Manual Film Fun #975

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That little moment implicates the viewer in a much more impactful way than the sledgehammer tactics Haneke uses to get his point across. Sure, we get a few passing lines and the classical music quiz which opens the movie, but those moments seem to be establishing class, not character.

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Had the film taken the time and care earlier, the sequence after the death of George Jr. There are some astonishing things here, like the ten-minute single take of the characters directly after the shooting as they try to get free while also absorb that their son is dead.

Lothar and Muhe are incredible during this stretch, no other word for it, and convince you easily that they have been married forever and are still in shock about losing their son. That said, this section could have truly been transcendent had we cared about the family before it happened. This article would have been so much easier had a cared more one way or another. But that was then, and this is now. Definitely worth a read. Olivia de Havilland stars as Catherine, heiress to the rich Sloper family. She has a decent relationship with her aunt Lavinia Miriam Hopkins , who is essentially kept in the house by Austin as a full-time matchmaker for Catherine.

Their introduction and courtship scenes are very sweet, as we watch Catherine slowly come out of her shell and open herself up to the possibility of love for the first time in her life. Lavinia sees this, but encourages the match nonetheless.

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Catherine probably realizes this on some intellectual level, but chooses to tell herself otherwise. On the surface, it seems like a solid match… made of lies, but lies that cover the hurt. Austin will have none of that. He brutally attempts to break Catherine and Morris apart repeatedly, finally savaging his daughter with the truth and shattering her dreams and their father-daughter relationship in the process.

Catherine may have mentally survived that, but when he learns that Austin threatened to disinherit her, Morris abandons Catherine too… breaking her beyond repair. Is Austin a hypocrite? Of course he is. We know how much he wallows in grief over his wife, and Lavinia calls him out early — telling him that nothing will ever match up to the unrealistic memory of her.

De Havilland is much better sparring with Richardson, first as she cowers from his every statement and later when she finally stops giving a shit and is as brutally honest to him as he has been to her.

These are the scenes that earned her the Oscar… those and the heartbreaking moment with Lavinia where Catherine realizes that Morris has abandoned her. Aside from a party scene and a few other brief moments, Wyler smartly keeps the claustrophobia of the play by setting every major sequence in the house. The stairs especially become a metaphor all their own — note the placement of the camera every time Catherine walks up or down them to underline her emotions in the moment.

The ending has haunted me long after the film ended. And then, before he can stop, we fade out. Cover: A lovely cover by Danielle Clough that impresses upon first blush, then even more the closer you investigate. I love that Catherine looks like she is smiling, but focus further and realize that you may be incorrect. Essay: Pamela Hutchinson writes a great introduction to the film, to Wyler, and to the intricacies of adaptation. Based on the play by Maxwell Anderson, which was based on the novel by William March.

I loved this movie as a kid. I had the VHS copy and watched it more than I should have. Patty McCormack stars as Rhoda, a too-perfect eight-year-old girl beloved by her mother Christine Nancy Kelly , her mostly-absent father and their eccentric neighbor Monica Evelyn Varden. Still, it takes Christine almost half the movie to figure it out. If that does not sound like enough content to sustain a movie that is over two hours long, you are correct.

Screenwriter John Lee Mahin, adapting a popular play and novel, adds in endless endless! That said, while the first scene is good, the filmmakers make the stupid decision to include a second scene of Hortense showing up that does nothing but repeat the beats of the first to diminishing returns.

Everyone else in the movie, though?

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They have no excuse — and their performances range from chewing on the furniture to inhaling the furniture. This is probably why people who love camp seek out the movie. Many in the cast originated their roles in the Broadway play, but forgot to dial down their performances in front of the camera. We get it — it sucks to have a kid who is a murderer, but get it together, girl! Even considering the time period and the fact that bigger performances were in vogue, I cannot fathom how any group of people got together and decided that Allen should have been nominated for an Oscar!

She single-handedly implodes the one sequence that could have been great. Rhoda has snuck downstairs and lit the basement on fire, trapping Leroy inside in order to off him. Sounds great, right? Now add in Allen screaming and banging on doors and rolling around her apartment like me after too many gin-and-tonics, and the spell is broken. Director Mervyn LeRoy made a bunch of decent, unspectacular films in his long career — ones that you probably have heard of or caught one night on TCM before forgetting about the next day.

I mean… really? The only person who seems to understand that the tone of the movie should be comedy, not horror, is composer Alex North, who underlines every scene with music that is more fun than anything else around it. I have no idea how the filmmakers allowed the score to be included, but at least it adds to the fun when watched today.

Then there is the studio-mandated finale, which I will talk about quickly so I never have to think about it again. Rhoda survived in the play and her mother died, but the film reverses it. So Christine wakes up with a bandage around her head to tearfully UGH! However great a genre film may be, when it first debuts critics and scholars have already placed a mark against it. Chan stars as Ka-kui, a sergeant in the Hong Kong police department who is part of a task force trying to bring down a crime lord named Chu Tao Chor Yuen.

Ka-kui becomes her bodyguard, accidentally exploding his own tenuous relationship with his girlfriend May Maggie Cheung… yes, that Maggie Cheung in the process thanks to jealousy. There are twists, betrayals, back stabbings, front stabbings and lots of broken glass, climaxing in a minute fight in a mall that is one of the greatest sustained action sequences of all time. The high point there is a stunt so incredible that Chan shows it to us three times in a row from three different angles — Ka-kui dropping down from the top floor to the ground floor of the mall via a pole wrapped in light-bulbs.

That moment gets all the press, making us sometimes forget all the awesomeness that came before it — including a man being mowed down by a motorcycle, the destruction of a gigantic glass entrance-way, the destruction of a gigantic glass mall set-up, the destruction of anything glass on the premises… and plenty of astonishing fighting. Many of these scenes are genuinely funny, but others represent the one part of the movie that has aged horrendously — the way it treats women.

One could read the second half as a veiled metaphor for karma paying Ka-kui back for the way he treats women, but that would be a stretch. Like, a big stretch. Chan and Tang attempt to correct this somewhat in the sequel by giving Cheung more to do and introducing a squad of kick-ass police women, so at least they recognized their mistake. The biggest surprise of the film, though, is Chan himself.

Watching the special features offered a look into his other major stunts from the time period, many of which equal that mall drop mentioned earlier. I was super-jazzed to see where this story went, but then the movie changed pace into something totally different and off tone from the first film.


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Serial bombers come into play. Ka-kui joins some special police force, whose headquarters seem less like a squad room and more like a Bond villain lair — people working on computers and a gigantic electronic screen of the city. A squad of ass kicking police women appear, have one great scene… and then basically disappear. All the while, there is precious little in terms of creative action sequences or the ingenious body language Chan showed in the original.

Chan seems to be giving a more serious performance here, which seems odd considering his brightness was what made the first fly. The best action scene in the film is relatively small compared to the first, with Ka-kui accosted on a playground. There are a few other precious moments to cling to, like when Ka-kui almost slams into a traffic sign, but these are the exceptions, not the rule.

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I was hoping that the ending would redeem the mess, but even there I was let down. The major villain turns out to be a deaf mute Benny Lai , which is a great idea in theory. Whereas the first ended in a crowded mall with one of the greatest of all stunts, this one takes place… in an abandoned warehouse? It almost feels like a video game more than a coherent action sequence, with the bad guys throwing barrels and fireballs at Ka-kui. It could have and should have been better.