The Third Man

Finally! Another installment in our ongoing series as my friend Alex and I review our way through the Essential Art House Janus Box Set. This edition is of particular importance, because Criterion has lost the rights to The Third Man and the current run of discs will be their last. Get them before their gone!

The problem about writing about a film that is deemed a masterpiece is what does one say to add to its mastery of cinematic conventions. What can you say about the sometimes eerie, dark, and playful zither score by Anton Karas? What can you say about the perfect black and white photography by Robert Krasker? How about the small but powerful performance by Orson Welles which he was clearly born to play? Graham Greene's script? Carol Reed's direction? And Yada Yada Yada.... everything else.

I am not sure.

Watching The Third Man for the second time, I realized how funny this dark post WWII film noir really is. The opening narration done by Trevor Howard sets the tone for the film as Howard tells us in his dry British tone that “Vienna doesn't really look any worse than a lot of other European cities. Bombed about a bit” as the images of a completely destroyed Vienna are presented. A bit of a understatement if you ask me. The exchanges between Calloway (Trevor Howard) and Martins (Joseph Cotton) are pure screwball dialogue as they both bicker back and forth like old school friends. Take this exchange:

Calloway: I told you to go away, Martins. This isn't Santa Fe. I'm not a sheriff and you aren't a cowboy. You've been blundering around with the worst bunch of racketeers in Vienna, your precious Harry's friends, and now you're wanted for murder.

Martins: Put down drunk and disorderly too.

Calloway: I have.

Or this one:

Martins: Listen, Callahan!

Calloway: Calloway. I'm English, not Irish

Both Martins and Calloway share a quick and witty connection that lacks from Martins and Harry Lime friendship, foreshadowing Martins decision to end Lime's life at the end of the film. Friendship is a theme that the film throws our way as if to ask us what a friend truly is? Lime only looks out for only himself leaving both Anna and Martins to fend for themselves. Anna still cares for Lime even after he ditches her for his fake death leaving Martins to suffer his doomed loneliness. Martins and Calloway only begin to help each other when Martins makes up his mind to catch Lime. It is Calloway and Sergeant Paine that share the closest thing to a friendship the film has to offer. So what does Graham Greene do to this relationship? Ends it. This post war world has nothing to offer..... friendship is dead.

But still... what could one say about The Third Man.

While smoking a cigarette outside, waiting for class to start, a fellow film student comes my way and we begin to speak about certain films we've just seen recently. This young man had just seen The Third Man and was somewhat dissatisfied by what he saw. Knowing very well that not everyone might like a film that is deemed so highly as The Third Man is, I asked him why he didn't like the film. His response was “I don't know..... it seemed like the director didn't have a tripod during the majority of the shoot. The whole film was lopsided. Not professional of him to do that.” Ladies and Gentlemen... these are our future filmmakers.

Like my counterpart, I too hold The Third Man to be a classic film and suffer the dilemma of what my voice can add to the discussion of the film. Not much, I am sure, but if you listen to the LAMBcast, (and you should) then you might know that I am thought of as the "classic film fan" and The Third Man is as great a film as any to introduce movie buffs to more classic movies. Starring Joseph Cotten, Orson Welles and Trevor Howard, directed by Carol Reed, produced by David O. Selznick and written by Graham Greene, the principal players have amongst them made such films as Fallen Idol, Touch of Evil, Gone With The Wind, Brief Encounter and Rebecca.

Following writer Holly Martins to post-war Vienna as he investigates the death of his friend Harry Lime, the movie is almost noir in its outlook. Deception is around every cobblestone corner, Holly cannot trust anyone and trying to do the right thing just makes matters worse for himself. He dodges British, French and Russian cops, falls in love with Harry's girlfriend, bombs spectacularly at a literature lecture and drinks far too much. Cotten is perfect in the role, but sadly is overshadowed by Orson Welles before the movie even begins. In those days, studios did not think to keep Welles supporting role a surprise like Spacey in Se7en, so from the jump, audiences are waiting for Welles, who doesn't disappoint.

