cinemalover: Confessions of a Video Junkie

[Bogie]

I liked this movie a little more then you did. I think the grimness of it really grabbed my attention. It's probably one of the better late era westerns that Stewart did.

Sure it got across its themes in a clumsy manner but you still get the point. I liked the whole "is the town worth saving" subtext to Stewart's actions. The Arthur/Johnny relationship was quite good IMO as well as the conversation between Johnny and Mr. Whittier about whether the town is worth fighting for.

This is why there's hidden gems not all of them will be smooth but the rough edges makes them interesting. My rating is probably a point and a half higher then yours so it's not like I love this movie way more then you did. I just feel the atmosphere and the interactions were quite good to me.

[movieman1957]

Chris

I'm close with you on this one. I enjoy it but it's not really good like it might have been. Who wouldn't want to see Stewart and Fonda together? I think they are good as is Inger Stevens but I thought the supporting cast (which is a terrific list) could have been used better. It's enjoyable, just not great.

The finale hints, for me, to "Pale Rider."

(You can catch it on DVD coupled with "The Cheyenne Social Club.")

[cinemalover]

Bogie,
It had been so many years since I had last seen Firecreek that I hadn't remembered any of the details, so it was almost like seeing it for the first time. Reading the synopsis of the film and seeing the names littered throughout the cast may have raised my expectations too high, but I was let down. I don't mean to imply that it was a bad movie, it certainly wasn't. It just failed to capitalize the opportunity to be ranked amongst the classics. It attempts to have an adult theme and reach deeper levels than your average shoot-em-outs even try, but their fingers were just too slippery and they ultimately failed to make a complete film.

[cinemalover]

Chris,
Firecreek actually did come off of that DVD w/The Cheyenne Social Club. A pretty smart pairing of two westerns, both featuring Fonda and Stewart. I watched Social Club last night and it didn't quite live up to my memories of it. I was surprised to learn that Gene Kelly was the director. It was funny, but most of the laughs were chuckles, not guffaws.

[movieman1957]

"Cheyenne Social Club" always struck me funny. Like you it was for chuckles but I've enjoyed it. A couple of scenes struck me funny were when our stars are walking done the street and Fonda wants to borrow some money just in case he needs it. They talk polictics and Fonda wants to know if it's ok if he still votes for democrats. Stewart says he can as long as he doesn' tell anybody.

THe other scene you won't see on TV. One of the girls invites Stewart to her room and puts Stewart's hand on her chest. He's nervous about it and takes his hand away and she takes turns with different hands on differnet places. He doesn't like it.

[cinemalover]

Back to the Grindhouse Experince Volume 2 as I attempt to finish up the set.


Date watched: 6/11/2008
Title: Corialanis (Coriolano: Eroe Senza Patri) Made: 1961
Genre: Peblum Studio: CFFP
Format: DVD Extras—LB
Number of times viewed: First

Director: Giorgio Ferrani

Stars:
Gordon Scott—Corialanis/ Gaius Marcus
Alberto Lupo
Lilla Brignone
Philippe Hersent
Rosalba—Wife of Corialanis
Aldo Bufilandi
Angela Minervini
Pierre Cressoy
Gaefano Quartararo
Nerio Bernardi

The recently formed Roman Republic is being torn apart by both internal and external strife. It becomes a struggle within the Republic between the upper classes (patricians) and the lower classes (plebeians) for control of the decisions that affect each of them. Gaius Marcus is a celebrated war hero and leader of the Roman army. When he scores an impressive victory for Rome at Corialanis he is renamed after the city he conquered in celebration of the feat. Corialanis is a life-long soldier and can think of no other profession but the chant of “Corialanis for Counsel” rings out everywhere he goes to speak.
Corialanis’ response to such chants, “I have no ambitions. I have always been a soldier and a soldier I wish to remain!”
But he finally allows himself to consider running for counsel, a position that he will have to campaign for. His campaigning will require that he seek the plebeian vote, a group of citizens that he has not always shown the greatest of respect for. This idea doesn’t thrill him.
Corialanis, “If the people want me, I will obey, but I will not beg votes from anyone!”
His arrogance may serve him well on the battlefield, in the political arena they may prove to be a hindrance. While he still is reluctant to commit his mother gives him the final push towards politics when she tells him he should do it “for Rome’s sake!”

