classic movies

The Movie That Invented The Coming of Age Genre

Posted on by G Virdee for MovieBrando

When a flake of snow hits UK soil – the whole island is put on hiatus. So it was pretty befitting that I’d catch up on my AFI challenge and watch a classic movie this weekend (as the inch of snow forced me to stay in),  plus I haven’t posted on here for a year and a half – so it’s about time I attempt at doing this bloody list again.

As it was Oscars weekend I thought I’d check out ‘The Graduate’ (1967: ‘98 #7, ‘03 #17).  One of the most iconic coming of age movies that was the last to win only for Best Director at the Academy awards (bit of trivia for you). And when I say this film is iconic, I mean it in every sense of the word. Even though I never had seen it before this weekend – I pretty much knew the whole plot, some of the key quotes and the soundtrack, which is why it is ranked so highly in on the 1998 and 2007 lists. But other than having a huge cultural impact, does the film have the credentials to be ranked so highly with ‘Citizen Kane’ (1941) and ‘Schindler’s List’ (1993)?

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The Graduate (1967)

The storyline is pretty straight forward; a talented graduate (Dustin Hoffman) from a middle class family, but with no sense of direction, begins an affair with an older family friend (Anne Bancroft) only to fall in love with her daughter (Katharine Ross). A tame plot by today’s standards, but Bancroft’s nude scene raised a few eyebrows at the time and age difference of 20 years between her and Hoffman’s character made the movie pretty controversial at the time. People probably wouldn’t have battered an eye lid if the male character was 20 years senior than the female. No one seemed to care when Grant was wooing a much younger Hepburn in ‘Charade’ (1963) and despite a twenty-five year age gap, Bacall and Bogart’s romance celebrated romance on and off the screen. Hypocrisy is today still prevalent as Best Picture nominee ‘Call me By Your Name’ (2017) has been criticised (by mostly straight white males, including James Wood) for the age gap of just a six years between the two gay characters. But star of the Academy Award winning film Armie Hammer brilliantly highlighted our double standard society by kindly reminding Woods that he dated a 19 year old when he was 60.

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Anne Bancroft and Dustin Hoffman

But back to ‘The Graduate’; yes, it was a risky plot at the time and yes, it perhaps invented the coming of age genre. But Hoffman’s character comes across as such a self-absorbed selfish brat who doesn’t seem to have the slightest concern his actions are destroying a family – that he is hard to like. That being said Hoffman plays the part brilliantly and his awkwardness brings in subtle comedy to the movie. He even at times, when not being an arrogant punk, displays endearing and charming qualities of the arguably the greatest literary character of the twentieth-century; Holden Caulfield from ‘Catcher in the Rye’ (1951). In fact I’m almost certain that Benjamin Braddock was inspired by the protagonist in J.D Salinger’s masterpiece.

It’s hard to think of anyone other than super seductive Anne Bancroft playing the role of Mrs. Robinson. Her iconic husky and commanding voice brought some of the most memorable one liners to modern cinema, it’s crazy that the role could have gone to Joan Crawford or ‘Murder She Wrote’ star Angela Lansbury. At times Mrs. Robinson can be a bit annoying and her nonchalant attitude at the beginning of the movie makes it hard for you to have empathy for her. But toward the end of the film, you definitely see her more as a victim and can sympathise with her for having a loveless marriage.

‘The Graduate’ trailer

The unforgettable ending, which has probably been recreated by every soap in the last fifty-years (as well as famous Renault Clio advert from the 90s) alone qualifies the classic to be in AFI top 100 films of all time, but it is suited to its 2007 ranking of #17 rather than top ten position in the 1998 list.

For its superb cast, iconic quotes, invention of the coming of age genre and soundtrack that sets the mood for the movie – I give ‘The Graduate’ 4 out of 5.

 

 

The Biggest Romantic Movie of All Time That No One Had Faith In

Posted on by G Virdee for MovieBrando

It’s been a while since I made my last post, but don’t worry I haven’t given up on my AFI Challenge which looks set to take longer than I thought. The truth is I’ve been pretty lazy over the last few months being a man of leisure. But I have managed to catch the ultimate classic movie whilst on my way to Kenya on my first African visit.