But for me, the film is all Cotten. The studio had wanted Jimmy Stewart and Cary Grant in the roles of Cotten and Welles, but the characters are much better suited to these actors and Cotten shows how talented he was, but taking away the movie while he has the chance. You can get so wrapped up in his story that you forget you're waiting for Orson. And that is a testament to how well the film holds up. Sophisticated audiences of today will still be captivated by the great story, terrific performances and tight direction. They will probably even be more appreciative of the un-Hollywood ending of the film that audiences originally were. In keeping with writing A-Z and spoiler free, I won't reveal it, but leave you with this final shot.

The Great White Sheik

Federico Fellini and I have had a rocky past. Before watching The White Sheik, I had only seen four of Fellini’s films including 8 ½, La Strada, Variety Lights, and Amarcord and had only liked the first two. 8 ½ and La Strada are both Italian masterpieces, the latter more acciable while the former is unique and requires several viewings. Unfortunately The White Sheik goes into the Amarcord and Variety Lights camp.

There were a couple good things about this film, well, more like great moments. The moment that stuck out the most was the film/comic book/ photo shoot scene on the beach. Any cinephile or lover of “film within a film” sub genre will love this scene and how Fellini constructs it. Its Fellini’s attempt to convey that art is a living breathing thing; showing a photo shoot played out as a film shoot. It shows the evolution of the image. The other scene that made me want to like this film, was the scene where Ivan starts to cry in a square due to the disappearance of his wife, then out of nowhere Giulietta Masina (Fellini’s future wife) makes a small appearance as Cabiria. Her presence just lightens up the film and puts a smile on your face. She starts to comfort him while at the same time intentionally ridiculing him. All I could say is that Giulietta Masina is a gem.

Overall, the film didn’t do much for me. As a comedy this film only made me chuckle, but in that Disaster Movie type of way. Italian comedies always seem to me as if the writer and/or director tries too hard conveying their type of slapstick comedy onto the audience. As the film was playing, the eyes of your fellow writer started to wonder to his cell phone checking the time every other minute. Never a good sign.

Fellini’s chauvinism has always been an issue and this film doesn’t sway from that conflict. From the beginning the husband is seen bossing his wife around chastising her for going into the elevator with the hotel porter. Wanda gets punished through out the film for going after a fictional character which ends up being a complete douche bag. The guy who played the White Sheik didn’t convince me that this young woman would fall in lover with him. Who in their right minds would go after a man who wears lipstick and masquera.

I have to say, this film was a perfect tie in with the previous film Knife in the Water, both of the films deal with a married couple and a third party who shakes their foundation. Even with my negative remarks about this film, I am glad I watched it. You could see where Scorsese got some of his camera movements and anything that reminds me of Scorsese is worth taking a peak at.

Extra thought:

Of course my mind went into overdrive while watching the scenes with actor who played the white sheik and I wondered who I would of casted as the White Sheik. Here I go: Just imagine walking on the beach minding your own god damn business where out of nowhere a group of ninjas attack you. Your defenseless, you accept your fate, then out of the ocean, ALAIN DELON comes galloping towards you and saves your life. He never utters a word and gallops back into the ocean. That’s how you start a movie.

I enjoyed watching Fellini's White Sheik. Probably not as much as I enjoyed 8 1/2, but it was a fine first film full of the filmmaker's future fingerprints. He guides the story ably and creates three complex characters with who we empathize equally. I also enjoyed the few parades sprinkled through the movie as the forerunner to the grand climax of 8 1/2, my favorite Fellini film.

Of course, being his first solo directorial effort I was pleased with half of the story being set with in the constructs of a set. Granted, in the film they are making a fumetti, "photographed comic strips with romantic stories," or soap operas in magzines. My favorite movies are about making movies and throughout his career, Fellini enjoyed deconstructing the construction of films.

If you have never watched a Fellini movie, you might as well start at the beginning with White Sheik. While it does not strive for the Italian neo-realism of Rosselini or DeSica, it does set up what would be Fellini's magical career in cinema.

Extra Thought!

While my reviews are usually lentghy, I do take a back seat when I have a friend like Alex sharing on a post like this. My awesome and loyal readers get a whole lot of my opinion on film when they read my blog, but I think Alex has some great insight and usually offers a different opinion from mine and I'm glad that you get to enjoy both of them.

