Cinemaniac Reviews

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Archive for the tag “1980”

Stardust Memories

Review No. 444

It’s just “Stardust”, if we’re being realistic and truthful.

stardust-memories2

Directed by: Woody Allen
Written by: Woody Allen
Sandy Bates: Woody Allen
Dorrie: Charlotte Rampling
Daisy: Jessica Harper
Isobel: Marie-Christine Barrault
Also Starring: Amy Wright, Bob Maroff, Gabrielle Strasun, Helen Hanft, John Rothman, Tony Roberts

Distributed by United Artists on September 26, 1980. Produced in English by the United States. Runs 91 mins. Rated PG by the MPAA–mature themes, language.

Stardust Memories was watched on March 4, 2013.

“I’m a psychoanalyst. This is my pipe.” –Sandy Bates (Woody Allen)

It’s been a while. Woody Allen is one of few directors who has consistently infused his films with his own sarcastic, pessimistic spirit. Ever since he debuted in the late 1960s (and only to a greater extent during and following fifteen years of psychoanalysis), the auteur has been ethereally glamorizing the architecture of cities, while ripping apart its people. His writing alone is ingenious, but we can be even more grateful that he has appeared in 80% of his films, taking the wry, politically incorrect humor to an entirely new level.

Stardust Memories isn’t Woody’s best drama, mainly due to the gratuitous starlight he gives himself. His role is as a narcissistic filmmaker, so you could say this is appropriate, but just about every separate character is artlessly one-note. All we really see is mucho exaggeration, and for that matter, the film could better fare as a stand-up comedy. Given that Allen is the god of the one-liner, and that he delivers three distinct quotes for the ages in this one 90-minute feature, it’d work out much more evenly.

Stardust Memories is a small-scale version of Annie Hall. It’s a delight more often than not, but only for the time being; that it feels like it was written in a week’s time should say that it doesn’t exactly feel as lifelike as Woody’s other writings. In a nutshell, a word like “memories” can be deceiving if placed in a film’s title.

“People tell me I’m narcissistic but I disagree; if I were to identify with a figure from greek mythology it wouldn’t be Narcissus, it would be Zeus.” –Sandy Bates (Woody Allen)

B MINUS

TOMORROW, ON CINEMANIAC REVIEWS…


Gone Baby Gone

Xanadu

Day Three of the Two-Week Torturefest

Poetry + LSD = “Xanadu”.

xanadu
Directed by: Robert Greenwald
Written by: Richard Christian Danus and Marc Reid Rubel
Kira: Olivia Newton-John
Danny McGuire: Gene Kelly
Sonny Malone: Michael Beck
The Unnamed Muses: Cherise Bate, Juliette Marshall, Lynn Latham, Marilyn Tokuda, Melinda Phelps, Sandahl Bergman, Teri Beckerman, Yvette van Voorhees
Also Starring: Dimitra Arliss, James Sloyan, Ren Woods

Distributed by Universal Pictures on August 8, 1980. Produced in English by the United States. Runs 93 minutes. Rated PG by the MPAA–mature themes, language, brief nudity.

Xanadu was watched on Sunday, December 23, 2012.

“What do you mean she doesn’t exist? I’m looking right at her, she’s on the Nine Sisters album.” –Michael Beck as Sonny Malone

Xanadu is a strange potpourri of just about the most randomly apparent, obscurely natural concepts, activities, and what have you. Cheerleaders. Roller skating. Pop and rock music of the early 1980s. Big bands of 1945. The Rockettes. Dreams. Cardboard-and-paint special effects. Ludwig van Beethoven.

All of these are juxtaposed against one another, and in turn seen through the eyes of a young man named Sonny Malone, as he longs for a girl named Kira whom lives in a land called Xanadu. During the summertime, Xanadu serves as the capital city of China’s Yuan Dynasty, and is ruled by the emperor Kublai Khan; Kira herself is a Muse, and the daughter of Zeus, the Greek “god of gods.”

