Kiss of the Spider Woman

Properties That Could Use The Avengers Treatment

Posted on by bernardovillela

Now speaking for myself (for who else would I speak for) I was most definitely delighted with The Avengers. Now, whether you loved it, hated it or felt indifferently towards it one cannot deny the box office records it shattered. Which gets me to thinking that imitation is the sincerest form of trying to make money in Hollywood; so what entities could benefit from a ‘team up’ mentality, aesthetically at least (as the box office is always a crap shoot)?

1. Turma da Mônica

OK, yes, this is absolutely my list and some of these ideas may not be feasible financially or even of broad appeal to a US audience. However, I am merely selecting properties where there can be a convergence of factions within a fictitious universe. This is a Brazilian comics universe I’ve discussed on occasion and the fact of the matter is there are many separate “Gangs” (as they’re referred to meaning more like Kool and the Gang, rather than biker gangs) that could each have their own films or a mash-up. There’s certainly enough characters and plots it’s about 11 sections and 100+ characters. Which does not include the new adolescent versions of many of the same characters.

2. Looney Tunes

This has been touched upon to an extent both in Roger Rabbit, Space Jam and Back in Action, which I did not see. However, the Looney Tunes ensemble is still right for a feature length film that doesn’t stitch together shorts but rather creates new material and introduces a new audience to these wonderful characters.

3. Disney

This was honestly the first idea that came to mind. Between the parks and the Epic Mickey video games (a new version to come next year) this idea is just sitting there. Disney fans are nothing if not loyal. We, for I speak as one of them, would gladly go to see a new story with old familiar faces in familiar contexts. This is much more in keeping with what will please us rather than uninspired straight-to-video sequels.

4. Walter Lantz

Universal Studios owns all these characters and only recently announced the development of a Woody Woodpecker feature. It’s a great property that should be exploited and while they’re doing that they may as well bring many back to us. Come on, Chilly Willy.

This group makes it on the list over something like Dick Tracy because at least here it seems like the current rights holder is seeking to do something with it.

5. Justice League

The status of this project is in the balance and rumored, however, that’s not to say it’s not a possibility. Chris Nolan’s Batman series is a benchmark. Superman is being re-started. Despite its box office and critical struggles (I liked it) Green Lantern has happened. Getting a few more ducks in a row (Meaning films and attaching cast/director) this could work. Seriously.

6. Animaniacs

I can’t be the only one who misses these guys and would absolutely love to see all the great characters this show created converge in one huge overriding plot. The common thread: everyone is, whether they know it or not, obstructing The Brain’s plot to take over the world.

7. Tiny Toons

This one is going a few years before that but, hey, Elmira is the crossover character! The Tiny Toons I felt were more unceremoniously dumped for The Animaniacs. They are far more legitimate heir to the Looney Tunes than the new Baby version which I can hardly bear to look at in a commercial.

8. Roger Rabbit

I mentioned this in a short film Saturday post but Roger Rabbit has unjustly vanished from the world after being poised to be a huge real life star (better than Goofy?) but it never happened. If it all goes well I’d like Robert Zemeckis to get to do this. In spite of his motion capture struggles this is his project if its a hybrid, I would not object to an all toon version though.

9. Fradim

This could work better as a TV show but it is a Brazilian choice. Essentially, Henfil was one of Brazil’s great cartoonists and his strip was extra-ordinarily political. Creating a feature-length pastiche of his works would be something quite special, not that his universe is as massive as some of these others.

10. Calvin & Hobbes

I could include this in another list soon but clearly your argument against it, aside from the purist’s one, would be: “Calvin and Hobbes isn’t a heavily populated universe, is it?” No, not with people but were there to ever be a film I’d want to to be every bit as varied as Calvin’s imagination meaning Spaceman Spiff, Dinosaurs, Old Fashioned Soap Opera-Looking adults, Aliens and other imagined realities and alter egos of Calvin would be included in the story.

11. The Peanuts

Perhaps no other comic strip was ever as simply philosophical and also got down to the brass tacks of childhood and life better than The Peanuts. Specials like at Christmas, Thanksgiving and Halloween are great but they only truly skim the surface of the series. With the Peanuts gaining new life in a series from Boom Studios and dailies being reprinted by Fantagraphics one would think someone would be able to edit and cull major story-lines that relate, and incorporate as many characters as possible into a tremendous feature.

