew members made some bad decisions. But I think the unwise decisions they made were not equal to brainless teenagers in a slasher film. It was different because the crew faced the unknown and the usual rules did not apply. For instance, there was no way they could have known that the alien’s blood was so acidic to the point where it was able to eat through metal. A major theme I focused on was human instinct being pitted against animal instinct. Both were different because human instinct, represented by Ripley, is capable of being controlled, to an extent, given that the person actively takes a moment to evaluate a situation. On the other hand, animal instinct, represented by the alien, cannot. However, both are similar in that instinct has one goal: self-preservation. “Alien” is an intelligent science-fiction film that expertly mixes wonder and horror. Undertones which comment on feminism and technology can be found but it doesn’t get in the way of first-class entertainment.

Blade Runner


Blade Runner (1982)
★★ / ★★★★

Rick Deckard (Harrison Ford) was given an assignment by the leader of the Tyrell Corporation (Joe Turkell): to hunt four replicants (Rutger Hauer, Daryl Hannah, Brion James, Joanna Cassidy), human-like creatures who lacked natural emotional responses as humans, and “retire” or assassinate them when they reached planet Earth. Rick’s mission became a bit complicated when he started to fall for another replicant named Rachael (Sean Young) who wasn’t aware of her true nature. The first time I saw “Blade Runner” back when I was in high school, I was far from impressed with it. But after having more experience with films, I decided to give it another chance. Unfortunately, I still think it’s an overrated postmodern science fiction picture. Obvious questions were left answered. For instance, how can we discern a replicant from people with abnormal psychology such as those diagnosed with antisocial personality disorder? Having only one factor that supposedly determined whether someone was a replicant or not was, for a lack of a better word, foolish. It didn’t sound like science and the screenwriting was to blame. Admittedly, it had influenced the look of gritty sci-fi movies that came after it and I was impressed with its visual and special effects. I felt like I was actually there. But the look of a movie isn’t enough to elevate a material that lacks an emotional core. The way Ridley Scott directed the project left me cold. I tried to buy the budding romance between Rick and Rachael but I didn’t feel friction and tension between them. Rick was supposed to be tortured for falling in love with a replicant and Rachael was supposed to find herself through Rick but their self-discoveries felt like a tertiary element because it lacked focus. As for Rick hunting down the four murderous replicants, I felt like the situation could have been solved in thirty minutes. I didn’t think they were menacing because I didn’t find them interesting. Their mission was to find a way to prolong their four-year lifespan. However, Scott didn’t invest the time for his villains to ponder over their existence. Instead, there was a formula. We observed the villain doing something out of the ordinary and then Rick appeared to perform his assignment. It was one dimensional and I was exasperated with its lack of ambition regarding character development. As a film about dystopian future, instead of looking forward and trying innovative things, it used a formula as a crutch and that’s what I found to be unforgivable. While it might have been visually inspiring, everything else felt insular and inaccessible. Audiences and critics expressed their distate for the film back in 1982 and for a good reason. No amount hyperboles regarding its visual mastery can persuade me that it’s an outstanding, well-rounded picture if I don’t feel something.

