Cat on a Hot Tin Roof (1958)

Richard Brooks – Director, Screenplay

James Poe - Screenplay

Elizabeth Taylor, Paul Newman

As you may have noticed, had you opened a paper, turned on the tv, perused the internet or found yourself in an impromptu discussion of Hollywood Movie Starlets, Elizabeth Taylor died last week. Yes, she of the infamous violet eyes complete with double row of lashes (a genetic mutation, I’m not joking, look it up) finally succumbed at the ripe old age of 79 after a lengthy battle with various illnesses and more divorces that one can really be expected to keep track of. For many of the younger generation, she is known primarily for her widely publicized marriages and ensuing divorces, and, secondly, for her vast array of stunning jewels (um… the Taylor-Burton Diamond? Anyone?) However, for anyone who bothered to take even a fleeting glance at cinema prior to 1970, Elizabeth Taylor was a prominent figure in many of Hollywood’s most celebrated films, winning 2 Academy Awards for Best Actress as well as countless other recognitions, including A Lifetime Achievement Award.

So in honor of her legacy, I decided to take a look at one of her most quintessential works, Cat on a Hot Tin Roof. In a role that seems nearly tailored (get it?) for her, Liz plays Maggie “The Cat”, the sultry wife of an alcoholic former football player who could not be less interested in her (truth be told, he seems infinitely more interested in romanticizing a relationship with his now dead former best friend.) At the birthday party of his wealthy landowning father (Burl Ives), Maggie finds herself torn between desperately vying for the affections of her frigid husband, Brick (Newman), and fighting his brother, Gooper’s (Jack Carson), family for a stake in Big Daddy’s fortune. Rife with family dysfunction and a boiling undercurrent of sexual tension, this film adaptation of Tennessee Williams’ play is the perfect portrayal of human baser instincts against the backdrop of 50’s Mississippi where everyone’s societal position was well known and absolute. In a world where a woman’s role was to support her husband and provide a family, Maggie’s obviously tumultuous marriage and lack of children provides the perfect weapon for her more, shall we say, fertile and money hungry sister-in-law.

In an industry where extraordinary beauty and sexuality is often little other than a way to score prime roles, Taylor practically casts hers as a character in its own right, playing the dual roles of an advantageous means to capture Big Daddy’s attention, and an unwitting characteristic that scares her already reticent husband.  Though it is arguably difficult to tear your eyes off Taylor, Cat on a Hot Tin Roof is awash with theatrical legends. While Liz smolders with sexuality, Paul Newman tempers his to mere embers, shining as a former star athlete hounded by personal demons. Often recognized for their musical and stage performances, Burl Ives and Madeline Sherwood also both take a star turn as two dominating forces in this adaptation (Sherwood reprises the role she first played on stage.)

A study in 50’s era Hollywood, where dramatic speeches take place as much to the center of rooms and various windows as they do to other characters, and where no kiss is complete without a slow camera pan to the curtains, Cat on a Hot Tin Roof is a refreshing to revert to Classical Cinema. Like they say, they just don’t make ‘em like they used to.

Pan’s Labyrinth (2006)

Guillermo del Toro – Director, Writer

Ivana Baquero, Doug Jones, Sergi López i Ayats, Maribel Verdú

To many a moviegoer, the word “subtitles” is synonymous with “dreadfully dull and boring”, conjuring images of historical snooze-fests one was forced to watch (and read!) in their school-going youth. For many, they really spoiled the joy of Friday Movie Day in class. This often understandable presumption likely turned many off to this gem of a film, though for those who dared to brave it (or didn’t know it was subtitled in the first place) there were yet more surprises in store.