12. Harvey Comics

Now, there were a few adaptations of Harvey creations both Richie Rich and Casper (the latter being better and sequels not withstanding), however, Harvey comics no longer exist but the characters still exist in the collective consciousness and are getting either re-imagined or re-issued all the time. There are many characters to leverage and crossing over was frequent so it wouldn’t be hard to do if someone thought there was an audience for it.

13. The Fantastic Four

I’ll admit that I have not seen The Fantastic Four films that were attempted and based on what I’ve heard they’re not high on my list. Since my return to comics the First Family has become one of my great loves. Jonathan Hickman’s run, which I am fully up to date on, is truly epic and the kind of story that is conducive to an elevated sensibility that has been applied to superhero films as of late. The characters within the Marvel universe have always been sort of a crossroads so creating an Avengers-like project with them would not be difficult.

14. Asterix & Obelix

Here’s another one where the population isn’t huge but the amount of texts related to the characters is. Essentially this would be a narrative bomb, likely involving time travel or some other fantastical means to travel to a plethora of locations in the ancient world.

15. Histeria!

OK, imagine if you will a world wherein The Animaniacs and Tiny Toons were hits. Got it? OK, that’s where Histeria! will logically come into play. Now, it didn’t have nearly the run as those other Warner projects but I liked this one just as much. Similar, to Asterix in as much as this tales is mostly about history there’d be some way for the characters to go through the ages and also be a bit more dramatized than they were on the show.

16. Archie Comics

Anyone who has been reading the Life with Archie series knows that the Archie Comics are into breaking the mold now (Shameless self-promotion: I’ll discuss that further in an upcoming post). The same incarnations of the characters you grew up with still exist and can be exploited cinematically also, but the more mature mind-bending interpretation is the one with the most potential.

17. Star Comics

OK, here’s another personal pick and one that’s far more likely if Marvel were to ever do shorts. The mash-up angle is that Star was an imprint dedicated mostly to licensed material but it also did include some newly created original characters namely Planet Terry, Wally the Wizard, Top Dog and Royal Roy. Crossing over could easily happen here. To further convince the cynic here’s the Marvel “bridge,” meaning how can we possibly get to Star characters: Reboot The Fantastic Four (Make tons of money), incorporate the Power Pack in a sequel (as they’ve always been connected through Franklin Richards [See, crossroads]) and then get around to Star via Fantastic Four and Power Pack.

18. Hanna-Barbera

We all know that this is a huge universe and also that they had crossovers, many of these are animated simply because the possibility of combining a large number of characters is very exciting

19. Stephen King

Here’s one I saw suggest by John Gholson on his twitter feed. I forget who he suggested but essentially with all of King‘s canon this could work any number of ways. It could be an assemblage of his greatest heroes, or it could also be new heroes and a few villains who survived (names avoided to not spoil). The third possibility is a poor, unfortunate schmuck goes through a horrific tour through King’s Maine, without any need to justify it. Because you don’t need one sometimes as King himself stated in Storm of the Century ‘When his life was ruined, his family killed, his farm destroyed, Job knelt down on the ground and yelled up to the heavens, “Why God? Why me?” and the thundering voice of God answered, “There’s just something about you that pisses me off”.’

20. The Kids in the Hall

I preface this choice by saying I adore Brain Candy, I know I’m in a minority when I say that but I do. However, that’s not to say I wouldn’t love to see a Kids in the Hall film where they play say 995 out of 1000 characters and bring in many of their famous characters. One needs to only see the rendition of a film not unlike Kiss of the Spider Woman that Bruno Puntz Jones (David Foley) and Francesca Fiore (Scott Thompson) do to know how cinematic they can be and how easily they can pull it off.

A Nation’s Emblematic Film: Brazil

Posted on by bernardovillela

Now, I cannot for a second claim that my viewing of all of Brazil’s significant films in the history of the nation’s cinema is complete. However, making a watch list for myself is just one motivation for writing this piece. The others are: one, there are likely many coming across this piece who couldn’t name a handful of Brazilian films. Second, it’s really about thinking of films and culture in a different way. This really isn’t about naming what is the greatest Brazilian film of all-time, or any other nation that this series might focus on, but rather to open the discussion on a nation-by-nation basis about indigenous cinemas and cultural portraiture. If I had one film, and one film only, to show someone to say “This is Brazil and what you need to understand about it” what film would open that dialogue best, if not address all those points?

