Best Movies By Farr Newsletter - September 2008

What's New on DVD

101 Dalmatians (1961)

Family. Farr-cical/Wholesome.
Animated. 79 mins. Rated G. Directed By Clyde Geronimi and Hamilton Luske. Starring Rod Taylor, Cate Bauer and Betty Lou Gerson.
One of Disney’s finest achievements of the sixties, and still a favorite of mine, “101 Dalmatians” is both a cheeky story of doggie romance and a thrilling detective tale with a villainous twist. Wealthy termagant Cruella De Vil (Gerson) badly wants a new litter of 15 Dalmatian pups born to Perdita (Bauer) and proud dog papa, Pongo (Taylor), but is refused by the canine lovers’ human owners, Roger (Ben Wright) and his wife, Anita. After De Vil hires some thugs to steal the pooches, Pongo marshals a network of animal friends to scour the streets of London for the missing mutts. Inked by 300 artists, and voiced by a wonderful cast of actors under the guidance of Disney maestros Geronimi (“Sleeping Beauty”) and Luske (“Snow White and the Seven Dwarfs”), this peerless kids’ pic still delights. Woof!
 

Cinema, Aspirins and Vultures (2005)

Drama/Foreign. Brainy/Moving.
Color. 99 mins. Rated Unrated. Directed By Marcelo Gomes. Starring Peter Ketnath and Joao Miguel.
This minimalist drama has a touching delicacy that emphasizes quiet moments and soul-searching dialogue over adventurous interludes. Bitterly opposed to Hitler’s war, young German Johann (Ketnath) has fled the draft to rural Brazil, where he drives from village to village peddling the “miracle cure” of aspirin. Along the way, he meets hitcher Ranulpho (Miguel), a man whose contempt for the Brazilian outback is equal to Johann’s love of it. An unlikely friendship develops between these two nomadic outcasts, but the reality of war eventually intervenes, forcing Johann to make a difficult decision about his future. Debut helmer Gomes has a knack for directing these characters’ very different temperaments, with Miguel’s droll sourness playing perfectly off Ketnath’s pacifistic certainty. Mauro Pinheiro’s photography is exemplary, too, making the sun-baked nether regions of drought-afflicted Brazil look miraculously inviting. “Vultures” is an uncommonly thoughtful period piece.
 

Control (2007)

Drama. Intense/Moving/Tuneful.
Black & White. 122 mins. Rated R. Directed By Anton Corbijn. Starring Sam Riley and Samantha Morton.
With his debut film, photographer Anton Corbijn recreates the milieu of working-class Britain with this searing biopic that follows the personal and professional travails of Ian Curtis (Riley), front man for the seminal Manchester post-punk outfit Joy Division, who hanged himself at the peak of his fame. In the mid 1970s, Curtis forms a band, fathers a child with devoted Deborah (Morton), and attempts to manage an extreme form of epilepsy, all while battling the inner torment that would eventually consume him. The wrenching performance of newcomer Sam Riley, channeling the turmoil and isolative temperament of Curtis, and a gutsy turn by Samantha Morton as his aggrieved wife, give this film its edgy emotional force. Filmed in stark black-and-white, "Control" is an elegy to the existential agonies of a legendary figure who will forever epitomize the British post-punk music scene.
 

Czech Dream (2003)

Documentary/Foreign. Brainy/Farr-cical/Fast-paced.
Color. 83 mins. Rated Unrated. Directed By Vit Klusak and Filip Remunda. Starring .
Dramatizing Eastern Europe’s apparently mass desire for the conveniences of Western consumer culture - those middle-class luxuries denied to them during the long decades of Soviet oppression - two Czech film students, Filip Remunda and Vit Klusak, decide to create a massive marketing campaign—complete with cheeky billboard ads, TV and radio spots, theme music, and cut-out bargain coupons—for the grand opening of a super store that doesn’t exist. Chaos ensues when 4000 people show up to find nothing but a rainbow-colored facade in an empty field, triggering disappointment, disbelief, and lots of heated discussion. Remunda and Klusak want to critique this new hunger for goods and products, not to mention the Czech Republic’s own manipulative ad campaign regarding European Union membership. Introduced by Morgan Spurlock, “Czech Dream” plays like a master class in the anatomy of materialist fantasy.
 