Polanski was a Perfectionist

It’s time for another entry in my ongoing series about the Criterion Collection and my Essential Art House Janus Films box set. Only this time, I have something more in store for you, dear readers. You see kids, I learned long ago that it is not the destination but the journey. And that it is always more enjoyable to take a journey with someone else. For me, that partner on this journey is my friend Alex. We used to work together at DVD Planet and he still does. He is also a son of a bitch for purchasing the very same Janus box I own for one hundred dollars used. So, now we are going to be writing about these films together to give you more intrigue for your internet, more mojo for your modem and any other number of clever computer rhymes. While discussing the details over the phone, we giggled like school girls over the day when we would get to a film that we were severely divided over. Point in fact, it did not take use long to get there. Read Alex’s entry first, because my name is at the top of this page and I will have the last word, dammit!

Do you ever wake up in the morning with the feeling that something isn’t right? Everything is closing in on you while anxiety, claustrophobia, and dread creep inside you like a knife. Knife in the Water is that knife. Just like in Rosemary’s Baby, Roman Polanski builds a solid thriller with slow hypnotic images that makes you wish every film was shot on black and white. If a somewhat slow paced film doesn’t spark your interest then stay for the beautiful and amazing cinematography that will feed your eyes with pure sweet sweetness.

The story is pretty simple; a couple picks up a hitch hiker while on their way to their boat for a fun day of sailing. It’s a good thing these Europeans have never seen a slasher film because they take him along on the boat ride. That’s the whole movie in a nut shell, except that there is this lingering tension that keeps on digging and digging a needle into your back and you have no idea where it’s going to take you.

With our knowledge of film, we all know that three is a crowd and one man has to go. A battle of testosterone ensues but in the European kind of way where your social class is attacked. The film is a hypnotic, thriller with social context, and to cap it all off it is also a feminist film that criticizes masculinity as both of the men go back and forth at each other while making themselves look pretty stupid. Not that I think Polish men are women beating assholes but the husband is king of a douche and it sure looks like he sends her straight to the moon on occasion. The film takes her point of view and puts the two men into her gaze for the majority of the film. Her gaze does focus on the young hitch hiker and she plays around with him by undressing right by him and trading a glance or two his way. Is this young man her way out of this marriage or does is he serves another purpose? Polanski does serve us with several references to Christianity but with only the young man in the frame. Maybe he is her savior, or maybe that what she wants him to be.

From the ghostly beginning credits to the final static image of a parked car, Polanski plays with our strings and never lets go. Unlike the majority of modern psychological thrillers, this film takes it bloody time developing the characters and building the tension between all three characters on the boat. And bloody enjoyed every single minute of this film. Good Day.

For what was billed as a ‘taut, psychological thriller’ I have not been more disappointed in ninety minutes of my life than I was with Knife in the Water. Indeed, the great composition of Polanski’s shots and the score that’s evocative of Bernard Hermann’s Taxi Driver theme does as much as possible to create suspense, but I haven’t watched a movie and felt so unfulfilled since The Seven Year Itch. Too obscure? Ok. Imagine Death Proof without the car chase at the end. That’s what Knife in the Water felt like, only in Polish. For over an hour, a couple and a hitchhiker ride a boat and do nothing. There are long glances, close confrontations and simmering sexuality that amount to very little. Few words are exchanged, even fewer punches are thrown and nobody gets laid. Not that I watch a movie for only those things, but they were leading up to it the whole time, only for none of it to come to fruition. Near the end, when it seems the hitchhiker might have drowned, my only wish was that it would have been me.

The underlying themes of machismo and the intellectual versus the primitive or uncultured were barely were paying attention to, as I was thoroughly uninterested in what became of the characters. I kept thinking back to Straw Dogs, which I found to be a far more satisfying movie about the same themes, up to and including the troublesome wife. Sure, I’m probably taking an extremely chauvinistic point of view here, but I have been a man for most of my life. Did you ever notice when two men meet in a film, they usually end up as buddies by the end? But, when you throw in a woman, suddenly they are at each other’s throat, vying for her attention, ready to kill each other for even the slightest hint of affection! How like life.

I got the next pick for our series and hopefully, I will choose a film that will give me something more to write about than just a few paragraphs about how much I didn’t like it. Nothing against the pedophile Polanski, but Chinatown this movie is not.