When I first heard of Pan’s Labyrinth, I was all set for a fantasy tale of fairies, magical forest creatures, and monsters that lurk in the dark. What I was not all set for was a gory close-up look at Franco’s Spain in the aftermath of the Spanish Civil War and more cringe-worthy moments than you could shake a stick at. Not even close to anything resembling a children’s tale, our heroine, Ofelia (Baquero), takes us on a voyage trapped somewhere between what is reality and what is dream, with tragedy and horror abounding in both. We meet Ofelia and her pregnant mother journeying to live with her cruel new stepfather, the Capitan (López i Ayats), as he battles the last resisting rebels forces. In this harsh new life, her sole ally is a kind servant, Mercedes (Verdú), who becomes a type of mother figure. Mirroring reality, she likewise befriends a Faun (Jones) who offers an escape by engulfing Ofelia in a land of fantasy where she is a princess and must carry out a series of tasks in order to return to her kingdom.

In Ofelia and Mercedes, del Toro creates a parallel image of two people battling their demons. Whereas Ofelia, as the young, innocent child experiences the terror of her fantasy monsters and finds the bravery to try to save her mother and return to her kingdom, Mercedes knows all too well the true horrors that exist and risks her life to fight and undermine the sadistic Capitan. While the visuals are an obvious selling point – I mean who didn’t get a little seduced just watching the trailer - the soundtrack absolutely holds its own, setting a dreamlike, almost eerie atmosphere that contrasts beautifully with the film’s horrific imagery.

A nearly universal success, Pan’s Labyrinth is a study in perfection of what a great film (foreign or not) should be – entertaining, thought provoking, beautifully executed. Need I even mention that a 10 year old steals the show with acting that could put even the most seasoned veterans to shame? Between the stunning visuals and the perfectly seamless screenplay, if you haven’t already, this is definitely one worth checking out.

Something’s Gotta Give (2003)

Nancy Meyers – Writer, Director
Diane Keaton, Jack Nicholson

Let’s all be honest with ourselves, there is something distinctly unsexy about a couple of old people getting in on. Yes, they can be cute when they hold hands. When they put their arms around each other at the movies. I’ll even go so far as to admit I’ve teared at a stolen kiss at a Golden Anniversary Party. But no one wants to see Nana mounting Grandpa in the heat of passion; I don’t care how cute they are. So it may be reasonable that one’s initial reaction to a romantic comedy starring Diane Keaton and Jack Nicholson would be one of utter horror.               

The movie opens with Harry Sanborn (Nicholson) a playboy music exec , notorious for dating exclusively Pretty Young Things. On a weekend romp to the Hamptons (where else!) with one such young lady (Amanda Peet), he happens upon her mother, the divorced and somewhat bitter playwright Erica Barry (Keaton.) Despite an initial dislike, after Harry becomes stranded in Erica’s sprawling beach house the two come to a new understanding and respect for each other. Throw in a few hilarious wrenches attempting to pull these two budding lovebirds apart and an awkward naked encounter or two, and you are set for romance. As with all rom-coms, the plot might be a wee bit farfetched. But, after all, what is the genre without at least a modicum of cheese.

60+ set or not, this movie is adorable, romantic, hilarious and, yes, a little sexy.  In a bold break from your more mainstream romantic comedies, the ones packed shoulder to shoulder with sexy 20-somethings and where every day at the office requires a skin tight miniskirt and 4 inch heels, Ms. Meyers offers a refreshing alternative. Perhaps due to the lack of a scantily clad cast, she pumps up the comedy and gives the audience a more relatable romance. Whereas not all of us may have experienced that exquisitely timed run in at the coffee shop and the ensuing witty banter, everyone has had that awkward post coital tug of war, “is he going to sleep over? Should I ask him to? What should I say in the morning?” Like Harry and Erica vulnerably fumbling as they settle into their first sleepover, the audience harkens back to that moment of themselves somewhat self consciously sharing the night with a new bedfellow. It also helps that both actors are sublimely talented and funny (a concept lost on many of the genre.)

Now I might be alone on this, but I still think Jack Nicholson is sexy whether he’s in his 30’s in One Flew Over The Cuckoo’s Nest or 65, and Diane Keaton is frankly one of those rare breeds who seem to get even more beautiful with age. Though there is perhaps a scene that might make even the most hardened of us blush, Meyers keeps the audiences laughing and rooting for these two in this truly great movie only disguised as a cheesy chick flick.