Lust, Caution (2007)

Foreign/Mystery/Suspense/Romance. Intense/Spine-tingling.
Color. 158 mins. Rated NC-17. Directed By Ang Lee. Starring Tony Leung, Wang Leehom, Tang Wei and Joan Chen.
Ang Lee is best known to American audiences for his Oscar-winning “Brokeback Mountain.” But he returned to Hong Kong to make this ravishing political thriller, and included lovemaking scenes so graphic (i.e. so hot) he got slapped with an NC-17. Set in Japan during China’s WWII occupation, a gorgeous young actress Wong Chia Chi (Wei) is recruited by student dramatist Kuang Yu Min (Leehom) to seduce a bigwig collaborator, Mr. Yee (Leung), who’s been targeted for assassination. At first, things go according to script, but unexpected turns put Wong in grave danger. Lee knows how to direct actors in any language, and here he draws on the great talents of Leung, Chen, and smoldering newcomer Wei, mashing up intrigue and romance with an enthralling story of national identity. Proceed with “Caution”!
 

Radiant City (2006)

Documentary. Brainy/Witty.
Color. 85 mins. Rated Unrated. Directed By Gary Burns and Jim Brown. Starring .
For “City,” a veteran journalist and an intrepid documentarian set out to dissect the idealistic mystique of suburbia and examine its effects on the prototypically average Moss family. Why did people flee to the suburbs after WWII in such huge numbers? And how has the lifestyle cultivated in those environments affected its inhabitants? In this cheeky, mock-satirical documentary, Burns and Brown peel back the artificial surfaces of well-groomed planned communities and, with a mix of insight and wit, examine the deadening effects of exurban sprawl. From the strip-mall churches to the too-perfect playgrounds and prefab dream homes, “Radiant City” puts an off-color spin on the outer-lying American dream, drawing valuable insights from notable social commentators along the way. If you live in the burbs, or have contemplated moving there, “City” might make you cringe with recognition. For the rest of us, we may just want to stay put.
 

Summer Palace (2006)

Drama/Foreign/Romance. Brainy/Moving.
Color. 140 mins. Rated Unrated. Directed By Lou Ye. Starring Guo Xiaodong and Hao Lei.
Sensual, slow-paced, and dreamily romantic, Lou Ye's "Summer Palace" is a vibrantly told epic about the struggle for personal and political identity. Leaving her rural hometown for Beijing University in the 1980s, beautiful Yu Hong (Lei) falls in love with handsome student Zhou Wei (Xiaodong). But as tumultuous pro-democracy demonstrations rock the campus and rile the authorities, their passionate affair is interrupted. Years later, expat Zhou Wei continues to be haunted by the memory of her former lover, and sets out to find him. “Palace” has the distinction of having been banned by Chinese censors, who took issue with the film's politics and its unabashed nude love scenes. Spanning 20 years in the lives of two students who took part in the tragic Tiananmen Square protests, the film tackles issues like sexual fidelity and the idealism of youth, deftly combining a swooning melodrama with an historical coming-of-age tale.
 

The Orphanage (2008)

Horror/Science Fiction/Longer Films/Film Series/Collections. Blood-curdling/Moving/Spine-tingling.
Color. 105 mins. Rated R. Directed By Juan Antonio Bayona. Starring Fernando Cayo, Geraldine Chaplin and Belen Rueda.
Produced by Guillermo del Toro (“Pan’s Labyrinth”), Spanish director Bayona’s maiden feature is a chilling and often shocking horror drama about a woman Laura (Rueda) who returns to buy her spooky childhood manse with her husband, Carlos (Cayo), with the intent of turning it into a home for special- needs kids. But almost as soon as they move in, their young son Simon (Roger Princep) begins to act out, speaking eerily of imaginary friends. One day, he vanishes into thin air, and Laura, distraught and convinced she hears her child crying, seeks the help of a medium, Aurora (Chaplin-yes, Charlie’s daughter), to find him. Did someone abduct Simon? Has he been murdered? And who’s the creepy kid in the sack-cloth mask? See “The Orphanage” for smart thrills, fine acting, and a grave finish that may leave you in tears.
 