Corialanis’s arrogant nature does indeed get him in trouble as it aggravates a group of plebeians that vividly remember how he publicly referred to their class as “Rabble”. Those offended souls, led by Cecenius, are behind a campaign that eventually results in Corialanis getting banished from Rome. Corialanis is so upset by his banishment after all his year’s of service that he goes to work for the Volsci’s, sworn enemies to the Roman Republic. He leads the Volsci armies against his former comrades and has a successful run. The Volsci are impressed by his skills and they love his arrogance. They quickly bond to the man who was so recently their foe. Corialanis puts his Volsci troops in position to overrun Rome and take control of the city. Corialanis attends the Roman Senate to negotiate and offer then terms of peaceful surrender.

Cecenius (always the trouble-maker) leads a group of plebeians to the Senate floor to argue against surrender to the Volsci. He claims to have the interests of Rome at heart but really only answers to his own agenda. Corialanis recognizes Cecenius from their earlier head butting and calls him out.
Corialanis, “This man wants a war! And, he shall have it, but only between him and me!”

Cecenius and Corialanis clash with swards on the steps of the Roman Senate as the Senators look on. The outcome of this single swordfight will have a dramatic effect on the future of Rome.

The film starts out slowly as it spends too much time setting up the behind the scenes court intrigue, emphasizing the huge chasm that has formed between the patricians and the plebeians. The lowly plebeians have earned a loud voice but have chosen to follow leaders that don’t really have their best interest at heart. There is an awful lot of talk about such exciting topics as grain prices and food crops, yawn…. At one point the patricians try to buy the plebeians vote for war with grain that they desperately need.

The sets and costumes are fabulously crafted and impressive to look at. The battle scenes are spectacular when shown, but there aren’t enough of them to balance the slower issues. Soldiers wearing feather dusters on top of their helmets are a little tough to take seriously at times.

Gordon Scott (perhaps best known for playing Tarzan) looks regal enough for the part in his Roman uniform but his acting is stiffer than week-old bread. He may be one of the few actors that actually benefit from being dubbed by another voice actor. His character does get to solemnly state such gems as:
“Crowds crow, but eagles soar in silence!” Huh?
“Beyond a certain point bravery is desperate rashness!”
“My sword accepts no reward!”

A semi-valiant effort that looks much better than it plays. Cardboard soldiers duking it out for the rights to go home early.

3* (out of 10) There were some major tracking issues early in the film that were very distracting, fortunately they settled down and weren’t an issue in the second half of the film.

This is film 14 (out of 20) in this set. With this one turning the thumb in a downward motion that leaves our score at 9 ups and 5 downs.

[Bogie]

"Cheyenne Social Club" always struck me funny. Like you it was for chuckles but I've enjoyed it. A couple of scenes struck me funny were when our stars are walking done the street and Fonda wants to borrow some money just in case he needs it. They talk polictics and Fonda wants to know if it's ok if he still votes for democrats. Stewart says he can as long as he doesn' tell anybody.

That was probably the biggest laugh in the entire movie for me. I thought it was ok, certainly nowhere near as good as Firecreek. If this movie had different stars it would've been a lot worse then it turned out. It's Fonda and Stewart that kept my interest throughout the film.

[cinemalover]

Bogie and Chris,

There were some things that I really enjoyed about The Cheyenne Social Club, but it just didn't reach my level of hope or expectations about it. It seemed that it was funnier when I used to catch it on TV growing up. I haven't had a chance to put my thoughts on paper yet about it, but I will, so that I can specifically address the areas that I liked or didn't like.

But any time you get Fonda and Stewart together there will always be some redeemable features. I've also got The Naked Spur out of that same set that I need to watch some time this weekend. That's one film that I know won't let me down!

[movieman1957]

"THe Naked Spur" is terrific with Ryan at his most nasty. You'll enjoy it you haven't seen it.

