Inside Out 2

Recently I saw Inside Out 2.

Original image located here. Accessed 4th November 2024

In a way I'm not surprised that Inside Out would get the sequel treatment: the original idea is strong enough that there is plenty of room to expand. Are the five emotions the only ones? Are there more? And if so, are they there for all time? And what happens to Headquarters when one reaches the end of their life?

It would be easy to dismiss this movie as being nothing more than a cash grab and has no hope of replicating, let alone surpassing, the magic of the original. 
And yet, that may be case but I'm not willing to write this movie completely. There is certainly a lot of expansion on the original idea as we see Riley movie into her teens and gain a whole bunch of new emotions. True a lot of them don't do much - and I can't help but notice that Joy is still the only positive emotion present - but Anxiety makes for a compelling addition. Indeed, it may hit a little too close to home for some people to see Anxiety at work - in particular the representation of a panic attack is genuinely frightening. 

All in all, a solid sequel and I'm keen to see where this series goes to next.

Midnight Cowboy

And this week's Friday night movie has been... Midnight Cowboy!

Original image located here. Accessed 21st June 2024

Best Picture Oscar winner no.: 42 (1969)

Last week, I talked about that particular movie being the last of the old guard. Well, here we have the first of the new. 

Nowadays we may debate about the Oscars getting it wrong but personally, I think such a debate is a disservice to the times when the Academy shows a spine and gives the top prize to something daring. 
Of course, a film that has a heavy gay theme, helmed by a director who is gay, would be the type of film that, nowadays, the Academy would be falling over themselves to shower accolades. Thing is, this won big in 1969. And is, so far, the only R18+ movie to win Best Picture.
Furthermore, given the passage of time, this seems worlds apart from the type of movie that was winning big in the 1950s and 60s. Coming off the back of Oliver!, one would think that the movie-making rulebook changed overnight. 

Indeed, this movie comes across as incredibly cynical: The two leads are a pair of lost souls, the streets of New York shown here look anything but attractive, the struggle of making a living is a key theme, likewise for the pursuit for identity, the editing is fast paced, and the spotlight is shown on the misfits of life. Heavy themes indeed, and it is indeed ballsy for a movie to demand the audience meet it on it's own terms. 

There's no way around it: This is the announcement that the New Hollywood had begun and audiences everywhere had no choice but to get used to it. 
That being said, what do I think of this movie? Well it still has a power that still resonates decades later and still has a brutality that few other movies can match. It may be a game-changer but, thankfully, for the right reasons.

Oliver!

And this week's Friday night movie has been... Oliver!

Original image located here. Accessed 14th June 2024

Best Picture Oscar winner no.: 41 (1968)

When I was planning this year-long operation out, I was tossing up whether to include this movie in the schedule. But in the end, I remembered I have a resonance with Oliver as I have performed in the original musical on stage. So we're watching this then.
It's also worthy of note that this movie came out at the beginning of the New Hollywood era (1968-1980) which would make it the last of the old guard. With this in mind, it's strangely fitting that this movie won Best Picture over Bonnie and Clyde - the movie that is largely credited as being the starting point of the New Hollywood.

Given the source material, as in both the musical and Dickens' original text, it would be easy to dismiss this as an adaption and nothing more. And yet, there is much to admire here. The cast is fantastic with both the children and adults doing a top notch job. In particular, Oliver Reed is chilling as Bill Sykes and Ron Moody is fantastic as Fagin to the point of becoming the model for all to follow (why didn't he win the Oscar for Best Actor?). The musical sequences are all well done, the use of colour is superb and there is a solid balance of bright and dark to make this an ideal family movie. 

But in the end, as mentioned above, this is the last of the old guard. Watching this I can't help but feel this is a product of an engine running out of steam. Seems a change was needed.....

In the Heat of the Night

  And this week's Friday night movie has been... In the Heat of the Night!

Original image located here. Accessed 7th June 2024

Best Picture Oscar winner no.: 40 (1967)

In recent years, some people have grumbled that the Oscars have become 'too political'. I personally don't know what they're complaining about because as I have traversed through Oscar history it seems that they have always been political. 
And so we come to this: One of the more indispensable Best Picture winners with an agenda behind it. 
Because this came during the Civil Rights Movement and saw a dramatic change in the perception of people of colour.

Needless to say, I can only wonder the audience reaction to see a person of colour not only in a leading role but playing a character who has a well-paying career, in a position of credibility, can take charge of situations, is intelligent and doesn't take any crap from anyone. Radical at the time? Without a doubt. A trailblazer? Sadly, not a lot of movies since have taken note. 
It's interesting to note that this may be a 'message' movie but it doesn't feel like a message movie largely because it comes across as wanting to talk to it's audience as opposed to talking down to it's audience. I think this due to the movie being unafraid to challenge the perceptions of it's protagonist (ie Gillespie's "You Listen to me" speech) 

Still Sidney Poitier has a presence that is unbeatable and Rod Steiger is just as compelling. The murder mystery is handled well and the movie is gripping stuff all the way through.  