The Savages (2007)

Comedy/Drama. Intense/Moving/Witty.
Color. 114 mins. Rated R. Directed By Tamara Jenkins. Starring Philip Seymour Hoffman and Laura Linney.
This darkly humorous drama focuses on Wendy Savage (Linney), a struggling playwright in New York City, and her older brother, Jon (Hoffman), a professor of drama in Buffalo, who are forced to confront past grievances and the emotional scars of an unhappy childhood when their aging father, Lenny (Bosco), from whom they’re estranged, begins to show troubling signs of dementia. “Savages” soars thanks to smart scripting and a pair of knock-out performances by Oscar nominee Linney and the always intriguing Hoffman. Jenkins deftly balances stark humor and bald emotion, and makes their awkward attempts at reconciliation something we can all relate to.
 

The Westerner (1940)

War/Westerns. Intense/Scenic/Spine-tingling.
Black & White. 100 mins. Rated Unrated. Directed By William Wyler. Starring Gary Cooper and Walter Brennan.
Sam Goldwyn brought this classic Western to the big screen, with Wyler and ace cinematographer Gregg Toland on board from the giddy-up. After running afoul of infamous lawman Judge Roy Bean (Brennan), who accuses him of stealing a horse, laconic Westerner Cole Hardin (Cooper) talks his way out of a hanging by appealing to his friendship with English stage actress Lily Langtry, with whom Bean is romantically obssessed. But Hardin’s decision to help some homesteaders eventually brings more trouble from Bean. Cooper’s low-key, man-of-few-words routine had already made him a big star, but it’s three-time Oscar winner Brennan’s spirited, twisted portrayal of the paradoxical Judge Roy Bean that makes this picture so memorable. Wyler’s direction in “The Westerner” is flawless, and so is his stern handling of the supporting cast. For those on the lookout for Fordian grandeur, though, there’s always Toland’s magnificent prairie-fire sequence to gawk at.
 

Theme of the Month: Back to Work

With the fading of summer and kids back at school, in our own heads we all return to work (even if we never left). As heard in Barack Obama’s rousing convention speech last week, the idea of honest work for honest pay remains very much at the heart of this nation’s capitalist character. Regardless of salary or station, our jobs provide not only bread for the table, but dignity for the spirit. Yet globalization, rapid technology advances and a tanking economy are combining to make the workplace feel increasingly uncertain- even treacherous- these days. The very concept of “job security” sounds quaint. Still, the majority of us lucky enough to have a profession must pursue it, and deal as best we can with the ever-evolving vicissitudes of employment. And- as seen through the revealing lens of timeless film, you can derive a measure of comfort and perspective amidst the seeming complexity of it all, first because you’re not alone, and second, because the vagaries of office politics-and its attendant risks- are really nothing new. Here are some outstanding titles profiling different professions that demonstrate this point.

Ace in the Hole (1951)

Drama. Intense/Offbeat/Witty.
Black & White. 111 mins. Rated Unrated. Directed By Billy Wilder. Starring Kirk Douglas and Jan Sterling.
Prescient, cynical, and daring for its time, Wilder's acid-tongued satire on media sensationalism stars Kirk Douglas in one of his fiercest early roles as defiant big-city journalist Charles Tatum who has been relegated to working a local beat for the tiny New Mexico Daily, but who hasn't lost his taste for the big time. When a miner is trapped in a cave-in, Tatum savvily exploits and prolongs the man's plight in hopes of engineering his own prime-time comeback to the big-city dailies which have discarded him. Wilder's astute handling of the chaotic scene around the mine - the media hordes, the gawkers and hangers-on, the souvenir and snack peddlers profiting off the situation - has much to say about our culture's lingering appetite for "human interest" tragedy. A punchy indictment of news-as-entertainment, Wilder's "Ace in the Hole" remains as stingingly relevant as ever. 