Battle: Los Angeles (2011)

Jonathan Liebesman – Director
Christopher Bertolini - Writer
Aaron Eckhart, Michelle Rodriquez, Bridget Moynahan

Do you know what I have always found comforting about the impending doom of alien invasion? That they look so incredibly similar to us, the very beings they are attempting to colonize. Between the roughly 5’10” frame, consisting of a cylindrical trunk enclosing vital organs with 2 lateral arms extending perpendicularly off the uppermost region and a roundish head with anterior sensory features, the only apparent distinction is a quantity and length of leg-like appendages. But really, what are a few extra limbs among friends? Due to our obvious physical resemblance, it stands to reason that if you shoot them or blow them up, they will react in a similar fashion -how convenient! What with the universe being such a magnificent and diverse entity, one would think that beings from other planets might look and act a tad different. Apparently not.

Such is the case with Battle Los Angeles. Although in this instance, the human form is not the only resemblance to be found. To the untrained eye, you might find yourself wondering where Will Smith is, since you apparently stumbled into a revival of Independence Day. To the trained eye however, you would realize the distinct difference. You actually stumbled into a Glee like mash up of Black Hawk Down, Alien, War of the Worlds, Signs, as well as Independence Day. Between the same tired characters (the smart-talking, trigger-happy lieutenant, the commander with the heart of gold, the brave civilian ready to give his life), the giant metal space ship that rises out of the ground, the invasion that is first explained as a freak meteorological phenomenon, and a bit of a hang up on the ol’ H2O, there is nothing original about this retelling. But wait there’s more! Did I just hear a sampling of the Inception score? Is that the bus from Speed?

If you are looking for a basic non-stop battle scene, knock yourself out.  The script is just one bad line after another (“I won’t leave another man behind!”) and nowhere past the first 15 minutes is there any semblance of meaningful dialogue or break from the shoot-em-up action that lasts more than 5 minutes. Yes, there are a few poignant moment (of course someone must always sacrifice themselves for the cause) but where is the humor? Where is the heart or personality in any of these characters? You can tell Aaron Eckhart is doing what he can with the lines he was dealt but not even he can connect to the audience.

Overall, it serves its purpose; though don’t expect any good alien details a-la District 9 or War of the Worlds. There are some good special effects of LA in ruins and the score is better than some (though I still maintain Liebesman sampled Inception) but really people, can’t anyone come up with an original plot anymore?

“I Just Want to Express Myself Through The Art of Dance”

As an admittedly bad singer, I believe I have always been slightly offended by musical theatre. Perhaps I harbor a secret fear that at any moment, in any innocuous location, people around me might burst into song and dance, dragging me into a horror of my own making. And I, knowing neither the words nor the moves, nor having the vocal wherewithal to pull it off, am relegated to a mere observatory role. However, personal terrors aside, I have grown to appreciate a few of the more melodious films.

Singing in the Rain (1952): An American musical classic, I first viewed it in an Italian hotel room with my sister as there was nothing else available beyond local telenovelas and some of the more, shall we say, colorful films. Ears pressed to the speakers so as not to wake our parents, we were taken aback by its spontaneous bursts of song and oddly placed segues that seemed to serve little purpose beyond yet another silver platter opportunity to bust out a dance number.  We loved it. Far and away my favorite musical, it is a delightful romp through a 20’s era love story, unapologetically ridiculous and thoroughly over-the-top. It doesn’t try to force the songs to act as dialogue, or to move the story forward or frankly even to fit into the plot. The story weaves a nice yarn, but it is the songs themselves that carry the movie, turning back the clock to yesteryear, before reality ruled and the Kardashians were king.