Patton


Patton (1970)
★★★★ / ★★★★

The film started off with General George Patton Jr. (George C. Scott) delivering a speech about war and the importance of winning being embedded in the American culture with the gigantic United States flag on the background. It was probably one of the most patriotic scenes I’ve seen portrayed on screen, but at the same time I felt that the picture was making fun of itself. The scene aimed to establish our main character: He was intimidating because he was obsessed with discipline and excellence. His reputation as being one of the feared generals, especially by the Nazis, was well-earned because he was an uncompromising man. Fear sometimes generates respect. The film was beautifully shot. In war pictures, I find it uncommon that I notice the environment because, to me, at least with the more recent war movies I’ve seen, the environ is simply a template where we get to see bombs exploding like there’s no tomorrow. But in “Patton,” I found the second scene outstanding because it featured a peaceful landscape in the Arabian desert where American soldiers’ bodies laid lifeless as Arabian people stole the soldiers’ clothes and other belongings. Again, there was the theme of duality. On one hand, it was sad to see those dead and rotting soliders. On the other hand, we could look at the Arabian people and see that looting was their chance for survival because they obviously didn’t have much. The film is different than other war movies. With “Patton,” we don’t follow any soldier in the battlefield or realize any of his personal struggles. It simply followed the general during his glory days as he tried to compete against British Field Marshal Sir Bernard Law Montgomery (Michael Bates), attempted to outsmart German Field Marshal Erwin Rommel (Karl Michael Vogler), his probation because he slapped a soldier around for complaining about being afraid of the sounds of war, up until he regained his footing in the military. Throughout his journey, we learned so much about him such as his passion for poetry and penchant for history. The latter was his strength but at the same time it was his weakness. His enemies who didn’t know much about history often lost but those who were knowledgeable thought Patton was predictable and almost pretentious. Naturally, his strongest enemies were the ones who were just as smart as him. No one can argue against Patton’s biggest weakness being his mouth. He had no filter; he didn’t think he needed one so he was prone to saying the most inappropriate things during the most inopportune time. “Patton,” directed by Franklin J. Schaffner and partly written by Francis Ford Coppola, won seven Oscars (including Best Picture and Best Actor) not only because of its epic scale but also because of its small details that made this biopic all the more personal.

Dirty Harry


Dirty Harry (1971)
★★★ / ★★★★

A San Francisco cop with a reputation in the streets as Dirty Harry (Clint Eastwood) because of his willingness to not play by the rules tried to hunt down a serial killer named Scorpio (Andrew Robinson) who claimed that he would kidnap or kill people if the city failed to give him whatever he desired. Directed by Don Siegel, “Dirty Harry” became an iconic film. Naturally, my expectations were very high. I thought it was a bit dated but it was very efficient with its time, a great homage yet reinvented detective pictures, and the acting was very strong, especially by Eastwood. But what I loved most about the film was its simplicity. It was essentially about a cop who wanted to capture a bad guy. Certain twists such as the cop’s tendency to spy on people he was meant to protect, penchant for grand speeches and glorification of violence when he was fully aware there were other means of extracting information made the story very modern and quite bold. My opinion of the lead character always evolved and that X-factor made me emotionally and intellectually invested in the material despite its typical premise. The moral questions it brought up about power, choosing the lesser evil, ethics and inner demons were insightful and at times revealing, particularly toward the end when Eastwood’s character became almost obsessive in capturing the murderer. Even though I did not agree with much of his methods, I rooted for him to succeed because no one else was willing to take as many risks as he did. He was willing to put his career on the line which meant so much to him despite scenes that depicted him volunteering to give up his badge. The way I saw it was that the badge meant nothing to him but he was very passionate about being a cop and catching (or killing) those who did wrong. I did notice a plethora of political right-wing undercurrents but I don’t believe it hindered the picture in any way. What I thought it could have improved on was allowing the audiences to enter the lead character’s heart and mind more often. We did get to see his humanity toward the end of the movie so I felt like I understood him more. However, during the first half, I thought he was more of a vigilante in which killing was his addiction. At times I’m torn (and still torn) because I loved the way my perception of Harry Callahan changed toward the end. I also would have liked to have seen Harry interact with his new partner (Reni Santoni), a typical good guy, for more contrasting views in the ethical dilemmas involving law enforcement. “Dirty Harry” is a strong film. The action scenes were particularly gripping because there was no soundtrack. Everything was stripped down and, although the movie was released in the early ’70s, it is still refreshing to watch.