Counsellor at Law (1933)

Drama. Fast-paced/Intense/Moving/Witty.
Black & White. 81 mins. Rated Unrated. Directed By William Wyler. Starring John Barrymore and Doris Kenyon.
William Wyler's engrossing, head-spinning drama features Barrymore in a knockout role as hotshot attorney, George Simon, who runs a busy, lucrative practice handling or rather, manhandling - a dizzying array of high-profile cases. GS, as he is known to his staff, may run with (and occasionally bilk) the rich and powerful, but he also remembers his roots as an immigrant toiling on the streets of Greenwich Village, something his status-conscious socialite wife, Cora (Kenyon), seems almost ashamed of. When George is faced with disbarment for an incident of misconduct in his past, his high and mighty world is turned upside-down. As a series of mini dramas play out around Simon- involving agonized clients from the old neighborhood, interactions among his chirpy young staff, and the unspoken, unrequited love of faithful secretary Regina (Daniels), "Counsellor" inexorably builds to a tense climax. Filled with vivid performances by a slew of fine character actors, "Counsellor" is a rapid-fire drama of class and privilege, love and lucre.
 

Glengarry Glen Ross (1992)

Drama. Brainy/Intense.
Color. 100 mins. Rated R. Directed By James Foley. Starring Al Pacino, Ed Harris and Jack Lemmon.
Director Foley's lacerating, foul-mouthed drama, adapted from David Mamet's Pulitzer Prize-winning play, is equal parts Arthur Miller and bald critique of Reaganomics-gone-bad. As a "cold" real-estate market dampens prospects, motivation consultant Blake (Baldwin) challenges the sales staff at Premiere Properties to a pointedly competitive contest: find buyers or lose your position. Shelley "The Machine" Levine (Lemmon), once a star huckster, can't seem to cut a break, and with a daughter in the hospital, becomes increasingly frantic. Meanwhile, egotistical Ricky Roma (Pacino) appears to be thriving amid the gloom, while beleaguered colleagues Dave Moss (Harris) and George Aaronow (Arkin) resort to a criminal scheme to get ahead. But who really wins and loses in this cutthroat set-up? With a tremendous ensemble cast, the edgy and dark "Glengarry" endures as a potent film about white-collar desperation and the instinct for survival.
 

Lover Come Back (1961)

Comedy/Romance. Farr-cical/Witty.
Color. 107 mins. Rated Unrated. Directed By Delbert Mann. Starring Rock Hudson and Doris Day.
Director Delbert Mann's hilarious follow-up to Hudson-Day's first hit "Pillow Talk" is perhaps less well-known, but every bit as good. In this outing, Rock and Doris play Jerry Webster and Carol Templeton, two rival advertising professionals with contrasting styles, each of whom are vying for the same account. While Jerry wins business with his knack for knowing how to entertain prospective clients (wink, wink), Carol is a more sober idea person who resents the competition's base tactics. "Vip", a mysterious new product, needs agency representation, and amidst assumed identities and other intrigues, we can't wait to learn who'll win the assignment. Rock particularly shines in two separate characterizations, while Randall's drunken elevator scene must be seen to be believed. Fast and sharp, with a vibrantly colorful, early sixties look and feel, "Lover" will keep you hooked. Hooray for Vip!
 

Network (1976)

Drama. Brainy/Intense.
Color. 121 mins. Rated R. Directed By Sidney Lumet. Starring Robert Duvall, William Holden, Peter Finch and Faye Dunaway.
Director Sidney Lumet's devastating, disturbing satire of the modern broadcast age (written by Paddy Chayefsky) still registers over thirty years after its release. Diana Christensen (Dunaway) is a type A network television executive who rides the wave of an unfolding ratings sensation broadcasting deranged televangelist Howard Beale (Finch, in his final performance). Beale hits a chord with disillusioned Americans, urging them to chant his mantra: "I'm mad as hell, and I'm not going to take it anymore." But the Beale phenomenon may not last, as Howard's ever more bizarre rantings signal an emotional breakdown in the making. Beyond portraying a business that bypasses quality in its focused pursuit of eyeballs and dollars, television serves as metaphor for a society mired in superficiality and materialism. Dunaway is commanding in a caffeinated performance as ruthless Diana, Holden unusually affecting as a washed-up veteran of TV's glory days, and British actor Finch a revelation as the unbalanced Beale, winning a posthumous Oscar for his work.
 