"Social Club" was a bit naughty when we were younger. Not so much now.

[ChiO]

THE NAKED SPUR is my favorite Western. James Stewart & Robert Ryan in an Anthony Mann movie...tough to get better than that.

[cinemalover]

Chris and ChiO,
While it has been awhile since I last viewed it, I have seen The Naked Spur many times. Since I have never seen it in a theatre this first time seeing it on widescreen TV from a DVD format will undoubtedly be the best conditions under which I've ever enjoyed it.

[movieman1957]

I don't think "The Naked Spur" was done in widescreen. My TCM copy isn't, that I recall. If it is let us know.

[Bogie]

I have the movie on DVD (I'm thinking Chris has the same set as I do )

IIRC it isn't in widescreen. Then again I haven't watched my copy in a while.

[cinemalover]

Chris and Bogie,
You are both correct. While The Naked Spur is listed as a 1953 film, the year that most major releases were converted to "widescreen" ratios to differentiate themselves from television, which was eating up the theatre audience, The Naked Spur was shot at the more traditional 1.37:1 ratio. It will still look the best I've ever seen it on a hi-def TV this weekend, even though it's not a HD DVD. Those gray bars on the side don't bother me one bit! All this talking about it has made me want to watch it even more now! You guys have a gret Father's Day!

[cinemalover]

Normally Samuel L. Jackson is a guarantee of at least an entertaining film for me. All rules seem to have exceptions…


Date watched: 6/12/2008
Title: Freedomland Made: 2006
Genre: Crime Thriller Studio: Sony/Revolution Studios
Format: DVD Extras—Anamorphic WS/FS.
Number of times viewed: First

Director: Joe Roth

Stars:
Samuel L. Jackson—Detective Lorenzo Council
Julianne Moore—Brenda Martin
Edie Falco—Karen Collucci
Ron Eldard—Danny Martin
William Forsythe—Bobby Boyce
Aunjanue Elllis—Felicia
Anthony Mackie—Billy Williams
Latonya Richardson—Marie
Clarke Peters—Reverend Longway
Peter Friedman—Lt. Gold
Domenick Lombardozzi—Leo Sullivan
Aasif Manovi—Dr. Anil Chatterjee

Taglines:
His streets. His rules.

The truth is hiding where no one dares look.

Brenda Martin (Moore) shows up one night at the Dempsy Medical Center, her hands covered in blood and a glazed hysteric look in her eyes. She claims that she is the victim of a car-jacking but doesn’t communicate any further details. Detective Lorenzo Council (Jackson) is called to the hospital to take her statement and start the investigation. She tells him how she was violently yanked out of her car and thrown to the ground which is how her hands got all cut up. She was driving through a “bad” area near the Armstrong Projects, taking a shortcut to get home. She tells him that she used to be a junkie, but that she was NOT just another white junkie looking to score drugs in a black neighborhood. It takes her quite some time to get out all the details and Lorenzo can tell that she’s holding something back. Finally, she tells him that her four year old son, Cody, was asleep in the back seat of the car and is with the car-jacker. Lorenzo seems to almost panic when he learns this news and has to force himself to think through all the steps that he needs to initiate to begin a search for the boy. He begins to have trouble breathing and grabs a respirator/inhaler to inhale out of his pocket to suck on. This seems to steady him as he returns to the questioning.

Brenda is also the sister of a cop, Detective Danny Martin (Eldard), of the neighboring Gannon police force. Danny rushes in and demands the details as he clearly plans on pursuing leads on his own, even though it falls out of his jurisdiction. From his interactions with Brenda it is clear that he doesn’t think very highly of her, but his love for Cody is deep and genuine. He and Lorenzo butt heads, which is just the beginning of the upcoming friction between the two police departments.

Lorenzo works the Armstrong Projects with his white partner, Bobby Boyce (Forsythe). They know everyone in the projects and Lorenzo is confident that if anyone there was involved he’ll soon find out. The tension level is high everywhere as they all know the statistics for stolen kids turning up dead if they’re not found quickly. The cops, spurred by the urgings of Detective Martin have surrounded the Armstrong Projects and barricaded them closed. This raises the racial tension level as the inhabitants feel they are being mistreated as the cops are looking for a white child. This much attention is never paid when a black child goes missing. Many of the residents are going nose to nose with the officials that have them caged like animals in their own homes.