Now let’s consider the possibilities: Could Sonny have been simultaneously studying ancient Greek history, researching 13th century China, and engaging in his 1980 American social life, and simply confused them all? Is he stoned? Is he dreaming? Or is he just imagining what Samuel Taylor Coleridge’s “Kubla Khan” would be as a frighteningly pseudo-intellectual fantasy? It remains a mystery, as none of this is explained in Xanadu. We’re simply supposed to watch and understand this hugely chaotic—yet moderately fun—mess. Did I forget to mention that it’s a musical, too?

Many sources, both generic and professional, have listed Xanadu as not the worst film ever made, but rather the best “guilty pleasure” film ever made, or a truly definitive one. Looking at facts, the film is plain awful. When watched back-to-back with Can’t Stop the Music, it was the inspiration for the annual “Razzie” Awards.

Since then, however, Xanadu has earned cult followers galore, enough to spawn a Broadway adaptation in 2007. I’m not sure I would question the sanity in such people. The substance is confusing and buried; the style is frenetic and strange. There aren’t any real values we’d normally expect in a film.

Where Xanadu does succeed is in bringing humor to the viewers’ fruition without quite realizing it own its own. The screenplay has an entire corn plantation strewn throughout it. Sonny is abysmally played by Michael Beck, with no help from terrible lines such as “You’re a movie!” and “Tuesday’s Wednesday.” On the other hand, Olivia Newton-John (Kira) takes the film too seriously. There’s a scene in which she explains to Sonny that she is, in fact, a Muse and a descendant of Zeus. When he isn’t convinced, she tells him: “Look up ‘muse’ in the dictionary. Go on, page seven-twenty-eight.” On paper, it’s an easy line to laugh at, but the delivery is just…good.

There’s one single area in which Xanadu succeeds with strongest intentions: music. The music is upbeat, classy, and fun. Although the choreography grows rather slapdash throughout the film, it’s fun to imagine this as the terribly cheesy music video with occasional interludes. I’ve never been one to enjoy Olivia Newton-John’s voice (when I hear the soundtrack from Grease, I suddenly have the urge to vomit), but here, she sings like…a Muse.

Xanadu is a quasi-“guilty pleasure.” It’s only bad enough to be fairly acceptable, vacillating in and out of dumb fun, and not especially memorable. I have trouble imagining it as a film I’d want to watch on loop, simply for its flashy, egotistic, and utterly random sense of theatricality. Is it honest-to-goodness torture trying to watch? Unless you have an aversion to the cast and/or crew, not at all. Would I recommend it? Cautiously. And very, very slightly.

C PLUS


Last Action Hero – Schwarzenegger’s “Terminator 2″ for the youngsters.

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Friday the 13th

Bottom Line: Completely trash-tastic fun.

Directed by: Sean S. Cunningham
Starring: Adrienne King, Ari Lehman, Betsy Palmer, Harry Crosby, Jeannine Taylor, Kevin Bacon, Laurie Bartram, Mark Nelson, Robbi Morgan

As I watched Friday the 13th, I smiled fondly and thought back to the various short films my friends and I would produce between the ages of ten and twelve. We didn’t care all too much about originality, surprise, or creative dialogue. I’m not all that sure we worked too hard on actually frightening, either. We just wanted to spit something out in time for All Hallow’s Eve. Curiously enough, Friday the 13th seems to practice the same sort of ideals. It’s the kind of film that tries to function as its own work, but the “handheld camera killings” technique is an all-too-obvious nod to Halloween, and the “screeching orchestra” music is only a few notes different than Bernard Herrmann’s famous Psycho score. During the final fifteen minutes, both of those films’ twist endings are mimicked in a fashion that is all too outwardly obvious. Strangely enough, the film is nearly impossible to stop watching. The plot (written by Victor Miller, who has since moved on as the scribe for television series such as Guiding Light and All My Children) is about as far from genuine, witty, original, unpredictable, and (cue gasp!) horrifying as you could ever imagine; the rest of the production, no better; yet it’s difficult not to enjoy if you have even the slightest appreciation for the horror genre.

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The Elephant Man

Bottom Line: “Beautiful” doesn’t even begin to describe this glorious work of art.