Mr. Smith Goes to Washington


Mr. Smith Goes to Washington (1939)
★★★★ / ★★★★

I could immediately relate to Jefferson Smith (James Stewart) because he saw the good in people above all else. His idealism was challenged when he was appointed by Joseph Paine (Claude Rains), a friend of his father’s, to fill a recent vacancy in the United States Senate. Smith looked up to Paine but was not aware of the fact that Paine was controlled by a powerful media figure named Jim Taylor (Edward Arnold). Despite the rotting corruption in Congress, it seemed as though nothing could destroy Smith’s loyalty to his country and ideals. I was so happy to have seen this film on the 4th of July because it had a truly touching scene about what it meant to have freedom. I’m referring to the scene when Smith talked to his cynical secretary (Jean Arthur) about the concept of liberty being buried in books and people taking it for granted and not realizing how lucky they are to have it. I have to admit I teared up a bit because it described how I was in high school. Despite our class talking about important U.S. historical figures and how the government worked, I found it really difficult to connect with the material because it all felt too impersonal. Watching Smith running around the capital while completely enthralled with all the monuments and the history of the place, it inspired me to always look the world from a fresh perspective. Stewart and Arthur made a killer duo because despite the two being completely different in how they saw politics, they found a commonality and worked from there to establish a very strong bond. I was touched with the way Arthur eventually revealed her softer, sensitive side without losing what made me adore her character in the first place: her sharp wit, dry sense of humor and sarcasm. Some viewers say that the picture might be a bit too romantic but that’s exactly what I loved about it. While it did acknowledge that there was an ever-growing darkness in the world and sometimes the good guys might not necessarily win, the movie’s main purpose was to instill hope. I don’t think the movie would have worked as well as it did if the lead character didn’t completely wear his heart on his sleeve. I was also impressed with the way it framed corruption by means of a politician’s silence which culminated toward the end of the film. Based on the screenplay by Sidney Buchman and directed by Frank Capra, “Mr. Smith Goes to Washington” was astute, touching and, most importantly, still relevant today. It went beyond liberalism and conservatism. Its main focus was what it meant to be a true American.

The Philadelphia Story


The Philadelphia Story (1940)
★★★★ / ★★★★

When the sassy socialite Tracy Lord (Katharine Hepburn) was about to marry a man (John Howard) who didn’t grow up from a family with money, Tracy’s ex-husband (Cary Grant) who still had feelings for her arrived prior to the big event to stir some trouble, along with him a reporter (James Stewart) and a photographer (Ruth Hussey). I instantly fell in love with “The Philadelphia Story” because of the effortless, magnetic chemistry between Hepburn, Grant and Stewart. The way they interacted with each other was so natural, I felt like I was listening to friends having a friendly banter and I couldn’t help but smile. I might not have gotten all the jokes because the comedy was a bit different back then but the bona fide feeling of the actors having a good time in their roles transcends time. I loved something about each of the leading actors. Hepburn played a plucky character with a distinct voice who wanted to show the world that she was strong but there were moments where she wore her weaknesses on her sleeve. Grant played a mysterious character who I found the most difficult to connect with but as the film went on, I felt his genuine love for his ex-wife and the pain and jealousy of seeing her with another man. As for Stewart’s character, my absolute favorite, he was charming, funny, and witty–such characteristics culminated when, ironically enough, he was drunk out of his mind. I was surprised with how much I was invested in the characters because some synopses I read described the picture as a screwball comedy. Perhaps I just had bad experiences with movies labeled as “screwball comedy” but I thought the movie was so much more than that. Not only did it have real moments of sensitivity and a little bit of romance but it did not settle for the obvious. I could see why Hepburn’s character was torn between her husband-to-be, her ex-husband, and the reporter because they all have positive and negative qualities about them. I also admired George Cukor, the director, for being efficient with his time. Not one moment did I feel bored or that the movie was going too slow because he kept the lead characters talking and he let the quirky supporting characters in and out at just about the right moments. I especially enjoyed Virginia Weidler as the nosy kid who wanted attention and the way she would act as if she was one of the adults. “The Philadelphia Story” is known as a classic comedy and I believe rightfully so.