This idea came to me after a recent viewing of Vidas Secas (Barren Lives). I’m not sure that film is the representative choice but it gave me the idea, and made me think “At least I’ve seen this film now and my citizenship won’t be revoked.” What struck me as particularly Brazilian in the film was not only its locale (Brazil, like all large nations, can be quite regional but there’s seemingly something universally Brazilian about the northeast) but also the theme of persevering through hardships in that film.

Universal themes such as the ones mentioned above are just one of the watermarks of these films that can be discussed, aside from more specific traits like the migrant population and the era in the nation’s history. While the themes touched upon in the film are very Brazilian, it is a tale of being humbled, a thoughtful drama, which doesn’t have the joie de vivre that is so common in Brazil, and many other Latin nations, in spite of circumstances. Does that mean Vidas Secas can’t be the emblematic film? No, but others are worth considering, this one is still alive.

Films like Kiss of the Spider Woman, or any other foreign production, are not in the running. That specific example was clearly shot in Brazil by a naturalized Brazilian director but the way the script was written it could’ve been any authoritarian Latin American state in the 1980s, locality wasn’t the point of the film.

Fernando Ramos da Silva in Pixote, A Lei dos Mais Fraco (HB Filmes)

Another Babenco film Pixote is a better example thematically. However, once you factor in the unfortunate history the film has (A child of the favelas, Fernando Ramos da Silva [pictured above] was cast for authenticity, but was murdered at the age of 18, as he went back to live where he always had) makes choosing this film a bit sensationalistic and tabloid, not that I’m looking to have my selection propagandize, but the film and the aftermath are inextricable to me. Such that any symbolic honor not based solely on cinematic merit is difficult to bestow upon it. I could, and still may, write a whole other piece about the ethics of hiring impoverished amateur children as actors. This case, and that of Slumdog Millionaire, illustrate a cruel injustice in my mind: the bottom line is there are professional actors of all ages everywhere, if you do not want to be beholden to that child after the film, as you should be, hire one of them. If you hire an amateur child from substandard living conditions you should, as Walter Salles did for Vinícius de Oliveira in Central Station, help improve their station in life. At that point you truly are picking a lottery winner rather than just casting a role.

Vinícius de Oliveira and Fernanda Montenegro in Central Station (Sony Pictures Classics)

What of Central Station then? Central Station made quite a bit of money in the US. It was nominated for an Oscar for Best Foreign Language Film and Best Actress. Brazil has more a pedigree on the high-end of world cinema than most would expect. What separates Brazil from most is the consistency of product and, of course, due to the dictatorship there was censorship and artists had to fend for themselves. Now, the government is more active in promoting the arts, the major studios have a presence in the country and so forth. Yet, the fact that Brazil has been up for the Oscar, is the only Latin American nation to win the Palme d’Or (O Pagador de Promessas) and has also scored at Berlin (Elite Squad) is not what is going to dictate the most Brazilian film. Those are just indicators of quality.

Therefore, what’s the quality of Central Station? It has memorable source music, it’s a heart-wrenching drama, it tells a tale of a letter-writer and poor illiterate boy. It crosses that divide and it check off a lot of the qualities I’m looking for in a film representative of Brazil. Not to mention that it’s named after the largest train station in the country, therefore it’s a metaphor for the country and the letter-writer hears many stories from people of all walks of life that are indicative of the country and its people. The blend that exists.

José Mojica Marin in À Meia-Noite Levarei a Sua Alma (Anchor Bay)

I think perhaps what is most important about addressing this question is deciding why certain films, or series of films, are being selected. It truly becomes a bit existential for me (and a tad corny) because the search is where the value is. Take for example the Coffin Joe films, after having seen a box set of his works I watched the documentary about him. In that film his frequent screenwriter made a very astute observation, which is that José Mojica Marins did something he thought was impossible: he created a Brazilian horror personage. All the other archetypes are decidedly American or European but this blend of religion, existentialism, patriarchy, propagation and misogyny is the perfect Brazilian horror type. In one singular, virtually indestructible entity Marins encapsulates and exaggerates virtually every possible aspect of the male psyche in Brazil and twists it to horrific effect. Does this make his films the most Brazilian? It’s not entirely out of the question. It certainly makes his films worth mentioning here, but hearkening back to how I introduced this question; no, I wouldn’t show someone Coffin Joe and say “This is Brazil.” I would show them Coffin Joe and say “This is horror” though.