Directed by: David Lynch
Starring: Anne Bancroft, Anthony Hopkins, Freddie Jones, Hannah Gordon, Helen Ryan, John Gielgud, John Hurt, Michael Elphick, Phoebe Nicholls, Wendy Hiller

Charlie Chaplin. Yasujiro Ozu. Quentin Tarantino. John Wayne. There’s a pattern in that list: not only are those the names of four of the most crucial icons to the world of cinema, they are also figures whose work I still–believe it or don’t–have not watched. Renowned surrealist filmmaker David Lynch was a member of that list, up until my eyes were met with The Elephant Man. The film is, in the simplest of terms, by far the most vivid emotional expression I have ever witnessed, flourishing with poignancy from the very start. It’s the kind of film where no matter how much your heartstrings are torn at, no matter how long your forefinger remains on the “stop” button, no matter how forlorn you begin to feel while watching, your undivided attention is held for an entire two hours.

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The Empire Strikes Back

A continuation of my Star Wars review from not too long ago. I guess I’ve made it clear that I love the series, and the original trilogy is one of my favorite trilogies ever made. I do also enjoy the prequel trilogy and its back story, despite the massive hate that has been established for it. There’s no doubt that not only is The Empire Strikes Back a magnificent follow-up to one of the greatest sci-fi movies ever made, it’s one of the greatest sequels in movie history. So please, read my review…or destroy you I will. (That was “Darth Yoda” speaking…)

Bottom Line: Not quite perfect, but still wondrous.

Directed by: Irvin Kershner
Starring: Alec Guinness, Anthony Daniels, Billy Dee Williams, Carrie Fisher, David Prowse, Frank Oz, Harrison Ford, Kenny Baker, Mark Hamill, Peter Mayhew

“The Force is with you, young Skywalker, but you are not a Jedi yet.” –David Prowse and the voice of James Earl Jones as Darth Vader

When George Lucas created STAR WARS just three years before, he wasn’t constructing a film but instead a universe. A sequel to further the story was inevitable and vital to the timeless tale’s legacy, and after being received well by both critics and audiences alike, a sequel was confirmed. If THE EMPIRE STRIKES BACK were the primary entry in this three-part legend, it would not have stood out. After all, it was released in 1980–the year responsible for an overwhelming number of unforgettable classics. THE BLUES BROTHERS, AIRPLANE!, THE SHINING, ORDINARY PEOPLE, RAGING BULL, and many more. Considering this is one of the greatest sequels ever made, it stands out in its own unique respect.

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Raging Bull

Bottom Line: Furious classic.

“You didn’t get me down, Ray.” –Robert De Niro as Jake LaMotta

Directed by: Martin Scorsese
Starring: Cathy Moriarty, Frank Vincent, Joe Pesci, Robert De Niro

Martin Scorsese is the motion picture industry’s equivalent to Ludwig van Beethoven. He’ll go as definitively superlative as he can with a production as far as the fashion in which the mood and emotion are presented, as long as in the end it all threads together seamlessly. RAGING BULL is the perfectionistic example of how Scorsese puts his successful style to work. This is the biographical story of Jake LaMotta (Robert De Niro), a middleweight boxer known by his nickname “Raging Bull” in the 1940s and 1950s. This cinematic splendour of a film is a well-acted record of this segment of his life, in which he struggles with his outrageous temper that is raising him to the pinnacle of his career, but is bringing him to an emotionally self-destructive state outside the ring.

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Ordinary People

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Bottom Line: Emotionally heartbreaking Best Picture.

Directed by: Robert Redford
Starring: Donald Sutherland, Judd Hirsch, Mary Tyler Moore

Melancholy drama opens with a view of what seems to be your average family: a married couple (Donald Sutherland, Mary Tyler Moore) and their teenage son (Timothy Hutton). Next, we see a view of mainly the son, Conrad, and realize this is no ordinary family, but a three people trying to deal with the death of a family member, Buck, and move on as ordinary people. Conrad, after attempting suicide, sees a psychiatrist for coping with the devastating loss of his older brother, and we come to see that his parents, too, are just as horrified. Amid attempts to live regular lives, the anxiety begins to tear the family apart.

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