The Friends of Eddie Coyle (1973)

Those are certainly no friends of Eddie Coyle. Robert Mitchum plays Eddie, a Boston-area family man and gunrunner who is facing serious jailtime for a New Hampshire hijacking. He tries to trade information with an ATF agent to reduce his sentence, but unbeknownst to him, there are others who are working similar angles. It’s a tragic story for Coyle and Mitchum plays him with a world-weary, grizzled desperation. The story is a bit twisty and it takes some attention to follow how all the pieces play together, but it’s fairly worth the commitment in the end.  Noir

Ruggles of Red Gap (1935)

In this fish out of water tale, Charles Laughton is a gentleman’s gentleman whose gentleman loses him in a poker game to a bunch of nouveau riche Americans. Laughton’s Ruggles finds himself spirited away to rural Washington where he unwittingly finds himself a local celebrity and embracing American ideas of freedom and self-determination. It’s a sweet tale where Laughton really sells the loosening of his prescribed British service role to finding his own way in the world.  Best Picture Nomination

Oscar Nomination: Best Picture

The Boy with the Green Hair (1948) – Rewatch

Dean Stockwell is a war orphan, kept in the dark of his parents’ fate, who is tossed from one home to another until he finally finds a forever home with retired actor Pat O’Brien. Unfortunately for Dean, after he discovers his status as an orphan, his hair suddenly turns green. The small minds of the local townsfolk can’t handle it. An allegory for war itself particularly its effects on children, it’s a bit of an oddity of a film, but the acting, and the adorable chemistry between Stockwell and O’Brien, keeps the story engaging.

Mon Oncle (1958)

While I didn’t find this quite as delightful as PlayTime or Trafic, there are still some wonderful visuals in this Tati outing. Monsieur Hulot’s nephew prefers spending time with his playful uncle rather than with his upwardly mobile parents in their ultra modern home. The house provides plenty of gags: a fish fountain that’s only turned on for the right kind of guests, large round upstairs windows that look like eyes, uncomfortable furniture constantly needing to be moved to the various zones, and garden paths that follow no logical direction. The film isn’t just stuck in the modern either, there is plenty to be experience in Hulot’s unimproved neighborhood and at the plastics factory where his sister’s husband gets him a job. I actually watched both the English and German versions of the film and discovered that the dialogue falls to the wayside when you don’t have to pay attention to subtitles and the film becomes just visual. It results in two very different experiences.

Oscar Win: Best Foreign Language Film

Rewind (2019)

It’s incredibly brave of Sasha Joseph Neulinger to be willing to document the horrific abuse he suffered as a child in this way. Using family childhood movies, that probably don’t look much different from any of thousands of home movies that have been filmed since the advent of the home video camera, it’s a severe juxtaposition seeing the various individuals in light moments knowing the horrors that were going on behind closed doors. There probably isn’t a clearer picture of the perpetuation of sexual abuse that gets passed through generations than the story as it is shown here. There’s great courage that his sister and father were also willing to bear witness to their own experiences.

The Ghost & Mr. Chicken (1966) – Rewatch

I managed to fit in a rewatch of this Don Knotts classic in the middle of my normal Halloween holiday watching. Knotts is a typesetter at the local newspaper who really wants to become a writer. He manages to find some success after writing stories about a local haunted house. That is until the former owner’s nephew sues him for libel. It’s Knotts at his skittishy best and the story has a perfectly charming spookiness. It’s a great family-friendly Halloween flick.

Cleopatra (1963)

It’s no surprise that this brought on the end of the Golden Age of Hollywood. Everything about it is overblown: the sets, the cast, the costumes, the run-time, everything. With two parts split between Cleopatra’s relationships with Julius Caesar and Mark Antony, the story just goes on and on. Edited down to an hour or two shorter and it might have held my attention better. Elizabeth Taylor is truly a beautiful woman, but she was terribly miscast in the role of Cleopatra. She lacks gravitas, cunningness, and sexiness. There’s at least the feeling of building an alliance between Taylor and Rex Harrison’s Caesar; the relationship between Richard Burton’s Mark Antony is lackluster. There must have been some love flames between them in production, but they are not seen on screen. Obviously there was no expense sparred in the visuals. Cleopatra’s arrival in Rome is a live-action version of Aladdin’s Prince Ali scene. Despite that money spent in costumes (there is one ridiculous scene where without hesitation Taylor changes between three different outfits and Burton between two), many of Taylor’s look like the same exact style just in an array of candy colors. But I did love the sets. They are lavish and beautiful, truly sights to behold. There are so many little details to be seen: wigs, clothing racks, and umpteen baths. It’s also great to see the various cast in smaller roles: Hume Cronyn, Roddy McDowell, Martin Landau and even Carroll O’Connor as a Senator.  Best Picture Nomination

Oscar Wins: Best Cinematography, Color; Best Art Direction-Set Decoration, Color; Best Costume Design, Color; Best Effects, Special Visual Effects

Oscar Nominations: Best Picture; Best Actor in a Leading Role; Best Sound; Best Film Editing; Best Music, Score – Substantially Original

Sybil (1976)

As the titular character, Sally Field is a young woman who, with the help of her psychiatrist played by Joanne Woodward, discovers that her body harbors at least sixteen other personalities. Aside from obvious commercial breaks, it’s hard to believe that this was made for television. I really enjoyed the creative ways the personalities were shown to being distinct. Field is incredible portraying them all differently, from a self-assured French woman to a pre-lingual baby, while also presenting Sybil herself as a complete, unique character who goes from not even knowing that there are others inside her to full integration with all the personalities. Woodward is also wise and kind in leading Field’s various characters through coming to terms with the events in her life. I love that Joanne was cast in that role after herself starring in The Three Face of Eve.

The Presidio (1988)

Mark Harmon is a San Francisco detective. Sean Connery is a Lieutenant Colonel who used to be his commanding officer. After a shooting at the Presidio that also results in the death of two city cops, the two are forced to work together to find the killers despite their troubled history. It’s an entertaining but entirely forgettable crime drama. By the time the mystery behind the reason for the killings is revealed, I’d forgotten there was even a mystery to be solved. While I generally like Mark Harmon, he’s out of his depths in this film next to Connery and Jack Warden. A love story between Harmon and Meg Ryan is completely unnecessary and her entire role in the film feels rammed in.

They Live By Night (1948)

Farley Granger escapes from prison with Howard Da Silva and Jay C. Flippen. They take refuge at the home of Da Silva’s brother where Farley bonds and falls in love with his niece, Cathy O’Donnell. The inexperienced couple would love to start their lives over with each other, but in the Hays Code world that was never going to be possible and that feeling of dread is a shadow over the young lovers from the moment they meet. A heart-breaking noir, it’s really hard not to wish things were different and root for the baby-faced couple which makes the end harder to take.   Noir

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