A Opera do Malandro (The Samuel Goldwyn Company)

Now, with regards to the aforementioned regional aspect to the country, I and most my family have our roots set in Rio de Janeiro, though we’ve since scattered quite a bit. With that in mind, most of us recognize and appreciate the musical diversity of the country, but our affections are usually for Samba and MPB (Música Popular Brasileiro) above all else. Few artists represent these genres and Brazil as well as Chico Buarque. That brings me to A Opera do Malandro, which is a musical based on an album he wrote. It wasn’t Buarque’s only foray into musical entertainment, he and many stars wrote a version of the Town Musicians of Bremen (‘Os Saltimbancos’) that is a standard. Yet, here his tale is a cinematic adaptation, period piece, a sort of Brazilian noir, which represents a kind of Brazilian, (the Malandro), akin to but nor quite a wise guy back in a similar era here. So it doesn’t quite pass the universality test.

Alexandre Rodrigues in Cidade de Deus (Miramax)

Perhaps, the most accomplished work in the history of Brazilian cinema is City of God. This is a film that was a hit domestically as well as internationally, it earned box office success and critical acclaim. When writing about it I have likened it to the great films in history. Again this selection isn’t about greatness but representativeness. So while this film and the Tropa de Elite (Elite Squad) movies are great dramatizations of societal problems and brilliantly map out “How’d things get this way?” they don’t paint a portrait of all of Brazil, which I’ll admit is hard to do, but as endemic as corruption in police and politics is, and as large as trafficking and crime syndicates in favelas have been, they are localized stories cinematically. So we move on to other choices.

Marepessa Dawn and Breno Mello in Orfeu Negro (Janus Films)

Perhaps, some symbolic stories are the last two that need to be discussed: Orfeu Negro (Black Orpheus) and Dona Flor e Seus Dois Maridos (Dona Flor and Her Two Husbands). Now, the former has had international success. However, it is a co-production with France, which I could even let slide but the fact of the matter is its the transposition of a Greek myth to (at the time) modern day Rio. Therefore, as Brazilian as it is with Carnaval and Samba Schools, it’s still rather European too. As for Dona Flor, its incorporation of Magical Realism and its colonial/post-colonial commentary made indirectly through her husbands and the fact that it’s based on a novel by one of Brazil’s greatest authors (Jorge Amado) make it a great candidate. However, Amado is Amado. As much of the director’s voice as can be added is but if you know anything about his work any of them bear his mark a bit too much to be truly emblematic of a nation in the encompassing sense I’m trying to choose said film within, which rules out any films based on Nelson Rodrigues‘ plays.

Leonardo Villar in O Pagador de Promessas (Lionex Films Inc)

So even as I began to outline and write this piece I realized there are big films from Brazil that I have not seen. At least two would be candidates for this honor The Given Word (The Given Word) and Menino de Engenho (Plantation Boy). There are likely others as well but those two are likely the ones with a universal quality combined with indigenous uniqueness that would qualify it here. For now, based on what I’ve see it’s Central Station, but I’m quite eager to continue searching and if you have any suggestions yourself please feel free to comment below!

31 Days of Oscar Log

Posted on by bernardovillela

As you are likely aware every year TCM does a month long festival of only Oscar-winning or -nominated films. Each year the slate is different and differently organized but it’s a great chance to see films you’ve never watched before. Below I will list films I’ve watched as part of the block this year (Goal: minimum 31).

As always refer to My Rating Scale for insight on the scores.

1. Key Largo (1948)

Key Largo (Warner Bros.)

I’ll admit I allowed myself to get too swept up in the MacGuffin but that didn’t hurt the film at all. The only things that really got in its way was that I ended up knowing what Bogart’s endgame would be and the occasional heavy-handed (read dated) attempt of inserting a message into the film about Native Americans while still reinforcing certain stereotypes. In the big picture it’s minor stuff. It’s a great situation that lends itself to tension-building and surprising reversals of fortune and plot.

Oscar Nominations/Wins: 1/1

Score: 8/10

2. The Invisible Woman (1940)

The Invisible Woman (Universal)

If you think that dumb movies that are all about effects are a new thing you should check this out. While not even new I must say the effects work in this film are great, however, the film is comedic in tone and isn’t that funny and truly suffers from the cast trying a bit too hard to sell it. Virginia Bruce does fine when she’s visible but when she’s invisible she’s as obnoxious as her character’s antics. It’s premise is thin and it’s a lame effort, sadly.