The best thing about flying (other than the beaming obvious trip to a destination that is guaranteed to be at least five degrees warmer than London) is I get to catch up on movies I haven’t watched yet as there is pretty much nothing else to do. Despite being a big classic movie fan (who would have thought it) the idea of sitting through more than three hours of Charlton Heston’s overacting in ‘Ben Hur’ doesn’t always fill me with the most excitement. With plane TV screens you feel obliged to watch a movie from start to finish to feel like you are making most of your time in the air. I kind of feel like Malcolm McDowell in ‘A Clockwork Orange’ when his eyes were clamped open when watching the small screen on aircrafts, but with less agony.

I managed to catch some new releases that I wouldn’t dream of watching in the cinema like ‘Southpaw’ which although had an extremely cliché and predictable storyline it had a heartfelt performance from Jake Gyllenhaal. Kenya Airways had a questionable classic movie category in their inflight entertainment, which included masterpieces like the intellectually simulating ‘The Hangover’, but I think they used the term loosely to describe anything that wasn’t released within last twelve months. They got it right with two movies – ‘Northby Northwest’ (1959, AFI 1998 #40, 2007 #55) and ‘Casablanca’ (1942, AFI: 1998 #2, 2007 #3) – I’ve seen these bonafide classic movies before, but as I’ve already reviewed the Hitchcock masterpiece I thought I’d re-familiarise regularly with the most famous romantic movie of all time.

7oth Anniversary trailer for ‘Casablanca’

It’s hard to believe that the most iconic on screen romance all time was considered a side project for movie executives at Warner Bros – despite the flick having two of the biggest stars at the time Humphrey Bogart and Ingrid Bergman insiders thought it wouldn’t be a hit – there were even rumours that the script was incomplete when filming and so at times the actors had to improvise – with the huge budgets Hollywood films have nowadays this would simply be unheard of.  So why did this film with a relatively straight forward storyline, which was filmed mostly in a bar and one that people that little expectations of become the greatest love story of all time?

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Bogart must choose between his former lover and helping her husband

The movie which was directed by Michael Curtiz tells the story of American expatriate (Rick Blaine played by Bogart) who runs a successful casino and nightclub in Casablanca during World War Two. His world turns upside down when his former lover Ilsa Lund (Bergman) comes back into his life after abandoning him without explanation, but this time she is with her husband Victor Laszlo (Paul Henreid) who is a notorious Czech-resistance leader on the run from the Nazis. Blaine must decide whether to help this man escape or to be with the woman he loves.

For me it’s pretty hard to pinpoint what made this black and white classic such a timeless piece that people of all ages flock to see when played at the outdoor cinema at Somerset House every summer over other romantic masterpieces such as ‘It Happened in One Night’ (1934, AFI 1998 #35, 2007 #46)? Bogart’s cool portrayal of selfless Rick Blaine is so memorable and the character is so likable that the AFI voted him as the fourth greatest hero on the big screen – which definitely separates this movie from other romances over the years. The movie is far from cheesy or soppy and although I’m not a huge fan of Bergman (who looks like she is about to burst into tears in every scene) you can’t deny the chemistry between the who main leads. This along with the beautiful theme song ‘As time goes by’ and the famous, sharp and witty one liners (“Here’s looking a you kid”, “Louis, I think this is the beginning of a beautiful friendship”, “We will always have Paris” (is this were the silly American romantic obsession with Paris began?),  “Of all the Gin Joints..”) makes ‘Casablanca’ pretty much a perfect movie – the blueprint for all romances that followed over the last 70 years.

The most famous lines from ‘Casablanca’

The movie which is a concise 108 minutes makes this classic pretty easy viewing compared to ‘Gone with The Wind” (1939, AFI 1998 #4, 2007 #6) or ‘Giant” (1956, AFI 1998 #82) where you have to invest your whole afternoon watching is perhaps another reason why people revisit this romance year after year. I give this culturally significant and iconic movie a 5 out of 5.