Gone with the Wind


Gone with the Wind (1939)
★★★★ / ★★★★

There’s many things to love about this classic romance about a spoiled young woman named Scarlett (Vivien Leigh) who longed to be with a married man (Leslie Howard) since the beginning to the Civil War up until the end of her third marriage with a man who had a bad reputation (Clark Gable). I enjoyed the fact that even though Scarlett experienced how it was like to be rich then live in poverty only to be rich again, she didn’t become a fully giving person. In fact, she proudly remained manipulative, conceited and brash. The only thing that really changed was that she was less whiny but even then she still got on my last nerves. The performances were remarkable especially Gable as the man who didn’t want to settle down yet he had his eyes on Scarlett. We got to see him at his best and worst–it was such a well-rounded performance. It was also a joy to watch Hattie McDaniel as the servant of Scarlett’s family. She provided a much needed comic relief when everything started to get a little too dark. Lastly, Olivia de Havilland was great as an angelic figure who supported everyone she met despite the things that were said or done to her. Directed by Victor Fleming, the unpredictability of “Gone with the Wind” was its most fascinating quality. I thought when Leigh and Gable finally got together, everything was going to be a typical “happily ever after” love story. I was surprised when the picture changed gears from a romance epic to marriage drama. The film wasn’t afraid to really explore the dynamics of the family and the important people surrounding them; how the unsolved elements in the past eventually caught up with each of them. I was surprised because one of the many main things I’ve heard about the film was that it was a love story. Sometimes it was but sometimes it wasn’t. It was really more about the fact that nothing ever stays the same so the characters always had to adapt to the changes that happened. Admittedly, there were times when I thought the picture dragged a bit especially in the beginning. It definitely took its time to get to the real drama so a bit of patience is a requisite. But when it finally did dive into its subject’s lives, the storytelling was nothing short of captivating.

Snow White and the Seven Dwarfs


Snow White and the Seven Dwarfs (1937)
★★★★ / ★★★★

Walt Disney’s first full-feature animated film “Snow White and the Seven Dwarfs,” directed by David Hand, may be too simple in story and animation when it comes to today’s standards but that was what I loved about it. An evil queen (Lucille La Verne) decided to kill her step-daughter named Snow White (Adriana Caselotti) because the Magic Mirror (Moroni Olsen) claimed that the queen was no longer the fairest in the land. The queen sent a man to kill her step-daughter but he instead let her escape because he couldn’t find it in himself to commit murder. Snow White then ran away to the forest and there she met the seven dwarfs with very distinct personalities. Most of this picture was pretty much singing and dancing, while the story could only be found in the beginning and the final showdown between good and evil. While I did think that Snow White was not a very smart character in particular (who decides to eat a random apple that came from a shifty stranger?), she was likable enough for me to ultimately root for her. And although the lesson in the film was questionable because it pretty much implied that women should be good at cleaning the house, washing clothes, cooking and depending on men to rescue them from a sad situation, kids should nonetheless be entertained because of the sheer amount of vivid colors and energy that the film had all the way through. Not to mention the songs were really catchy, especially “Heigh-Ho” and “Some Day My Prince Will Come.” It must be noted that this animated film explored a little bit of darkness that might scare the children. Some examples include the queen’s determination to kill Snow White in not-so-subtle ways such as cutting off her heart and poisoning her with an apple, the witchcraft and transformation scenes of the evil queen to a decrepit old lady, and the nightmarish experience that Snow White had when she ran into the forest. Yet, in a way, I was glad that those elements from the fairy tales of Wilhelm Grimm and Jacob Grimm, from which the picture was based on, remained intact because it kept me engaged, which meant that the older viewers would most likely not get bored by the repetitive singing and dancing. The great artistic endeavor that was “Snow White and the Seven Dwarfs” opened the door to so many of Disney’s most excellent animated features. Although the film had its flaws, I believe we must honor it not only because it was progressive but also due to the fact that it provided people laughter and hope during the Great Depression.

Butch Cassidy and the Sundance Kid


Butch Cassidy and the Sundance Kid (1969)
★★ / ★★★★

I feel like I’m the only person in the world who didn’t enjoy this western classic about two fugitives, Butch Cassidy (Paul Newman) and the Sundance Kid (Robert Redford), who decided to go to Bolivia in order to escape the law and rob banks there instead. Directed by George Roy Hill, Newman and Redford were definitely charismatic and their characters had a brotherly chemistry without even trying; unfortunately, everything about it was so blasé to the point where I thought I was watching boys acting on their id rather than men trying to accomplish something that they could be proud of (no matter unlawful such things may be). Although it had a lot of energy especially during the chase and gun-wielding scenes, the movie had no idea when to turn down the energy and focus on the characters so that the audiences would know more about the two leads, such as where they came from, why the turned to the life of crime and what was it about their relationship that made them dependent on each other. The romantic angle regarding Katharine Ross as Etta Place was a mere filler for me. Those scenes lacked passion and sensuality so I was somewhat uncomfortable watching it. I wish Redford and Newman’s characters had more edge or danger instead of just being likable because there were times when I thought the film glorified violence. Except for the final minutes, I didn’t feel like their actions had any sort of consequences so the movie became one-dimensional for too long. I expected a lot coming into this film because I’ve heard from both critics and audiences alike that it was nothing short of exemplary. Perhaps I was in a bad mood when I saw the picture, I don’t know, but it didn’t engage me like “Bonnie and Clyde,” with which it had a number of parallels. I wouldn’t have minded the (very light) humor so much if it let the darkness took over from time to time. It’s a shame because I really do love watching Newman and Redford because I think they’re very talented actors. Luckily, they star together again in “The Sting,” a movie that really showcases the two of them as a whole package backed up with superior writing and direction (also by George Roy Hill).