Oscar Nominations/Wins: 1/0
Score: 3/10

3. The Fallen Idol (1948)

The Fallen Idol (Selznick Releasing Organization)

This is the first film I’ve seen in this year’s run I’d truly call great. Carol Reed, a director with many great titles to his credit, does a wonderful job building the tension in this film and creating doubt there’s also some great writing of conversations overheard or purposely cryptic. The Kordas always had great sets and the design of the film factors into it as well. It’s no wonder that this film is in Criterion’s library.

Oscar Nominations/Wins: 2/0
Score: 9/10

4. The Ladykillers (1955)

The Ladykillers (Ealing Studios)

To describe the humor of this film as dry would be an understatement. As a matter of fact most of its humor would be situational and not in the dialogue or actions, in fact, Katie Johnson as the old woman offers most of it in the film simply by being so kindly and oblivious. The film also serves to show a small glimpse of what Alec Guinness and Peter Sellers are capable of but is not among their peak performances.

Oscar Nominations/Wins: 1/0
Score: 6/10

5. Lies My Father Told Me (1975)

Lies My Father Told Me (Columbia Pictures)

Sadly, I have to say that I chose the above image because of its orientation rather than because I agree wholeheartedly with all the sentiments conveyed therein. While the film does have its moments of charm and humor they aren’t consistent enough to sustain this film. The song is more grating than memorable, too many of the characters are tiresome, some scenes too repetitive and the edit is not tight enough. Had the film shifted focus some, tried to place David in the courtyard’s world more often it would have succeeded for me.

Oscar Nominations/Wins: 1/0
Score: 5/10

6. Judgment at Nuremberg (1961)

Judgment of Nuremberg (United Artists)

It was bound to happen at some point: I saw this film but just didn’t vote for it at the IMDb and didn’t recall having done so. Part of the reason was because I viewed it in a social studies class in grade school (Junior High or High) I forget which. Regardless, I watched again it anyway because that is not way to have watched this film and it is great enough to revisit. In Night and Fog one of the narrator’s asides discusses responsibility and that’s the crux of this film how far up or down the line does responsibility for the holocaust lie and it’s examined brilliantly with superlative acting. Those interested in film or history should watch this film.

Oscar Nominations/Wins: 11/2
Score: 10/10

7. Scrooge (1970)
Scrooge (MGM)

I, like many, have seen many a version of Dickens’ classic A Christmas Carol it’s one of the Great Stories that we all become accustomed to and can analyze individual adaptations based on interpretation and choices more so than for the narrative itself. This version is a musical that is penned by the renowned Leslie Bricusse and for as closely as it sticks to the structure of the story for the most part offers as change of pace with songs, many of which were new. The songs are well-spaced allowing the drama to unfold adequately between numbers and also many are half-sung which lessens the theatricality of it. When watching 31 Days of Oscar I like to try and guess the nominations, if I don’t know them already and I guessed right on Art Direction and Song and was not surprised by the costuming being included. This is a very enjoyable rendition of the tale that ought not be overlooked.

Oscar Nominations/Wins: 4/0
Score: 8/10

8. The Search (1948)

The Search (MGM)

In mentioning my guessing game above I must say that upon checking the IMDb I was astonished by all the nominations this film got. I knew of this film because of the fact that it featured one of the rare Juvenile Award winners, a now defunct non-nominated category that was occasionally awarded to a deserving youth. However, Fred Zinneman, a talented director perhaps best known for High Noon the writing and Montgomery Clift were all also nominated. Now I do like the film but only by the skin of its teeth. I will grant that shooting in occupied Germany and dealing with displaced children so soon after the war is commendable and it does tell a good tale but not as tightly as it should and with truly intrusive narration. The flip-side of the equation (German children in post-war Germany is handled so much better in Germany Year Zero). The film means well and is enjoyable but some of its fumbling I can’t chalk up to merely being dated, there’s a fine line between simplistic storytelling and spoonfeeding information, between being direct and bad dialogue and this film crosses it on a few too many occasions.

Oscar Nominations/Wins: 4/0 (1 Win in a special non-nominated category)
Score: 6/10

9. The White Cliffs of Dover (1944)

This is a film that suffers somewhat from its preachiness which can be overlooked for the most part when you consider its release date both in a historical context and a film history context. The start is also a little slow considering the fact that you know where the story is going in a lot of cases. One other quibble aside most of it works quite well and is entertaining. Irene Dunne does wonderfully as do Roddy McDowall and Elizabeth Taylor in fleeting parts. It’s lengthy but moving in spite of some of its faults.