 

 

 

 

The Best Festive Movie

Posted on by G Virdee for MovieBrando

I know this post is about thirty-days too late, but screw it – it’s still (barely) January and I’ve just got back to my day to day routine (Plus it’s my god damn blog – I’ll write about Christmas movies in July if I wanted to!)  So it’s the perfect time to reflect on the classic movies that I came across in December which was only a few short weeks ago.  

During that weird period between Christmas and New Year when you struggle to remember what date it is but strangely know exactly what day Boxing Day and New Year’s Eve falls on there are quite a lot of quality movies on the box – particularly classic flicks that are featured in the American Film Institute Top 100 Films of All Time. So I pretty much had a field day going through my list this festive season – although it seemed like every time I switched on the TV ‘Elf’ (2003) or ‘Home Alone’ (1990) was playing for the umpteenth time (but Will Ferrell giving James Cann lingerie as a gift never gets old).

‘Elf’ Buddy gives his Dad an inappropriate gift 

Unfortunately these movies are not deemed to be classic by the AFI; but what was shown on the Sky Christmas Channel and is worthy to be featured in The Top 100 Movies of all time list twice was the ultimate Christmas move – ‘It’s a Wonderful Life’ (1946: AFI 1998 #11, 2007 #20) staring the remarkable James Stewart and Donna Reed. The movie centres around banker George Bailey, a hardworking man who can’t seem to catch a break – he is financially unstable, but his good willed nature, enthusiasm and hope gets him through tough times. That is until he reaches boiling point and contemplates suicide, but before he decides to end his life a guardian angel shows him what life would be like if he was never born. So it’s kind of like flipped version of ‘A Christmas Carol’ (1843) by Dickens with the obvious differences that Scrooge was rich and disliked whilst Bailey was poor but loved.

The fact that the film lifted themes from Dickens’s masterpiece doesn’t take away how influential it is to the wholesome family movie genre. Ever since its release Hollywood producers have tried to create a Christmas flick as well written, acted and magical as ‘It’s a Wonderful Life’ but have so failed to deliver something that the whole family can enjoy and watch Christmas after Christmas.

The unmistakable Stewart speaks about how he got involved in his most iconic role

It’s pretty remarkable that children are still fond of this black and white movie, usually when I tell my family (who are all well over thirty) that I want to watch a film on my list, they tell me “It better be in colour”- but ‘It’s a Wonderful Life’ gets a free pass. It proves that the strong storytelling and the message of thankfulness and belief in the kindness of human nature far outweighs any 3D or CGI special effects that has been regurgitated by movie execs in the last ten or so years. There were talks that the movie was to be colourised, but legendary director Frank Capra and Stewart were against it the final product. I must admit I would be curious to see if the movie would still be as perfect if in colour, but I guess if it isn’t broke why fix it?

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‘It’s a Wonderful Life’ gets the colour treatment

One of the reasons why this masterpiece which is 70 years old this year still resinates with viewers is that it touches on themes that are more relevant than ever. Many of us plan to travel the world when we leave school, but our dreams are put on hold by our guilt to help the family business or get a ‘proper’ job – I know I can relate to that. And almost all of us during the festive season reflect on our careers and financial position which can make us unsatisfied. This movie reminds us what is important – ‘Elf’ and ‘Bad Santa'(2003) may give us laughs, but will that be enough to sustain their legacy in years to come?

For the fact that this movie is not only the best festive movie of all time, but best movie period I give it 5 our 5.

Where the Four Billion Dollar Movie Franchise Began

Posted on by G Virdee for MovieBrando

In the late nineties when I was a wee lad me and a group of school friends decided to check out the latest Star Wars movie called ‘Episode I: Phantom Menace’ (1999). I didn’t know much about the franchise except that the bad guy in the first picture had a really bad asthma problem, and as the 1999 film was a prequel to the original iconic movies I thought it would be a good place to start my Star Wars viewing journey, especially with all the hype surrounding it. How wrong was I? Not only did I and a few mates fall asleep in the cinema, but during the course of the movie I stumbled across the most annoying character ever created for the big screen – Jar Jar Binx. It’s safe to say I was scarred from the experience and it put me off from seeing the rest of the movies.