Despite the increased pressure on the community no clues or suspects are forthcoming. This forces Lorenzo to turn the investigation back towards the mother.

Lorenzo, “Two thirds of the kids missing, the person that called it in is usually the person who made the kid go missing in the first place. So I gotta ask…”
Brenda, “Did I kill my son!?
Lorenzo just stares at her.
Brenda, “I have….since I’ve been little…I’ve been nothing….less than nothing. In my family. In the world. The only time anyone ever noticed me was when I f**ked up something. Dropped out of college, lost a job, lost an apartment, did drugs. When I had to move back to my childhood bedroom because I didn’t have a penny to my name. And when they did notice me…my so-called people…my family…the eyes…the smirks…. But you know when all that stopped? For them, for me….when I had my son! When I had Cody! As soon as I had him in my arms…I became MORE!”
Lorenzo can feel her pain and seems convinced by her emotions.
Lorenzo, “Know this, Brenda. I will not rest until I find your son. And the person…the person he was last with.”

Social pressures are mounting on the police as they continue to keep the projects wrapped up. The authorities push to find the answer before this racial kettle blows, causing even more violence to add to the problem. Lorenzo is at a dead end. With nothing coming forth from the project gossip line he has to assume that Brenda is not being completely honest. He reluctantly enlists the help of a group of parents that specialize in helping locate missing children, whether dead or alive. The group is headed by Karen Collucci (Edie Falco of Sopranos fame looking completely different with dark hair), who had lost a child of her own and has had success getting mothers to open up. They organize an army of volunteers to search logical areas where a child may be able to hide. They start with the grounds around Freedomland, which had been the state’s home for forgotten children until it was shut down in the 50’s. It had a reputation of abuse for children and the very essence of it is intended to stir responses from Brenda.

*************Spoiler Alerts*****************

The experience, combined with some timely prodding from Karen, bring an initial confession from Brenda they she may have had an unintended hand in Cody’s disappearance. The complicated story also ties in others to the story line and allow the cops to proceed to the next step in trying to wrap up the case. Meanwhile tensions are still running rampant back at Armstrong Projects as the predominantly white officers, dressed in antagonistic riot gear, face off nose to nose against the angry residents.

This is a very grim, sad tale that starts out on a tragic note and just continues to slide into Depressionville from there. The topics of a child’s probable death and racial stereotyping by a group of angry white cops are emphasized to the point of ad nauseum. We are “treated” to an anxiety-filled ride through a very ugly storyline where there are no winners. The film chooses to highlight the rough realities of the situation without any soft-sell or humorous distractions. It was more “reality” than I needed at one time. I walked away from the movie feeling somehow unclean.

The acting was top-notch, which comes as no surprise considering the two leads. This was a very brave choice in roles for Julianne Moore as her character is constantly in a state of visual disrepair. Her eyes are always red and swollen, her hair disheveled at best, and her complexion faint and skeleton hollow. It is true to the situation that character found herself in, but was anything but glamorous for an actress. Kudos to her for allowing herself to be showcased in such an unflattering manner. She’s never been a favorite of mine, but she certainly earned my respect in this one.

I’ve never seen Samuel L. Jackson give a bad performance, even if the film around him stunk. He does a fabulous job here, though some of his little character bits (needed the inhaler when he gets excited) are forgotten along the way. He has to try to play both sides of the street, which is a losing proposition when emotions are running so high. For me, Jackson is one of the best actors working today, and he doesn’t do anything in this role to change that opinion. Two quality actors trapped by the parameters of an overly depressing take on life. William Forsythe as the rugged partner adds a nice layer to the film, but he isn’t really given much to do other than look like an old, experienced cop.


3* (out of 10) Well-acted but an incredible downer. The coarse subject matter made it impossible for me to enjoy this as a piece of entertainment.