Grease (1978):  I don’t think there is a girl (or musically inclined gentleman) alive who has missed this one. Or frankly, who doesn’t own the soundtrack and has been known to faux-reluctantly belt one out at a local karaoke club. Yea, we all have. While I must admit, I do enjoy the bevy of sing-along tunes that make up the bread and butter of this one, I think it is the characters and the story that solidify my interest. I mean really, who can resist a blond-wig clad Stockard Channing parading around the room in mock portrayal of chaste Sandra Dee? Or the love triangles and sexual standoffs between Danny, Sandy, Rizzo, Kenickie and, ever the wallflower, Cha Cha DiGregorio at the school dance? Definitely a well deserved, if endlessly cheesy, staple of the musical genre.  

High School Musical (2006): A favorite of the tween set (and a certain unnamed college roommate of mine), HSM, as it is affectionately referred to by those in the know, is one of those musicals that makes a valiant effort to incorporate all the songs in a seamless  and totally-not-weird-that-a-roomful-of-highschool-students-burst-into-song kind of way. But yea, it’s weird. Case in point: Zac Efron, the quintessential blonde basketball playing heart throb gets into a fight and storms back to school in the dead of night where, to get a handle on his feelings, bursts into an apparently spontaneous song and dance number, the dénouement of which features him falling to his knees in front of a 2 story poster of himself playing basketball. I mean, I know my high school had giant posters of all our jocks. I will say, the songs are pretty catchy but yea, just own up to being a ridiculous musical.  Don’t try to sell me that a random school in New Mexico is just full to the rafters with Disney trained starlets. You are fooling no one.   

So alright, maybe I like musicals a bit more than I initially let on. Did I cry at Rent? Of course. Did I find myself breaking into spontaneous dance moves during Moulin Rouge? You know it. Did I grin awkwardly all by myself during White Christmas? Unfortunately and embarrassingly, yes. While I’m still not a good singer and should probably leave soundtracks to the professionals, at the end of the day, the inside of my car doesn’t talk.

A Serious Man (2009)

Joel & Ethan Coen: Directors, Writers

Michael Stuhlbarg, Sari Lennick , Richard Kind, Fred Melamed

If you’re like me, than there has been an occasion or 2 where you have had a bit of a mental breakdown. I mean an irrational, throw-something, stamp-your-feet-like-a 4-year-old, possibly toss-out-a-couple-of-choice-phrases, freak-out. Whether it was a ludicrously unfair grade, a fight with your mother, or frankly someone cutting you off in traffic, we’ve all been there…. Well, all of us except for the down-on-his-luck protagonist of A Serious Man. Though not for a lack of cause.

Larry Gopnik (Stuhlbarg), a morally conscientious Jewish professor, just can’t catch a break in this 1960’s dramady. Between his utterly unappreciative family - complete with a son more interested in getting high than in learning the Torah, a nose job obsessed daughter and a brother who can’t seem to clear up that massive cyst  - anyone would justifiably lose it. Add into that a delightfully corrupt Korean student trying to bribe him and a wife who calmly informs him of her plan to leave him, and you’ve got the perfect recipe for a nervous wreck. And yet, Larry takes it in relative stride, responding to every crisis with merely panic stricken be-spectacled eyes and brief stuttering responses which nearly always get shouted down.

The Coen brothers really beat up on poor Mr. Gopnik, almost to the point where it’s painful to watch. You find yourself thinking “ok this has got to be it, he’s going to snap.” Then the next crisis. “This has got to be it.” When he interrupts his $150 an hour session with the divorce lawyer only to find that his son’s impending crisis is, yet again, that his favorite television show is blurry, your heart breaks for the poor, hard working father who is stuck playing the punching bag. You’re cheering for him to start an affair with the sexy next door neighbor, to take the bribe, to tell off his domineering wife. By hour 2, you’re about ready for someone to find ol’ Larry strung up in the bathroom.

The characters, though you kind of want to punch them, are exceptionally crafted, as is the screenplay which rolls effortless between a series of personal nightmares. From a Fort Knox of spiritual guidance to his wife’s infuriatingly patronizing would-be lover, the Coen brothers create vignette after vignette that has the audience reeling, relating and empathizing with Larry. I mean honestly, who hasn’t tried to calmly explain something during a fight and had their words twisted and turned until they find themselves agreeing, inexplicably with the counterargument? So is the plight of Mr. Gopnik. 