So when I saw that the original film entitled ‘Star Wars Episode IV: A New Hope’ (1977: AFI 1998 #15, 2007 #13) was featured on the AFI’s top 100 list of all time I wasn’t best pleased. But with the excitement of the release of the seventh installment Sky Movies had a whole channel dedicated to the released films so I couldn’t avoid it – and on Sunday night after playing Junior Monopoly with niece with a slight hangover I decided with much persuasion from my brother to take the plunge and finally see how it all began. (well in fact it is the chronologically the fourth movie, but the first made – it gets confusing).

Iconic characters on a mission to save Princess Leia

Everyone with some movie cultural awareness is familiar with the opening credits to the original Star Wars movie, so even though I knew what to expect I found the content of the text to be a hard read filled with so many Star Warisms that I had to pause the TV to and re-read the introduction – which was not a good start. What puts me off sci-fi and fantasy films is that they tend to be filled with jargon and terms that is not used in everyday language, so I lose concentration and my mind begins to wonder.

The original Star War movie is considered by some as the best 

But my short expansion span diminished soon after because from the then on the movie was jam packed with action and spectacular special effects which were impressive by today’s standards let alone in the 1970s (although a work colleague and avid Star Wars fan kindly pointed out the effects had been re-worked since the original release, but I’ll choose to ignore that).  The synopsis of the movie is a pretty straightforward good versus evil tale with Hans Solo (Harrison Ford), Luke Skywalker (Mark Hamill) and Obi-Wan Kenobi (Sir Alec Guinness) playing the heroes who are a mission to rescue Princess Leia (Carrie Fisher) from the evil Darth Vader and the Galactic Empire.

Darth Vader makes a terrifying entrance 

In my review of American Graffiti (1973: 1998 #77, 2007 #62) which was also directed by Lucas I made the assumption that the characters were more relatable than the ones in Star Wars, for which I was told off for by a friend who said I had to see Sci-fi classic before making such ludicrous comment. Although I hate to admit it I must say he has a point – the best thing about the movie is that pretty much all the characters are strong and help unfold the plot until the very end. Despite previously seeing clips of Darth Vader and knowing that the voice over was Mufasa from the Lion King (1993) he genuinely scared me and the friendship between robots C-3PO and R2-D2 genuinely touched me.

Auditions for the new Star Wars in London 2013

Auditions for the new Star Wars in London 2013

So it’s safe to say my second experience so watching a Star Wars movie was a far more pleasant one – I’m not convinced the movie has transformed me into a massive fan like the millions single fifty-year old men living in their parents spare room, but it has made me regret that I didn’t partake in auditions for the new movie ‘Episode VII: The Force Awakens‘(2015) when they held auditions in Twickenham Stadium and obstructed my parking space outside my gym a few years back. Who knows I might have been a part of biggest movie franchise of all time. For its undeniable cultural significance, innovative special effects and unforgettable characters the picture gets a 4.5 out of 5 from me.

George Lucas Gives A Glimpse On How Teenagers Pulled Before Tinder

Posted on by G Virdee for MovieBrando

Four long years before George Lucas became a household name with every sci-fi and fantasy fan across the world, he was known for directing ‘American Graffiti’ (1973: AFI 1998 77# 2007 #62) – a coming of age drama starring a very young (and very odd choice for leading man, probably because I only associate him with the uptight Dr Leo Marvin in ‘What about Bob’) Richard Dreyfuss and Ron Howard.

Although I have yet to see Lucas’s most accomplished movie ‘Star Wars’ (1977: 1998 #15, 2007 #13), it doesn’t take a Star Woidz (which is apparently the official name given to avid Star Wars fans) to work out that the two films couldn’t be more different. Firstly ‘American Graffiti’ is set in this galaxy and the characters are far more relatable than the iconic but distant and cold characters of the sci-fi classic.