Oscar Nominations/Wins: 1/0
Score: 8/10

10. Indiscretion of an American Housewife (1953)

Motgomery Clift and Jennifer Jones in Indiscretion of an American Housewife (Coumbia)

This film illustrates some of the great things about this month of screenings. First, I’ve been able to discover more the marvelous work of Montgomery Clift. Second, aside from his early neorealist work I was none too familiar with De Sica and while this employs many of his production precepts it is a heightened and stylized forbidden romance. The tension and chemistry is absolutely electric and only suffers some pace issues somewhat towards the end. It’s a fascinating film that I may want to revisit on Criterion.

Oscar Nominations/Wins: 1/0
Score: 9/10

11. Panic in the Streets (1950)

This is a very interesting film which can be categorized as Film Noir but also as an outbreak film. It’s that unusual combination which truly makes this film special and entertaining. Was it either but not both it likely isn’t that intriguing but the combination thereof makes it worthy.

Oscar Nominations/Wins: 1/1
Score: 7/10

12. Wait Until Dark (1967)

This is a film that after having seen it I expected it to have more than one nomination. The films is very tense and the set-up is brilliant. I take some issue with the way it decides to quickly, practically brusquely, resolve itself but most of what happens leading up to that point is great. Of course, Audrey Hepburn is great in one of her more celebrated roles but Alan Arkin is also very noteworthy in this film. The climax of the film nearly makes up for the unfortunate and quick ending.

Oscar Nominations/Wins: 1/0
Score: 9/10

13. The Green Years (1946)

Oh, boy. It’s not a wonder that this one slipped my mind and I had to backtrack through my twitter feed to see if I missed something else. I asked rhetorically if a film could polarize one individual when I finished watching this film because the aspects I disliked about it I truly loathed and the things I loved I adored. It made for a very frustrating and difficult viewing experience. The film does have balance in showing its protagonist as a child and a young adult, however, the beginning is a bit repetitive and almost masochistic in the amounts of gruffness, insensitivity and bullying he comes across. Thankfully, he manages to get through to a few people who warm to him otherwise it would’ve made Dickens at his most dire look like Disney at his sunniest. Yet, there’s a bit too much deus ex machina at play later on and an albeit moving but all to typical All-This-Horrible-Stuff-Happened-To-Me-But-I’m-Fine-Now ending. I wanted to like this one but in the end I just couldn’t.

Oscar Nominations/Wins: 2/0
Score: 5/10

14. The V.I.P.s (1963)

This is a film that is pretty intriguing while its players are all fogbound in the airport and their disparate stories are interesting but when the story extends to a second day and incorporates another locale it loses steam and fast. I can’t say I guessed that this was a supporting actress win for Margaret Rutherford but it makes the most sense, however silly her character and plot-line were.

Oscar Nominations/Wins: 1/1
Score: 5/10

15. The Window (1949)

This film was not on Turner’s line-up this year. Instead I acquired it form the Warner Archive Collection. This film was out of print for sometime despite its brilliance and it being one of the rare films to win a young actor the Juvenile Award. Not only is it likely to be my favorite film of this month but it’s also one of the best films I’ve seen in quite some time. The set-up is simple: a boy who cries “wolf” once too often is witness to a murder and doubted at every plea for help and in danger because of it. If you didn’t know that this was based on a story by Cornell Woolrich you’d guess, it plays like a kids’ introduction to Rear Window and that’s not a wonder as the one of Hitch’s DPs (Ted Tetzlaff Notorious) directs here. Combine Woolrich brilliant story with a man who worked with the Master and you get something very close and a film so suspenseful you hope it’ll last. I’m not embarrassed to admit this film actually had me talking to the TV and shouting interjections at times that’s how into it I got. Yet all this is accomplished in a little over 70 minutes. It’s not a wonder this film also earned an editing nomination. Not a shot, not even a moment is wasted in this film. I’ve talked about this film more than most in this rundown and and I think you can see on and clearly I could go on. One could call many Academy decisions into question but Bobby Driscoll’s Juvenile Award is not one of them, not in the least. He is absolutely pitch perfect in this performance. It embodies all his abilities as a young performer yet all things are in service to the story it’s not a star vehicle per se.

