Paris, je t'aime

PARIS, JE T'AIME isn't a film so much as it is a mini film festival. Imagine, if you will, two hours worth of five-minute short films set in Paris, directed by a veritable Who's Who of directors and performed by a veritable Who's Who of French, English, and American actors. These films share a love of Paris, a love so thorough that it may freeze out those who have never been to nor dreamt of the city.

Fortunately for me, my wife and I took a marvelous vacation to Paris some years back and, yes, we fell in love with it. So I was in. But how was the festival? Well, like all festivals, this one offered some memorable and some forgettable films, and it's a good idea to take breaks between blocks of viewing. That said, there's one short with Elijah Wood and Olga Kurylenko that's hypnotic, audacious and absolutely memorable. In fact, it's so good that it makes the disc worth renting on its strength alone.

So, there it is. If you're a francophile, I think you'll surely enjoy this movie. If not, your mileage may vary.

But I liked it.

Rescue Dawn

In RESCUE DAWN, Christian Bale gives another one of those performances that reminds that he's a quality, quality actor who happens to lack that certain something that makes us connect with him on a visceral level.

In the film, Bale plays Dieter Dengler, a real-life Navy pilot who has the misfortune of getting shot down over Laos on his very first mission. His story, from capture to rescue, feels believable on both technical and personal levels. The movie gets the Navy stuff right. It gets the aviation stuff right. It gets the personal interactions between Dengler and his squadronmates, captors, and fellow captives right. It's shot magnificently. The music is excellent. Even the supporting work by Steve Zahn and Jeremy Davies is absolutely (and career-enhancingly) first class.

But there's something about Bale. I never didn't buy him as Dengler, just as I accept him in all his roles. I never particularly liked him, either. Sure, I sympathised with him. I respected him. But if he were in my squadron, he isn't one of the guys I'd go out of my way to go on detachment with (but neither would I go out of my way to prevent it). And while that didn't take away from the character or the journey of that character, it detracted from my investment in Dieter Dengler. When he finally got rescued and I was supposed to feel relieved, or happy, or something, I felt nothing at all.

I can see them screening RESCUE DAWN at Survival, Evasion, Resistance, and Escape School. But though I respect the film, I can't say that I like it. But I'll keep watching Bale because I respect his craft and his dedication. Perhaps I'll connect with him in his next role.

Now, Voyager

From Netflix: Bridled by an autocratic mother, Charlotte Vale (Bette Davis) borders on a nervous breakdown. But when a psychiatrist (Claude Rains) persuades her to drastically change her life, she blossoms into a self-possessed woman. The newly confident Charlotte takes a voyage, where she falls in love with the unhappily married Jerry (Paul Henreid). Though their romance is doomed, Charlotte finds solace in helping Jerry's emotionally unhinged daughter.
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That synopsis makes NOW, VOYAGER seem like a three-hanky estrogenfest that'd require at least three viewings of ALIENS to wash the smell of perfume out of your clothes.

I loved it.

To me, Bette Davis has always been the scary lady from RETURN FROM WITCH MOUNTAIN. Something about those eyes creeped me out, man, and I never went looking for her work. NOW, VOYAGER leads me to see that she was much more than a kids' movie villain and that those eyes, far from creepy, offer a range of expression that make her a pleasure to see onscreen.

The thing about this movie is that it could have been simple melodrama, but the execution makes it so much more. Claude Rains is brilliant, Paul Henreid is wonderfully conflicted, and Gladys Cooper brings a spectral spookiness to the cardboard role of the oppressive mother. And as for Bette Davis, well, she's luminous. I bought every single step of her journey. I laughed when she laughed; I cried when she cried. What a wonderful, magnificent performance she gives, anchoring the whole enterprise in believability and humanity.

NOW, VOYAGER is a big, big winner. I give it five hankies out of five.

Trouble in Paradise

TROUBLE IN PARADISE, an Ernst Lubitsch film from 1932, is ostensibly about two thieves and a mark. But it's really about class - about style, and cool, and knowing just the thing to say and just when to say it. I know this because it gives the magnificent Edward Everett Horton a brilliant role as the least cool guy in the room. When you cast Horton, you're casting the kind of class that makes real class look like the halls of Olympus.

And who walks the Olympian corridors? Herbert Marshall and Miriam Hopkins as the thieves, and Kay Francis as the mark. And they're so witty, so smooth, so self-aware, that you can't help but love them, can't help but want to be like them, feel sad that your time with them is over when the film draws to a close. They're funny, but in a knowing smile kind of way. They're thoughtful, but they know where the exits are. In short, they're wonderfully idealized aspirational figures, and following them through the grace and eye of Lubitsch, we're happy to be in their company.

Yes, there's a story. And turnabouts, and great dialogue, and all of that. But TROUBLE IN PARADISE is really about intangibles, and it delivers them with gusto. This is an enormously pleasurable film.

I'm Not Scared

What a great movie!

10-year-old Michele has a problem. There's a boy chained up in a hole in the ground out in the country, and his parents may be the kidnappers. I'M NOT SCARED has an excellent premise, but it really excels in what it does with that premise. Michele isn't an adult in a child's body, and he isn't superhuman. He's a normal kid with an extraordinary problem, and he handles it in plausible ways.

The movie draws its tension from the questions of who knows what, and when, and it gathers its power from our natural sympathy for the young and culturally reliable resonance of Christian themes in the rural farms of Italy.

The aptly named Giuseppe Cristiano delivers an eye-opening performance, and he's supported by naturalistic performances, photography, editing, and music. I'M NOT SCARED is nail-baiting, tear-jerking, and altogether successful.

I say again, what a great movie!