Maigret tend un piège (1958) Gabin has little to do with Maigret: he hasn't got the resilience, the patience, the torpidness that the character requires. Sure, he delivers a great performance (the last interrogation sequences are masterful) but for us italians (who consider Gino Cervi as the ultimate Maigret, I can't tell how rightfully but he is far superior to Gabin). Gabin just doesn't fit the role. And the plot is not among Simenon's best: this serial killer is little credible, and even less are those who protect him. The actors are all good but the performance of the killer himself is too over the top. 6\10

Le désordre et la nuit (1958) As said by a reviewer at IMDB, this is unbalanced between the detection and the drama (Gabin involves himself with a doped girl who witnesses the homicide of her lover-pusher). Gabin looks too old for the part and it embarasses me watching him in the love scenes with Tiller. The middle part is only filler and it makes the movie dull. 4\10

I Shot Jesse James - 6/10 - For the most part, a pretty routine B Western. It has some great individual scenes but it never really takes off; one gets the impression that there's a great Western here struggling to get out (perhaps achieved in The Assassination of Jesse James sixty years later). Instead of focusing on Bob Ford's guilt, which IS well-done when it's touched on, there's way too much time spent on a sappy love triangle. Plus the narrative sags constantly, particularly in the second half. John Ireland is surprisingly good, considering how wooden he usually is. Some definite influences on The Assassination of Jesse James, particularly in the first half.

Sweet Sixteen (2002) This could have been an excellent crime movie but of course Loach couldn't have been contented with that and had to go "deeper" with the protagonist background and family troubles, about which I couldn't care less or, in case I do, I can always see a documentary on Scotland's juvenile unrest and unemployment troubles. Or read a book about it. Loach should have concentrated on action and only bypassing the rest. That is evident in the middle (and best) part of the movie. A pity. 6\10

P.S. Banjo, have you seen this movie? Do you understand the people's speech?

The Thin Man (1934) I always read good things about this from all kind of reviewers. I agree this is a delightful comedy but of the kind that doesn't stir much enthusiasm as a start anyway. The mystery plot is, justly, secondary to the Nick and Nora vicissitudes and dialogues. Powell is great, yes. I'll watch the other ones of the series hoping they're better.7\10

I always thought The Thin man would make a good drinking game film, ever notice how many martini's Powell & Loy put away during the course of the film? In real life I would be surprised they can even stand, lol.

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!

The Thin Man (1934) I'll watch the other ones of the series hoping they're better.

They aren't. The second one, which has Jimmy Stewart and an SF setting, is about as good. The third one (back in NYC again) is worse. I have a lot of affection for #4 (a return to SF). The fifth and sixth are execrable.

Ya measly skunk! A-campin’ on my trail and lettin’ me do the work an’ then shootin’ me in the back. IN THE BACK!

The Assassination of Jesse James By the Coward Robert Ford - 8-9/10 - 2nd viewing. Didn't like it as much the second time around, in fact ended up taking a break from it at one point. I still enjoyed it, I just don't think being on a sugar high and in the middle of monomaniacally working on a website project for class is the right state of mind to watch a movie like this.

The Assassination of Jesse James By the Coward Robert Ford - 8-9/10 - 2nd viewing. Didn't like it as much the second time around, in fact ended up taking a break from it at one point. I still enjoyed it, I just don't think being on a sugar high and in the middle of monomaniacally working on a website project for class is the right state of mind to watch a movie like this.

I'm convinced that that film can only be properly appreciated when seen in a cinema.

The Sand Pebbles (1966) - 10/10. China in the 20s: a U.S. gunboat: McQueen: a decent score: helmed by director-producer Robert Wise. What's not to like? Although not a great artist, Wise was a consummate craftsman: even when working on the most wretched of projects (The Sound of Music, say), his technical virtuosity gave his work interest. When employed on material more worthy of his talents, as was the case on The Sand Pebbles, his skills raised the film to the level of a masterpiece. Every shot in this movie is a thing of beauty, and the editing (Wise started as an editor) is immaculate. Even more significant is Robert Anderson's screenplay, which wastes nothing, has several exciting set pieces, builds wonderfully to a powerful climax, and is able to delineate at least five genuine character-like characters. And all five characters, over the course of three hours (which speeds by) change (and do so credibly).

When you place it beside Wise's other films, this is the one that shines brightest. But comparisons with the other widescreen, color, historical epics of the 60s favor it as well. This film is certainly better than The Alamo, El Cid, Lawrence, Mutiny on the Bounty, the beautiful but vacuous Zhivago. Probably the only film of its type it does not exceed is Bondarchuk's War and Peace, which really should be considered 2 (or more) films. GBU vs. The Sand Pebbles? Let's say those two films are at par.

And we are exceedingly blessed to have a Blu-ray edition worthy of this great film. I can't wait to watch this again.

« : June 11, 2010, 08:24:02 AM dave jenkins »

Ya measly skunk! A-campin’ on my trail and lettin’ me do the work an’ then shootin’ me in the back. IN THE BACK!