Knife in the Water is available on DVD from Criterion and also as part of it's new Essential Art House Collection.

Who Is Batman?

This blog was written by special guest blogger Alex 'The Kid' Valencia. He grows his beard in an effort to be mistaken for Alfonso Cuaron.

As a young child, my obsessions and interest always changed. From watching Reading Rainbow to obsessing over space travel, only one thing stayed the same. My love for Batman. Unlike most of my friends I wasn’t able to watch the first Batman on the big screen nor was I able to watch the second film on the big screen. Lucky enough for me, my parents had a VCR and a VHS copy of Batman Returns which played on repeat over the next couple of years along side Beauty and the Beast (No shame in that). To this day I am one of the few people who considers the second film a superior film then the first Batman. Maybe it was the darkness, my attraction to Catwoman or the simple fact that I couldn’t believe I was watching this film without my parents covering my eyes but because of this film, my views on the Batman universe are a bit different then my fellow Batman loving friends.

Who is Batman? Surely its man extraordinaire Bruce Wayne, who holds the hard job of being a millionaire playboy and big boss at Wayne Enterprises. But who is Bruce Wayne? Bruce Wayne comes in as the most tragic figure in all comic books. Wayne joins the ranks of Hamlet (Hamlet), Solid Snake (Metal Gear Solid), and Jack Bauer (24). No matter the amount of good he does, his story will not end with a happy note.

Why do we love Batman? He is a human being (sorry Superman) with no super powers like Spider Man or the X-Men. He has gadgets that would make James Bond cream in his pants. Like Tony Stark, he has power, money, and women… or is that Tony Montana? But the reason why I love Batman is not because of his wardrobe or his taste in women but his inner beast. Bruce Wayne set out to rid Gotham City of the cancer that holds the city captive, but along the way Bruce Wayne is killed and out came a demon trying to find a replacement soul.

I know what you’re saying…”Alex, wait up, but Batman is nothing but good, he doesn’t even kill the bad guys.” True my dear friends, but there are several reasons why that might be so. You could go the popular route and say he doesn’t kill because he isn’t a monster like the Joker or Bane. I, on the other hand, think he doesn’t kill because if he rids Gotham City of its plague then Batman wouldn’t exist. Batman needs Two Face, the Joker and the other villains in order to fight them and imprison them. How many times in the animated series, the comic books, and the films have the villains escaped from the Asylum. Countless times. Batman knows that they can’t be held, yet he does that same routine over and over again. Batman is addicted to fighting crime.

In the case of Batman and his villains, Batman isn’t only fighting the evils of Gotham City but fighting himself. Everyone of the villains resembles Batman in a different way. Two Face (battling with two personalities), Poison Ivy (longing to become what they pretend to be), Mr. Freeze (on a personal vendetta because of the loss of a loved one), Scarecrow (use of fear as a weapon) and Ra’s Al Ghul (fighting for the greater good); Then there is Joker, who is the complete opposite of Batman. They are like peanut butter and jelly, eggs and ham, Neo and Agent Smith; everything from their morality to their shoe size is the polar opposite. Except for one big similarity. They both need each other more then Bruce would like his parents back.

Joker has been around since the first comic came out, so the Joker and Batman were born on the same day. I see the Joker as the scariest incarnation of evil ever put on any type of media. The Joker would make Lee Marvin and Steve McQueen soil their pants. What I also love about the Joker is how much of us is in him. He is self destructive, ignores the rules/laws, and hardly does he ever think twice about his actions. To sum it up, he loves to have fun. If that doesn’t sound too complex then chew this for a while, Joker is in love with Batman…How that does that taste? The Joker would never kill Batman for the same reason why Batman won’t kill the Joker; They complete each other. Joker killed the second Robin, paralyzed Batgirl, and killed one of the wives of Commissioner Gordon in NO MAN’S LAND (to strain Batman's and Gordon's relationship) because he is jealous and doesn’t want to share the fun he’s having with Batman.

Every time I see any of the films or read the books, I see Batman as someone who doesn’t find pleasure in anything sometimes even fighting crime. But he is good at it and he knows it. Just like John McClane he knows that if he won’t do it, then no one will. That’s what makes Batman, THE BATMAN.