Double Indemnity


Double Indemnity (1944)
★★★★ / ★★★★

This noir classic about a man (Fred MacMurray) who works for an insurance company who plots with a woman (Barbara Stanwyck) to kill her husband (Tom Powers) was impressive through and through. Unhappily married to her husband because she married him only for the money, Stanwyck suggested to MacMurray that they commit murder, collect her husband’s insurance money of $100,000 (assuming the husband dies on a train–a situation covered under the double indemnity clause) and be together forever. Only things started to go seriously wrong when an insurance investigator (Edward G. Robinson) began to feel like the death was due to murder rather than accidental because everything was set-up so perfectly. I enjoyed the fact that the lead character (played by MacMurray) narrated the picture and told the audiences outright how everything was going to turn out. So then the focus turned to the journey of two conniving individuals so blinded by greed and passion, they failed to consider the ramifications of what could happen after the deed was done. Stanwyck’s character was an expert of hiding her true emotions and an excellent liar; MacMurray’s character was obsessed with details and had a natural ability to think ahead. But both of them needed each other and that was ultimately their downfall (in which a train became a perfect metaphor). I thought it was fascinating how we saw the story through the antagonists’ perspectives. With most noir films I’ve seen, the story is always through the good guys’ eyes so watching this movie was a refreshing change. “Double Indemnity,” directed by Billy Wilder, being a noir film, I expected it to have a great ear when it comes to dialogue and a stunning use of black and white cinematography. What I didn’t expect was for the script to be very amusing, especially in the first half when MacMurray and Stanwyck conversed for the first time. It provided a nice contrast with the film’s darkness and cynicism. This movie kept me on my toes because just when I thought the characters were at the crest of the wave and were going to get away with everything, they hit a trough just as quickly and they started to figure out ways how they could survive even if it meant sacrificing one another.

12 Angry Men


12 Angry Men (1957)
★★★★ / ★★★★

This film was not difficult for me to love at all because it was able to focus on a number of very distinct individuals in one room and really pick apart their own moralities as well as our own… in about an hour and thirty minutes. If that isn’t filmmaking at its highest level, I don’t know what is. Directed by Sidney Lumet, “12 Angry Men” was about an eighteen year-old boy who was accused of stabbing is own father to death, now on trial to be put in the electric chair, and how one juror (Henry Fonda) out of the twelve (Martin Balsam, John Fiedler, Lee J. Cobb, E.G. Marshall, Jack Klugman, Edward Binns, Jack Warden, Joseph Sweeney, Ed Begley, George Voskovec and Robert Webber) decided to stand up for what he believed to be right–that is, that a person’s life should not be taken lightly, especially when that decision is in our hands. I thought it was fascinating that although we didn’t know the names of the jurors and we didn’t observe each of them in their respective homes, we learned a great deal about them with the way they argued their point of views regarding the case, how they argued against each other whether it was about the case or not, and how they looked into themselves when a really good point was brought up. Anyone who loves hearing great dialogues in cinema would immediately be interested in this film because it was pretty much like dropping in on a real jury who was deliberating behind the courtroom. Nobody is perfect and the arguments are strong yet they each had their flaws–but that complexity is what I found to be the most beautiful and engaging. This is the kind of film that is timeless because most people today absolutely hate it when they would be chosen to participate in jury duty and they would do anything to get out of it. (Sometimes including myself if I have class or a prior crucial commitment, but there’s a tiny part in me who is very interested on how it’s really like to be a part of the jury.) Although made in 1957, those eleven men are not at all different from people today because everyone has their own problems to face and responsibilities fulfilll; worrying about another person’s life who they consider as less important was the last thing on their minds. As the men tried to sort out the details of the crime, we really come to realize the power and the importance of reasonable doubt. Even if one is not interested in the justice system, this is a fascinating classic film about morals, ethics and what it means to live in a democratic society, the latter of which we most of the time take for granted. If I was ever on trial, I would want to show this movie to the jury before they make their decision.

