Film

INSIDE DAISY CLOVER (1965)

September 21, 2020

(VOD) A meta ‘Hollywood will tear you apart’ tale featuring Natalie Wood in yet another role where she doesn’t get to use her own voice. It’s so meta that there’s an explicit musical number named YOU’RE GONNA HEAR FROM ME and, while it’s occasionally her own voice, it’s mostly Jackie/Robin Ward.

They really put a pin in it with Daisy’s breakdown scene which, yes it’s overly dramatic, bordering on camp, but I found it stunning, and loved the silencing.

Probably nobody’s favorite film — it’s too ramshackle and self-indulgent, and the end leans too much on being ‘hysterical’ (again, I can’t argue against camp claims) — but it’s worth watching, especially for the numbers.

BUTTERFIELD 8 (1960)

September 20, 2020

(VOD) A sensationalistic drama about transactional sex, based on James O’Hara’s 1935 novel, but the adaptation takes place ~1960, which makes a major difference regarding attitudes towards sex. Also, the NYC bars, which are by far the most interesting facets of O’Hara’s novel, are mostly unmemorable in the film.

Context aside, the opening sequence is by far the reason to watch this film. It’s pitch-perfect character exposition and exquisitely sets everything up for what’s about to unfurl, plus it’s very on-brand for Elizabeth Taylor (who only did the film out of contractual obligation, but then won her first Oscar for it).

NO SALE!

LAURA (1944)

September 19, 2020

(VOD) Vera Caspary’s book is fantastic, but there’s a push-in midway through Otto Preminger’s classic noir that reframes everything, complicating the narrative in a way that more artfully sets up some of the twists and turns than in the novel. If you’re watching for the cast, it’s stellar: Dana Andrews, Gene Tierney and, of course, Vincent Price.

THE TRIP (1967)

September 18, 2020

(epix/kanopy/Paramount+/VOD) Surreal drugsploitation film penned by Jack Nicholson (yes, THAT Jack Nicholson), featuring Peter Fonda, Dennis Hopper, and Peter Fonda’s ass and, yes, it predates EASY RIDER. It’s intriguing simply because it’s psychedelic Corman — clearly over-extending himself, but enjoying doing so* — however the end result is a bit dull, dated, and feels too long, despite it clocking in under 90 minutes. However, one line really snapped me to attention: “Gimme the thorazine. You don’t need the thorazine!”

My media tastes came of age in the early 90s, when I glommed onto sample-heavy goth/industrial acts like MY LIFE WITH THE THRILL KILL KULT, FRONT LINE ASSEMBLY, MINISTRY, and far lesser known acts and, while I don’t listen to much goth/industrial nowadays, I’m constantly tripping over samples that have been burned into my teen memory while filling in my adult tv/film gaps. That line is an iconic third-wave industrial opening sample for MINISTRY’s JUST ONE FIX. (It’s oddly excised from the video, probably because of licensing issues.) When I happen upon a sample I’ve heard for years, but never knew the source or context, it’s oddly thrilling.

DELIRIOUS (1991)

September 17, 2020

(hoopla/VOD) Reminds me a bit of STAY TUNED (1992, previously mentioned) in that it’s obviously meta self-indulgence by screenwriters Lawrence J. Cohen and Fred Freeman (both of whom have had an illustrious TV career, writing everything from THE DICK VAN DYKE show to EMPIRE). I’ll go out on a limb and posit that it’s their comedic answer to TWIN PEAKS.

DELIRIOUS has a few wincing moments, especially when it comes to male wish-fulfillment and the auto-shop owner, but it makes the most of John Candy’s physicality, Mariel Hemingway is extraordinarily charming, and the rest of the cast is peppered with amazing character actors, including Raymond Burr basically playing SUCCESSION’s Logan Roy, if Logan Roy was constantly frustrated by his cable box.

Not a brilliant film, but a fun 90s curio. “I can only control what I write, right?”

THE COOK, THE THIEF, HIS WIFE & HER LOVER (1989)

September 15, 2020

(Apparently only available via peacock for some inexplicable reason.) Peter Greenaway’s astounding visual and theatrical marvel — intermittently abusive, cruel, and romantic — it weaves in his signature use of typography and painterly riffs in an accessible, sensational, manner. On top of that, it includes custom Gaultier designs that match the mood (and color) for every scene, and features Michael Nyman’s masterful dirge MEMORIAL.

Please note: the following trailer is NSFW.

PICNIC AT HANGING ROCK (1975)

September 14, 2020

(Criterion/HBO MAX/VOD) Peter Weir’s fascinating, gauzy adaptation of the classic Australian novel makes the source material even more enigmatic. A masterclass in evoking dreamy and hallucinatory imagery, and a quintessential ‘lost girls’ tale.

Amazon also released a six-episode adaptation of the novel recently, a surprisingly different — and welcome — take on the material.

THE WATERMELON WOMAN (1996)

September 13, 2020

(fubo/kanopy) Mid-90s indie queer film that Cheryl Dunye (who has directed eps of DEAR WHITE PEOPLE, QUEEN SUGAR, and LOVECRAFT COUNTRY) explores Black lesbian culture through the lens of film history. Features far more laughs than this description suggests, it’s very much of its time, but damn well worth yours.

(The following is a scene — not a trailer — as there appears to be no trailer of it online.)

SUN DON’T SHINE (2012)

September 12, 2020

(kanopy/Mubi/VOD) Amy Seitz’s directorial debut. A hard watch about a couple dealing poorly with a severe situation. Kate Lyn Sheil is amazing at toeing a thin line.

In the light of recent info regarding Seitz it seems rather twisted to watch, but is still worth your time, especially if you’re open to a modern take on BADLANDS.

SMITHEREENS (1982)

September 11, 2020

(Criterion/HBO MAX/kanopy)? The directorial debut of Susan Seidelman (DESPERATELY SEEKING SUSAN, SHE-DEVIL) focuses on a woman trying to get by and create an image of herself in NYC. Also features punk impresario Richard Hall, if that’s your thing.