Richard Dreyfuss, Charles Martin Smith & Ron Howard in the coming of age classic

To be honest I didn’t really know what to expect when I came across the movie on Netflix, in fact before scrolling through the American Film Institute of top 100 films of all time I had never heard of it let alone knew the legendary George Lucas directed it. So it was quite a surprise to learn the man I associated with family friendly viewing directed a film about cruising in the 1960’s – although I think the term has taken a more sleazy meaning in recent years. The story follows the antics of a group of four high school graduates on the night before an undecided Curt Henderson (Dreyfuss) leaves his friends and the small town to start college with best buddy Steve Bolander (Howard). Whilst Curt goes on a self-discovery journey during the film his mates hunt for girls by driving up and down the streets in their classic chevys, which seems to be the way adolescents got acquainted before Tinder took away the thrill and excitement of courting.

The movie which is inspired by Lucas’s experiences of growing up in post-World War Two America gives an interesting insight of how teenagers perceived the world before major incidents such as the JFK shooting and Vietnam War changed attitudes. I was particularly fascinated by the predatory way guys hunted for girls in a carefree and somewhat liberal era, which couldn’t be more different from the social media tools used for pulling the opposite sex that has become the norm in today’s society.

Iconic diner set in the movie

Perhaps it’s because I didn’t know what exactly to expect when I selected the play button on Netflix or maybe it’s because I watched the movie at twelve in morning without mentally preparing myself, (which is what I have to do with each movie I watch on the AFI top 100 countdown) but I felt my mind wonder throughout the movie and nearly nodded off a few times. Although the movie had some humorous moments mostly from Paul Le Mat and the teenybopper who is fascinated by him, the film at times felt like a long car journey that wouldn’t end soon enough and for that reason I give it a 2 out 5.

Angelina Jolie’s Dad Tries To Make It In The Big Apple

Posted on by G Virdee for MovieBrando

I’ve been slacking with my American Film Institute challenge this week – my good friend Cam brought me a copy of ‘2001: A Space Odyssey (1968: AFI 1998#22, 2007#15) for my birthday way back in March, but I haven’t got around to watching it yet. But I did oddly enough catch Michael Douglas promote his new comic film on the ‘One Show’ on BBC1.

I was definitely not interested in hearing what he had to say about his new movie ‘Ant-Man’ (2015, seriously? An Ant like superhero? Is there a Daddy Longlegs Man movie in the works?) starring Paul Rudd, the man who I was convinced got his big break in ‘Clueless’ (1995) from being a top movie executive’s son because I can’t imagine what made a casting director say ‘That plain looking dude with mediocre acting skills is our man! He’ll play the star’s love interest!’ What I really wanted to hear was how his legendary dad Kirk Douglas was keeping. This man is truly one of the last remaining actors of the Golden Age in Hollywood and at 98 he is the oldest active blogger for the Huffington Post. But unfortunately the presenters only briefly mentioned his father and talked about more trivial things like how good his Welsh is – that’s what you get for BBC early evening family viewing.

Jon Voight & Dustin Hoffman living rough in ‘Midnight Cowboy’

Having a super-famous dad like Kirk must have helped Michael Douglas get his foot into acting, but I refuse to believe that he is the sole reason for his son’s success – why weren’t the other brothers Oscar winners like Mr Zeta-Jones? Another star whose Dad probably gave her a helping hand into the world of cinema is Angelina Jolie – although she is arguably more successful than her father Jon Voight, she definitely hasn’t starred in an iconic movie (The closest she has got is ‘Girl Interrupted’ (1999) but that’s a bit of a stretch) like ‘Midnight Cowboy’ (1969: AFI 1998#36 2007#43) – the only X-rated Best Winner Picture at the Academy Awards.

Like ‘Easy Rider’ (1969: AFI 1998#88 2007#84) the movie explores taboos themes of promiscuity, drugs and life in 1960’s America, but unlike ‘Easy Rider’ the film has a solid plot and superb acting from Voight and Dustin Hoffman. The story revolves around Joe Buck a naïve Texan who goes to New York in hopes of becoming a male prostitute, things don’t go to plan and he becomes so desperate that he ends up staying with Ratzo, (Hoffman), a crippled con man who ripped Voight off money when he first arrived in the city. The two form a close bond and try their luck at becoming hustlers together.