Oscar Nominations/Wins: 1/0* (One academy award win for Bobby Driscoll as this film is cited for his Juvenile Award win).
Score: 10/10

16. Breaking the Ice (1938)

Here’s another film where I went outside the TCM schedule to add a title. I wrote of Bobby Breen recently and this is one of his many films you can stream or save from The Internet Archive, all are in the public domain. I already knew that many of his films had an Oscar nominated song, so there was no guessing game and while the narrative of this one is better than most of his vehicles it is a little lacking in as much as there is some filler were we watch a lot of skating that really doesn’t impact the story in any great way. However, like all his films it ends well and enjoyable enough to watch and there is decent spacing and plenty of singing.

Oscar Nominations/Wins: 1/0
Score: 7/10

17. The Seven Little Foys (1955)

This is a pretty enjoyable tale of the old vaudeville days. It takes some great classical elements and recombines them. It creates in the process an unusual family dynamic that you get accustomed to and you root for all the characters and in a sense understand all of them. Bob Hope is very good in the film and there is a showstopping dance routine where he is paired with James Cagney that is something to behold. Its writing nomination is well-earned.

Oscar Nominations/Wins: 1/0
Score: 7/10

18. A Farewell to Arms (1932)

I will be espousing the importance of separating film from source material soon but my minor quibbles with this film are somewhat different than that. I never read the book. However, when you know something is an adaptation of Hemingway, a titan of literature whose reputation precedes him, you expect something a bit more in terms of story than what amounts to a fairly standard Hollywood tragic love story. The sound work for the era is superlative, the cinematography grand and there’s a brilliant albeit slightly lengthy montage but story-wise it lacks a little.

Oscar Nominations/Wins: 4/2
Score: 7/10

19. Mrs. Parkington (1944)

Oscar Nominations/Wins: 2/0
Score: 10/10

I think it was last year that TCM did a spotlight on Greer Garson and how I wish I’d seen the whole thing. They aired all 5 of her consecutive Best Actress nominations (an unparalleled achievement) back-to-back. After what I thought of Mrs. Miniver I really regretted not seeing all of them. I tried to rectify that as best I could this year. This film is also a “through the years” kind of tale but very interestingly told going from the story’s present to several other key junctures in the past. The conclusion comes swift and impactful and nobly triumphant. Another film I watched for Garson but loved entirely.

20. Bless the Beasts & Children (1971)

As soon as I saw the opening credits I knew this film had one nomination and likely didn’t win it. The title song to the film is a great one by The Carpenters and may be perceived as the kind of nomination that’s trying to get young viewers to watch the ceremony- I think it’s worthy. However, as the film progressed I really liked it. It’s the kind, in fact, that I may like more once I see it again. It’s about six misfits who become friends at a summer camp and decide to free buffaloes from a reserve. The film starts with the beginning of their mission but at key and appropriate points we backtrack so you get an introduction to a particular character then you see how they interact and understand them more. There are some quirky 70s transitions and an ending that leaves you wanting more both in a good way and a bad way but it really is timeless if you look past the details. In fact, with Goodenow’s plight of being bullied due to his perceived homosexuality (the movie brilliantly never confirms or denies it) and threatening suicide it becomes quite relevant today and other characters are as engaging in their struggle to fit in but it’s Daryl Glaser’s portrayal as the aforementioned character and Stanley Kramer’s direction that make the film succeed whatever its faults. I’m glad this is another title now available through the Warner Archive.

Oscar Nominations/Wins: 1/0
Score: 7/10

21. Life with Father (1947)

This is a quirky and pleasant film though it does feature some odd logic and math for humor’s sake and does get a bit long in the tooth. The cinematography proves there’s nothing quite like three-strip technicolor and once again proves that there’s nothing that Michael Curtiz could not do he was just better at some genres than others but more than capable of doing anything. It really in an enjoyable and contained film that is a tribute to restorers as the film has only resurfaced in viewable condition in recent years.

Oscar Nominations/Wins: 4/0
Score: 6/10

22. The Thief of Bagdad (1940)

This is one of the more surprising titles of this year’s festival. I knew some things about some of the talent involved but not the film itself. I was surprised on many occasions. I knew Vincent Korda was a great art director but these sets may be his best. I didn’t know the story was such an enjoyable fantasy. You typically pick up on common names in the fest other not as well-known artists make their presence felt, especially musicians. This year it was Alfred Newman and Miklos Rosza, nominated for this film. Sabu, recently given an Eclipse set by Criterion, stars in this film but there’s also Conrad Veit. It’s a very fun, enjoyable movie with great effects, amazing for the era.