Patterns (1956)

Drama. Brainy/Intense.
Black & White. 83 mins. Rated Unrated. Directed By Fielder Cook. Starring Van Heflin and Everett Sloane.
Don't miss this pure, understated masterpiece from the magic pen of Rod Serling. A story of brutal corporate politics feels every bit as relevant today. His company bought out by the larger, prestigious Ramsey and Co., headed by ruthless Walter Ramsey (Sloane), engineer Fred Staples (Heflin) moves to New York and a senior position there. An older, established senior executive named William Briggs (Ed Begley) takes Fred under his wing, but tensions mount when it becomes evident Staples is intended to replace Briggs. Though the DVD transfer itself is not of the highest quality, excellence in every aspect of the film more than compensates. "Patterns" represents spare, compact, intense drama with pitch-perfect playing.
 

Salesman (1969)

Documentary. Moving/Brainy.
Black & White. 90 mins. Rated Unrated. Directed By Albert Maysles. Starring .
The innovative, powerful film put the Maysles Brothers on the map as film-makers, and remains one of the finest documentaries ever made, as it shines sobering light on the modern human condition. Featuring an up-close look at the day-to-day lives of four door-to-door bible salesmen, each with insider nicknames like “The Gipper”, “The Rabbit” and “The Bull”, they all face varying levels of customer resistance and rejection in a tough market. The film focuses in particular on one Paul “The Badger” Brennan, who is sinking ever deeper into a professional slump, feeding a nagging disillusionment with his chosen calling and, by extension, his whole life. We witness a man who has lost the will and ability to perform in his job, and his own self-respect and purpose begin to recede before his eyes. Sadly, at the end of a once promising career, he has precious little to show for his efforts. A wrenching tale of burnout, “Salesman” makes a pitch that’s hard to ignore.
 

The Corporation (2003)

Documentary. Spine-tingling/Brainy.
Color. 145 mins. Rated Unrated. Directed By Mark Achbar. Starring .
Here we have an engrossing documentary which reveals the history of specific mandates under which corporations were originally instituted -- mainly for projects serving collective interests of communities. It ventures from there to paint a devastating picture of how these companies have evolved into corrupt, dysfunctional institutions existing solely to create wealth for employees and shareholders. Given how these mammoth, multi-national companies operate, the big losers will be our children, who may inherit a planet literally plundered by their forebears. This disturbing but illuminating film provides a timely exploration of the ascendance of the corporation to the most powerful, controlling, omnipresent force in society. Though big business types may claim the film-makers’ portrait is a tad one-sided, directors Mark Achbar and Jennifer Abbott make their case in a fresh and engaging way, interspersing interviews with vintage industrial films, commercials and the like. The result is certainly thought-provoking, if not cautionary.
 

Wall Street (1987)

Drama. Intense.
Color. 125 mins. Rated R. Directed By Oliver Stone. Starring Michael Douglas and Charlie Sheen.
Oliver Stone's poisonous ode to the "the go, go "80s" portrays Bud Fox (Charlie Sheen) as a hungry young broker who makes a Faustian bargain by becoming the loyal acolyte of oily, ruthless trader Gordon Gekko (Douglas). Dazzled by all that money can buy, Bud sacrifices the values of balance and fair play instilled by his bewildered blue-collar dad, Carl (Martin Sheen), to ride high on Gekko's coattails - at least until their spectacular fall occurs. Michael Douglas's bravura, Oscar-winning portrayal of Gekko, seemingly a composite of Michael Milken and Ivan Boesky, whose mantra "greed is good" justifies any means to execute the big deal, including insider trading. Subtle it's not, but then neither was the time, nor its players. Director Stone (whose father was a broker) expertly evokes the dizzying altitude of the mega-wealthy, and young Sheen is perfectly cast as a misguided but willing pawn in a high-stakes game that feels too good to be true-and is. And truly, Douglas was never better.
 

Spotlight

• Check out our re-launched website at www.bestmoviesbyfarr.com.. We have more DVD recommendations, more movie night occasions, more search options, a whole new look, and trailers! Tell us what you think, info@bestmoviesbyfarr.com!
• We are putting our fall movie night schedule together for private clubs and institutions including a screening of The Longest Yard for a post Harvard – Princeton football game and a Wachovia sponsored evening featuring the movies that got Americans through the Great Depression. Contact us if you’d like to host a Best Movies by Farr event, olivia@bestmoviesbyfarr.com.