Cinemaniac Reviews

Believe it or not, you may not want to see that movie.

Archive for the tag “1974”

The Towering Inferno

Bottom Line: Starting up, you’re praising the fun and beauty. By the end, you’re praising that it’s over.

Directed by: John Guillermin
Starring: Paul Newman, Steve McQueen, William Holden
Also Starring: Faye Dunaway, Fred Astaire, Jennifer Jones, O.J. Simpson, Richard Chamberlain, Robert Vaughn, Robert Wagner, Sheila Matthews, Susan Blakely, Susan Flannery

A dialogue excerpt from The Social Network (2010):
Sean Parker (Justin Timberlake): “Did you know this is where they filmed The Towering Inferno?”
Mark Zuckerberg (Jesse Eisenberg): “That’s comforting.”

I’ve never been one to immediately associate length with boredom. At age ten, I sat through and thoroughly loved all four hours of Gone with the Wind. And it’s not just with movies: at age thirteen, I plowed through all eleven-hundred-some pages of Stephen King’s The Stand (the “complete and uncut” edition). It’s not really a bragging right that length doesn’t bother me, in and of itself. The Towering Inferno is a prime example of such. The film is lushly directed, and humanly acted enough to take the quotidian storyline to remarkably convincing peaks. But when the characters we’re given are trivial and poorly written, it’s difficult to say such a film deserves to run two hours, forty-four minutes. By comparative standards, it runs eleven minutes shorter than The Godfather, but it feels that much longer.

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Chinatown

Bottom Line: If only this was the mystery genre today.

Directed by: Roman Polanski
Jake Gittes: Jack Nicholson
Evelyn Cross Mulwray: Faye Dunaway

“Forget it, Jake, it’s Chinatown.”

Is it just me, or is the crime genre changing right before our eyes? Seemingly every time I tune to FOX, CBS, or ABC, there’s always a new series headed toward television. The odds are that if it’s not a comedy, it’s a crime procedural. JAG, CSI, NCIS, Law & Order, Bones. These are all extremely entertaining crime shows that have appeared in recent years, don’t get me wrong. But they’re flawed in numerous respects. The presentation of motives are so superficially presented, and the focus veered instead toward action. I don’t know about you, but I’d rather know why the criminal did what he or she did before a chase sequence. It’s as if producers are noticing audiences accepting stories at face value, and sadly enough, we are. I turn to the film-noir genre, a grandeur that we will unfortunately never see again in its purest form. The genre presented mystery at its finest during the ’40s and ’50s, using the premises of dirt cheap, trashy pulp novels, and transforming those into beautiful, atmospheric, and engrossing “Whodunits.” Not much action is really required to construct such suspenseful dramas.

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The Godfather Part II

Bottom Line: An offer you can’t refuse. Even better than the first part.

“I don’t feel I have to wipe everybody out, Tom. Just my enemies.” –Al Pacino as Michael Corleone

Directed by: Francis Ford Coppola
Starring: Al Pacino, Diane Keaton, G.D. Spradlin, John Cazale, Lee Strasberg, Michael V. Gazzo, Richard Bright, Robert De Niro, Robert Duvall, Talia Shire

1972′s original GODFATHER movie encased an interesting enough plot. Though the film introduced us to all of the Corleones, a Sicilian crime family, it seemed to focus primarily on Michael Corleone. We recognized Michael from the very start as the only good Corleone. He was the only one in his family to attend college, he fought in the Marines, and he wanted nothing to do with the violence in his family. Yet he was so close to his father, Don Vito Corleone. The first film depicted Michael’s time up to becoming the new Don after his father Vito had become unable to remain in that position. PART II takes an alternating role between a prequel and a sequel. It sounds a bit odd, but it’s actually more like watching a theatrical play with two acts that smoothly intertwine. The first act opens up in 1901, where we see nine-year-old Vito coming to America after his mother and father are killed by the Don of a different Mafia family. We learn that his surname was not initially Vito Corleone: he was born Vito Andolini, but his surname was mistakenly changed at Ellis Island to Corleone, the small Sicilian town from which he had come. The time period soon moves to the late 1910s and progresses through the mid-1920s to give a deeper back story to Vito (played by Robert De Niro in a much younger role than the previous entry’s Marlon Brando). The second act takes place only a few years after the original GODFATHER, following Michael Corleone (Al Pacino) as the new Don. Here, we are familiarized with his attempts to increase the family’s power, as well as his wife’s attempts to avoid a criminal legacy.

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Alice Doesn’t Live Here Anymore

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Bottom Line: A reason to love Scorsese; it will “live” on as a classic.

“Shoot the dog! Shoot the dog!” –Alfred Lutter as Alice’s son

Directed by: Martin Scorsese
Starring: Alfred Lutter, Ellen Burstyn, Kris Kristoffen, Mia Bendixsen

Seriocomic road movie about Alice Hyatt (Ellen Burstyn), a woman who has always dreamed of becoming a singer. (This is made clear in the opening WIZARD OF OZ-esque scene.) She is thirty-five years old, driven crazy by her obnoxious twelve-year-old son, and the only thing that is holding her life together is her husband, who she hates to begin with. This all changes when her husband dies in a car accident. Alice has lost the majority of her money, forcing her and her son to take on an interminable road trip. Not only is this a gateway for more stress, the trip provides Alice a job and man or two, and her son a girlfriend of sorts that is just as bad as he is–if not, worse.

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Blazing Saddles

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Bottom Line: Not Brooks’s best, but definitely worth watching.

“‘Scuse me while I whip this out.” —Cleavon Little as Sheriff Bart

Directed by: Mel Brooks
Starring: Cleavon Little, Gene Wilder, Mel Brooks, Slim Pickens

Western satire and racial vulgarity are the crux of what makes Mel Brooks’s Western spoof funny. The story, set in 1874 (100 years prior to the film’s release), is of Bart (Broadway star Cleavon Little), an African-American slave in the Old West. After being appointed sheriff by political boss Hedley Lamarr (Harvey Korman), he strikes a friendship with fictional Western legend Jim the Waco Kid (Gene Wilder), and realizes immediately that Lamarr is completely overbearing and wants him out of the West.

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Young Frankenstein

Bottom Line: Defines the word “comedy”.

“IT’S ALIVE!!” —Gene Wilder as Dr. Frankenstein

Directed by: Mel Brooks
Starring: Gene Wilder, Madeline Kahn, Marty Feldman

Tongue-in-cheek parody of Mary Shelley’s classic horror has Mel Brooks engraved all over it. Written by Brooks and Wilder, the story is of Dr. Frankenstein (Gene Wilder), who is supposedly a goof-off and a mad, mad scientist. He fetches the body of a dead man and asks his assistant to fetch one specific brain, in hopes of recreating human life. When the intended brain is accidentally damaged, the assistant fetches instead the brain of “Abbie Normal” (get it?), thus creating a murderous creature.

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