Really, this is a class act all the way.

A Man For All Seasons

 And this week's Friday night movie has been... A Man For All Seasons!

Original image located here. Accessed 31st May 2024

Best Picture Oscar winner no.: 39 (1966)

It could be said that this is the forgotten Best Picture winner of the 1960s. After all, it does share room with some heavy hitters (ie Sound of Music, Lawrence of Arabia) so maybe it got lost in the crush?

Looking at it now, one could make the case that this is an early slice of Oscar bait: it is a biopic (tick), it has some big names in the cast (tick), it is a costume drama (tick) and it is about someone who sticks by their convictions even they lose everything and, eventually, their life (tick).
Cynicism aside though, there is a lot going for this movie: The direction is superb, it's beautifully shot and works with it's origins as a stage play. But the real meat is the acting: Orson Welles makes the most of his one scene, Robert Shaw is both compelling and frightening as Henry VIII (How come he never got more scenes?) and Paul Schofield carries the movie, giving it his all.

Unfairly forgotten? One would think so.

The Sound of Music

And this week's Friday night movie has been... The Sound of Music!

Original image located here. Accessed 24th May 2024

Best Picture Oscar winner no.: 38 (1965)

You know, I was perfectly content to live my life without watching this but it seems that fate had other plans.
From the outset, this movie has a formidable reputation being a childhood favourite for many and a less -than-favourable one as being emblematic of being sickeningly sweet. The latter is perhaps best represented by the movie referenced in Addams Family Values.

Personally I found it difficult to resist the charms of this movie. Yes it is very long, yes it seems a very sanitised version of what was happening at the time and yes, it does seem tooth-rotting in it's sweetness. But I will give it props for it's scenery, it's intense final portion and, lets just face it, Julie Andrews is a force of nature that is difficult to resist.

My Fair Lady

   And this week's Friday night movie has been... My Fair Lady!

Original image located here. Accessed 17th May 2024

Best Picture Oscar winner no.: 37 (1964)

I believe that the movie-going public will never forgive Shakespeare in Love for winning Best Picture over Saving Private Ryan....
...and yet no one is bitter that this won Best Picture over Dr. Strangelove.

It would seem that time has not been kind to this movie. Sure the costumes are superb (Those hats!) and Audrey Hepburn has a magnetic presence but there are some parts of this movie that haven't aged well. There is a misogynistic streak throughout, the length is exhausting, the elitism is particularly uncomfortable, the last five minutes severely hinder this movie, and Rex Harrison can't sing to save himself.

I mean, where can we go from this? *checks schedule*...........Oh no............

West Side Story

   And this week's Friday night movie has been... West Side Story!

Original image located here. Accessed 10th May 2024

Best Picture Oscar winner no.: 34 (1961)

And now we enter the sixties. A decade where the musical dominated the Academy Award for Best Picture. Seriously: Four of the Best Picture winners decade were musicals. Still, when I started this year long undertaking, I knew I would be stepping out of my comfort zone. And I am willing to be surprised.

And surprised I was with this one.

I guess it's a given that anyone would attempt a rewrite of Shakespeare's Romeo and Juliet. Hey I did it myself when I was young and dumb. And who wouldn't? The scenario of 'young lovers separated through forces beyond their control' certainly is potent and will immediately secure a teen audience. 

But's let cut to the chase: I was impressed by this movie. The dancing sequences are jaw-dropping in their fluidity, the songs are immediate and recognisable (Maria, Tonight, America, I Feel Pretty) and the direction is engaging. And I can't help but think this was the progenitor of the modern musical in that it introduced the tropes of 'people in street suddenly launching into well choreographed dance number' and 'song concluding with laughter'. Can anyone confirm this?

So in the end, this film is indeed superb and a well-deserved winner of Best Picture.

Ben-Hur

  And this week's Friday night movie has been... Ben-Hur!

Original image located here. Accessed 3rd May 2024

Best Picture Oscar winner no.: 32 (1959)

And now I face a genuine challenge: A movie that has a reputation as being on the grandest achievements of cinema. Everything about this movie is big: The budget, the scale, the length, the colossal sets, the hordes of extras, the sweeping of the board at the Academy Awards. If you have ever heard of the phrase "Bigger than Ben-Hur' this is why.