I cannot truly say that I came away from this film feeling a terrific sense of enlightenment or with a new take of the destiny of mankind. Funny, heartbreaking, bleak and, in a word, odd, it starts out with a Jewish family in the early 20^th century inviting in a dybbuk (a Hebrew name for a spirit inhabiting a dead person) in for soup then stabbing him with an ice pick. Perhaps setting the theme for the search for meaning that pervades the film, the audience is left wondering, “What did that meant? Are they going to explain it? Who were those people?” And…. they do not. Then, in a full circle maneuver, the film ends abruptly, once again leaving the audience searching for significance, something to grasp on to and take home with them. If you feel like taking in a head scratcher and you don’t mind leaving a theatre feeling depressed and perhaps a little disoriented, this former Best Original Screenplay and Best Picture nominee is right up your alley.

Little Nemo: Adventures in Slumberland (1989)

Masami Hata, William Hurtz – Director

Winsor McCay – Comic Strip (concept)

Gabriel Damon, Mickey Rooney, Rene Auberjonois

So the other day, I walk into my boyfriend’s apartment and he and his 26 year old roommate are engrossed in Fern Gully. I am thrilled because I too love delightfully animated movies chock full of positive messages about saving the rainforest, a bevy of musical numbers and a villainous Tim Curry. Quickly the discussion turns to our favorite animated movies growing up and the usuals are put on the table – Beauty and the Beast, The Lion King, The Sword and the Stone, something about Pippy Longstocking being a childhood staple – and I offer out Little Nemo aka Adventures in Slumberland (to those in the know) and am met with blank stares. They ask, with some judgment that I would consider my youth apparently extending into the latter years of high school, “Do I mean Finding Nemo?” No, no I do not. I try to explain and am still met with utter disbelief as though, in my childhood of make believe friends and basements that inexplicably transformed into darkened lairs in which I would often lure and terrify my little sister, I concocted a full blown motion picture - complete with plot points and character backgrounds - in my head. I’m sorry but that is a tad too much skill even for a child of my imaginary prowess.

And thusly, here is a tribute to my own personal animated movie staple. While it is a fantastic film, Finding Nemo, it is not. It is dark and strange and features some of the trippiest characters knows to the drawing board outside of the Blue Meanies. It is basically about a young boy, Nemo, and his pet flying squirrel, Icarus, who get invited to Slumberland, a sort of never ending circus, where he befriends the King, his lovely daughter, Camille, and, unfortunately, a scamp of a clown named Flip. At Flip’s suggestion the two open the Forbidden “Dragon” Door and release the Nightmare King. Finally released, the Nightmare King, a terrifying black swirling cloud of red lightning, takes revenge, capturing the King. Vowing to save him, Nemo, Camille, and Flip take off to Nightmareland, on the way picking up 5 Oomps (goblins who can change form and assemble to create a tree like creature) and losing the rest of the his company to the dangerous guards that haunt Nightmareland. Eventually, Nemo comes face to face with the Nightmare King in a battle to save his friends and re-imprison his nemesis.

It is a doozy of a movie and frankly someone really ought to take my mother aside and have her head examined for letting me and my sister watch a truly terrifying movie about Nightmares and goblins and what not. However, it is great and I watched it again not too long ago and it is still awesome. It has pretty much zero aspects of Disney in it. I think there may be a song or two but even those parts are strange with the main characters flying around on giant birds and turning into lollipops – did I mention there is an entire montage of a bed sprouting legs, kidnapping Nemo, and running through the streets of what appears to be downtown Hartford, CT? The storyline is an adventure through and through and it is beautifully hand drawn with a variety of settings and characters. If you like your movies a little on the bizarre side, this is definitely not your Grandmother’s animated classic.