Oscar Nominations/Wins: 4/3
Score: 9/10

23. To Catch Thief (1955)

When I become familiar with a filmmaker part of my scoring indicates how the film fits on their scale. Hitchcock was the first director I started to watch religiously. I always avoided this film based on the description. It’s better than I thought it would be but still not what I’d recommend to anyone as where to start as a starting point. It is enjoyable though.

Oscar Nominations/Wins: 4/1
Score: 8/10

24. A Man Called Peter (1955)

Perhaps the most interesting thing about this film is the fact that it contains some really amazing sermons, which are even greater if cribbed from real life and more impressive. Now preaching is generally verboten in film, however, one exception is when your lead is a priest. Some of the thoughts conveyed are great and even applicable to current times, one reminds me of Stephen Colbert’s recent point about being a Christian country. It gets a little languid towards its inevitable conclusion but the cinematography is great as are some of the performances.

Oscar Nominations/Wins: 1/0
Score: 6/10

25. Tristana (1970)

This is an interesting film by Buñuel which stars Catherine Deneuve. It’s not great but the plotline is simple and accessible and the protagonist’s situation is easy to identify with. There is a pretty impressive closing montage, not to say too much.

Oscar Nominations/Wins: 1/0
Score: 6/10

26. Stella Dallas (1937)

Barbara Stanwyck is brilliant in this. Very deserving of her Best Actress nomination and frankly the only thing that truly makes the whole film worth watching. The film hits an unusual flatness as the romance fizzles and the marriage is in name only it all feels like a lot of window dressing to the next major conflict of the film. It’s about as enjoyable as it can be but not as good as it could be.

Oscar Nominations/Wins: 2/0
Score: 5/10

27. Boomerang! (1947)

It’s funny how similar in conclusion and resolution this is to the other Kazan film I saw (Panic in the Streets above). Another thing that struck me is that it handles a lot of similar elements much better than the later The Town That Dreaded Sundown.

Oscar Nominations/Wins: 1/0
Score: 7/10

28. The Letter (1940)

Better Davis and William Wyler were a pretty dynamic duo when they joined forces, however, this is not the best that duo can do. The situation and complications the protagonist finds herself in are fascinating and he cast is brilliant but the resolution is slightly lacking and a bit anticlimactic, the twists make it work.

Oscar Nominations/Wins: 7/0
Score: 7/10

29. Kiss of the Spider Woman (1985)

William Hurt and Raul Julia in Kiss of the Spider Woman (HB Filmes)

Despite the fact that it’s based on a novel I first became familiar with Kiss of the Spider Woman though a play version. I know that for the most part the narrative is one I enjoyed yet there were a few reasons I avoided the film version for some time.

Most of it has to do with the fact that the film in production terms and representational terms ends up in a very weird cultural limbo. Now in the interest of full disclosure: I am Brazilian so in many ways I disqualify myself but bear with me and try to understand my perspective.

The setting according to the text is always vaguely South American and surely for many reasons dictatorships were rampant on the continent for a time but the signage, location, supporting talent and director (via naturalization) are all Brazilian. It’s a muddled world wherein I see great Brazilian actors look less than stellar for the most part as they struggle with their broken English. You have late great Raul Julia doing a wonderful job but who generally gets overlooked in this film, except by the National Board of Review, and as brilliant as William Hurt is his name is Molina and he has no accent and isn’t designated as a gringo. So those factors along with Brazilians playing German in the film clips don’t ruin the film they just make suspension of disbelief a chore at times.

I’d absolutely love to see this (as I would most stories) in the languages intended whether Spanish or Portuguese and German and French.

Other than that the film is a great tale of unlikely friendship and loyalty, however, another bugaboo is there’s a line where Molina seems to indicate he’s more transgendered at heart than homosexual, so perhaps the description is not accurate. The only difference that really makes is in a public perception and social awareness. If this is looked at as William Hurt playing a transgendered man rather than crassly classifying “just another actor winning an award for playing gay” it would be better for the whole GLBT community so that people would know there are differences amongst the letters in that acronym. To continue to merely characterize the character as homosexual does a disservice to Hurt’s performance and in this day an age a community though I recognize that when the film was made there was a lack of differentiation.

But the only other issue I had was the prolonged and foreseeable ending. It truly is a good piece despite issues I had with it. That baggage was mostly my own and those things didn’t turn me off from the film.

Oscar Nominations/Wins: 4/1
Score: 8/10