Personally, I can see this movie as being the epitome of the 'bigger and better' mentality that defined a lot of the movies of the 1950s. Yet at the same time, it seems that a lot of this movies rests on the shoulders of the chariot race. Indeed, this movie did lose me with it's length and it's self-important nature but I am to forgive such shortcomings purely for those magic nine minutes. 

Gigi

 And this week's Friday night movie has been... Gigi!

Original image located here. Accessed 26th April 2024

Best Picture Oscar winner no.: 31 (1958)

It would appear that history has not been kind to this movie. I feel inclined to agree. 

Sure Leslie Caron has a magnetic presence, the costumes are great and the images of Paris are superb but I, like most people, feel that this movie has aged very poorly. The sexual politics are waaaaaaay out of date, the sentiment of the opening song is incredibly uncomfortable, Honoré Lachaille has a punchable presence, and the music is rather limp. But the biggest crime this movie commits is that it's boring. Granted I'm not the biggest fan of musicals but I know for a fact that it's movie genre that can't afford to be boring.

One final thought: When I went looking for this movie I couldn't find it on any of the streaming services I use. A lot of the other Best Picture Oscar winners were easily found but this wasn't so I had to rely on finding a physical copy. A red flag if ever there was one...

The Bridge on the River Kwai

And this week's Friday night movie has been... The Bridge on the River Kwai!

Original image located here. Accessed 19th April 2024

Best Picture Oscar winner no.: 30 (1957)

I've been wanting to see this movie for years but I never got around to it. I recall years ago I was discouraged through my father describing it as 'silly'. But not this time around....

So what makes this movie special? Well it is a unique entity in the war movie genre in that it seems less concerned with getting a commentary on warfare across and more interested in being a character driven piece. The characters are indeed complex, helped considerably by the cast playing them with standouts being Alec Guinness and Sessue Hayakawa. The scale is staggering - as befitting a David Lean film - and it's impressive to know that the crew built the bridge for real. Furthermore, the final twenty minutes are astonishing. If this was attempt to show what the big screen could do, as opposed to the small screen of TV sets, then mission well an truly accomplished. 

Finally, was it as 'silly' as it was described to me? Well there were a few moments that did seem difficult to swallow but there rest of the movie is so strong that it makes such instances easier to forgive. 

A classic without a doubt

On the Waterfront

  And this week's Friday night movie has been... On the Waterfront!

Original image located here. Accessed 12th April 2024

Best Picture Oscar winner no.: 27 (1954)

Seeing as we currently going though the 1950s Best Picture winners, it is important to take a step back and see what was going on in Hollywood at the time.
It should be noted that this decade gave cinema some major competition in the form of television: A smaller screen but one that found it's way into many people's homes. So how did film producers rise to the challenge of getting people out of the house and into the cinema? By playing up the whole spectacle angle, offering the kind of visuals that couldn't be found on a smaller screen. So yeah, from here movies start getting bigger, pushing the envelope as to what they could accomplish. 
So where does this movie fit in? Well On the Waterfront seems to take the angle of presenting a realistic and grounded story. It may seem out of place compared to the other winners of the decade but on the other hand, On the Waterfront (as well as Marty) doesn't look like the kind of stuff a small scale TV screen of the day would tackle. 

It seems that this movie's success hinges on two men: Director Elia Kazan and actor Marlon Brando. The former made this movie to address his pariah status in Hollywood when he identified eight communists in the film industry, the latter effectively rewrote the rules of film acting. So how does this movie stand up against the march of time?

No doubt about it: this is Brando's show all the way through. The taxi scene may have been quoted many times but it would seem for a very good reason. Sure the Christ analogies may have been heavy handed but this is still engaging decades later. Particularly the final scene which still packs a punch

From Here to Eternity

 And this week's Friday night movie has been... From Here to Eternity!

Original image located here. Accessed 5th April 2024

Best Picture Oscar winner no.: 26 (1953)

If people know this movie it's because of that unforgettable image of it's two stars, Burt Lancaster and Deborah Kerr, in a passionate embrace in a beach as the waves roll around them. That's all well and good but what of the movie attached to said image?

In recent years it has become something of a joke that if you want to win big at the Oscars, then just make a movie based on World War II. In which case I think we can blame this movie for that observation. Keep in mind this was made eight years since the end of the war and would no doubt be still fresh in people's minds.
So what we have here is a group of soldiers going through various trials and tribulations, both on and off the military grounds, that eventually leads to a climax where Pearl Harbour is under attack. 
So yeah, I do like that this movie is taking a humane approach to it's subjects - which in turn makes the climax hit hard. Certainly the movie may look archaic now but there is still a lot going for it.
Still I have to wonder if those was the film that Michael Bay had in mind when he made Pearl Harbour...