The famous ‘I’m walking here’ quote was apparently improvised by Hoffman

The story has similarities to perhaps my favourite novel ‘Catcher in the Rye’ (1951) – the protagonist in both plots are naïve yet good hearted anti-heroes who struggle with their sexuality and face alienation and loneliness in cities that are too big and intimidating for them. Although it’s unlikely we will ever get to see Holden Caulfield on the big screen (thanks to author J. D. Salinger vetoing a big screen adaptation of the book) Joe Buck is the closest we’ll ever get. For the moving, but utterly devastating ending to the film it alone deserves a 4.5 out of 5.

Harry Nilsson’s iconic ‘Everybody’s Talkin’ was played throughout the movie

Things Get Heated Up In The Newsroom

Posted on by G Virdee for MovieBrando

“I’m mad as hell, and I’m not going to take this anymore!” are the famous words echoed by troubled Howard Beale throughout ‘Network’ (1976: AFI 1998, #66, 2007 #64) the movie I watched this weekend as part of my challenge to watch all films featured on the American Film Institute top 100 movies of all time. The quote is so iconic that after more than 40years it is still being used; most recently for an advert on UK television – I forgot what to promote (it must be one of those ‘wacky’ phone providers) but I remember asking my brother and sister; Sati and Nicky ”Do you know where this line is from?” Obviously they looked at me as if I was the insane Howard Beatle, but terrifically honest (“Life is bullshit!”) and said “What film?”

Iconic scene from ‘Network’

It a shame that a movie as great as ‘Network’ isn’t remembered as well as other iconic 1970s films like ‘The Godfather’ (1972: 1998 #3, 2007 #2), ‘Taxi Driver’(1976: 1998 #47, 2007 #52) or ‘The Deer Hunter’ (1978: 1998 #79, 2007 #53) but it is definitely just as good. It is probably the only movie on the list that deals that takes place in a newsroom and highlights how fickle the broadcasting industry is – I should know, I’ve done my fair share of volunteering and work experience in TV and radio newsrooms across the UK to know that no one really gives a rat’s ass about you, not even your mates (get the violins out). This what poor anchor man Howard Beale played by Peter Finch discovers when he is told he only has two-weeks left on air as he is being cut for low ratings. Rather than bow out gracefully he tells his audience he will commit suicide live in air- ironically this gives him a ratings boost and network executives exploit the broadcaster who is obviously mentally unstable by giving him his own show where he vents his anger to a cult following.

Icy Faye Dunaway and William Holden

The film stars the crème de la crème of 70s A-listers; legendary William Holden in his last memorable role plays Max Schumacher the Head Of News who faces a moral dilemma whether to help his friend who clearly needs medical attention or keep him on air to attract more viewers. Matters are made worse when he becomes involved with cold hearted Diana Christensen who is head of programming and is played by the top notch Faye Dunaway who was as big and perhaps more talented than Meryl Streep in the 70s (definitely better looking) but failed to maintain the legendary status of the three time Oscar winner. I hear that when she portrayed Joan Crawford in an unfavourable light in the camp cult favourite and winner of the Golden Raspberries ‘Worst film’ award ‘Mommie Dearest’ (1981), friends and colleagues of the 1940s star vowed to destroy her career. Nevertheless actress won a much deserved Academy award for Best Actress, but the real star of the movie was obviously Peter Finch who also nabbed the Best Actor award but unfortunately died of a heart attack before he was given the accolade.

Peter Finch was the only posthumous winner of an Oscar in an acting category until Heath Ledger won for Best Supporting Actor in 2009

From the moment the movie begins you are gripped in; the eerie narration reminded me of Wilder’s classic ‘Sunset Boulevard’(1950: 2007 #12, 2007 #16) which also starred Holden and the subject matter of the movie like ‘All about Eve’ (1950: 1998 #16, 2007 #28) is just as timeless and relevant today as it was four decades ago. One could say the movie is one of the first to touch on the idea of reality TV that has plagued our television over the last fifteen or so years – but obviously in a much more classy and thought provoking manner then ‘Big Brother’ or ‘Googlebox’. 5 out of 5 for me