Chinatown


Chinatown (1974)
★★★ / ★★★★

I’ve heard a lot about Roman Polanski’s “Chinatown,” a modern noir about a private detective (Jack Nicholson) who decided to investigate about water dealings in Los Angeles, only to discover later on that what he was onto was deeper than he could tread. I was impressed by this classic picture because even though it was set in the 1930s, there was something about it that was very aware of the noir films that came before. I thought that subtle self-awareness worked in its advantage because although it did follow some of the textbook rules of noir movies, it had the ability to flip some of those rules upside down and I was taken by surprise time and time again. I loved the acting especially by Nicholson and Faye Dunaway. It’s an excellent collision of two great actors because Nicholson played a character who was always asking questions and snooping around no matter what the cost and Dunaway played a character who was a fortress. You never really know what she’s thinking or feeling because she’s so good at hiding certain bits of information that are crucial to her endgame. More importantly, she has the uncanny ability to give away facts that could help Nicholson’s character but still keep her secrets. I also liked the recurring theme of a character thinking he or she knows everything but it turning out to be quite the opposite. In the hands of a less gifted director, I think the messages would have been obvious and less fun to think about. There were also certain metaphors in the film that I found to be fascinating. For instance, that scene between Dunaway and Nicholson regarding a flaw in the iris meant so much to me in ultimately determining whether I was in the right direction of guessing who was involved in what. And in this film, a whole array of things were happening all at once to the point where a less attentive viewer will almost certainly get lost in the maelstrom of intrigues, social commentaries and taboos. “Chinatown” was well ahead of its time because it was able to synthesize remnants of what made the noir films in the 1940s and 1950s so great yet still embrace the very modern moral and ethical conundrums that plagued the era of its release. Perhaps with a second viewing I’ll love instead of like this movie. I recently found out that the more I think about certain movies and the more the events connect in my mind, the stronger my appreciation for them. Given the chance, I’ll be interested in watching “Chinatown’ again in the near future to see if its subtle ways had embedded themselves in my psyche. If it does, that is a sign of a great film.

Bonnie and Clyde


Bonnie and Clyde (1967)
★★★★ / ★★★★

Two charismatic strangers named Bonnie (Faye Dunaway) and Clyde (Warren Beatty) teamed up and decided to rob banks in the Depression-era 1930s. Their adventures eventually led them to take in other people including C.W. Moss (Michael J. Pollard), Buck Barrow (Gene Hackman), and Blanche Barrow (Estelle Parsons). I’ve heard a lot about this movie via references from other pictures and television shows so I expected a lot from it. I have to say that it more than impressed because although it was initially about criminals who simply wanted some sort of excitement in their lives, we eventually really got to know them such as how they felt toward each other, their own insecurities and their realization that they wanted to leave the life of crime and start over. In under two hours, Arthur Penn, the director was able to helm a movie with sympathetic characters (when they shouldn’t be because they’ve killed people, especially considering when the film was released) and come full circle when it comes to the story. I also liked the dialogue and the passion in the body language of the actors, notably Dunaway. At times, I would pay attention more on what she was doing instead of what she was saying–something that I often catch myself doing when I’m conversing with someone. So I consider that a very good thing because it means she’s established a bridge between the character and the audience. Lastly, I enjoyed that this picture tried to be more than a series of action sequences. It actually had humor–especially when Gene Wilder appeared on screen–and real dramatic weight, which adds another layer to its substance. I think “Bonnie and Clyde” is rightfully considered as one of the greatest American films because even though it was undoubtedly violent, it really was more about the drama in wanting to escape situations with increasing amount of gravity. Pretty much every minute was efficient and I was fascinated with what was going to happen with the characters even though I knew of their fates. If one hasn’t seen “Bonnie and Clyde,” one should make it a priority. My only regret is that I hadn’t seen it sooner.