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Archive for December, 2013

Greta Garbo, Melvyn Douglas

Greta Garbo, Melvyn Douglas

“Ninotchka” screens at 1:30 p.m. Saturday, January 4, 2014, in the Durwood Film Vault of the Kansas City Central Library, 14 W. 10th St.  Admission is free. It’s part of the year-long film series America’s Greatest Year, which offers movies released in 1939.

For most of her career, the great Swedish star  Greta Garbo (1905-1990) was known as a dramatic actress. A tragic actress, in fact.

In films like “Flesh and the Devil” (1926), “Anna Karenina” (’35), and “Camille”(‘36), the ethereal-looking Garbo loved, suffered, and died. With regularity.

Audiences were riveted by Garbo’s subtlety of expression, something they were unaccustomed to in silent film. In just a few years she became the best-known woman in world, the “unapproachable goddess of the most widespread and remarkable mythology in human history,” according to social critic Alistair Cooke.

Garbo was considered the movies’ most mysterious and seductive leading lady. Most of her films were box office sensations, and the public became obsessed with her personal life and loves … a situation the fundamentally shy and insecure actress found distressing. As a result she went to extremes to shun unwanted publicity and protect her privacy.

Comedians and even animated cartoons often spoofed a line from Garbo’s film “Grand Hotel” in which her moody ballerina character says, “I want to be alone.”

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John Wayne in "STAGECOACH" (1939)

John Wayne in “STAGECOACH” (1939)

“Gone With the Wind.” “The Wizard of Oz.” “Stagecoach.” “Mr. Smith Goes to Washington.” “Wuthering Heights.”

Vivian Leigh and Hattie  McDaniel in "Gone With the Wind"

Vivian Leigh and Hattie McDaniel in “GONE WITH THE WIND”

What these great films have in common is the year in which they hit America’s movie screens. Film critics regard 1939 as the greatest year in Hollywood history, when more memorable movies were released than at any other time.

Throughout 2014, the Kansas City Public Library recreates the movie going experience enjoyed by audiences 75 years earlier. Each week, the free series Hollywood’s Greatest Year will present a movie from 1939.

Laurence Olivier, Merle Oberon in "Wuthering Heights"

Laurence Olivier, Merle Oberon in “WUTHERING HEIGHTS”

To kick off the series, Yours Truly (Robert W. Butler,  former Kansas City Star movie critic,  proprietor of this web site, and a member of the Library’s public affairs department) is giving an introductory talk, 1939: Hollywood’s Greatest Year, on Sunday, December 29, 2013, at 2 p.m. at the Plaza Branch, 4801 Main St.

A reception follows the event. Admission is free.

The actual films series begins the first Saturday of the new year in the Durwood Film Vault at the Downtown Library, 14 W. 10th.  All screenings are at 1:30 p.m. on Saturdays.  The first month is dedicated to comedy and features the films “Ninotchka” (Jan. 4), “Bachelor Mother (Jan. 11), “Idiot’s Delight” (Jan. 18) and “Only Angels Have Wings” (Jan. 25).

Janes Stewart in "MR. SMITH GOES TO WASHINGTON"

James Stewart in “MR. SMITH GOES TO WASHINGTON”

Embracing comedies, musicals, Westerns, heavy-hitting dramas, crime stories, horror, romance – virtually the entire range of films released by the major movie studios — the series includes 1939’s entries from such long-running series as Sherlock HolmesThe Thin ManAndy Hardy, and Tarzan.

Virtually every star then in front of the camera is represented: Henry Fonda, Greta Garbo, Ginger Rogers, John Wayne, Clark Gable, Jean Arthur, Cary Grant, Laurence Olivier, Bette Davis, Errol Flynn, Olivia de Havilland, Humphrey Bogart, Paul Muni, Judy Garland, Spencer Tracy, Mickey Rooney … the list seems endless.

Hope to see you Sunday at the Plaza Library, then on Saturdays throughout the year at the Central Library.

| Robert W. Butler

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Walter-Mitty-575“THE SECRET LIFE OF WALTER MITTY” My rating : C+ (Opening wide on Dec. 25)

114 minutes | MPAA rating: PG

You’ve got to be of a certain age for the name Walter Mitty to even mean anything. In other words, old.

First appearing in a short story by James Thurber and then enacted on the screen by Danny Kaye in 1947, the story of a milquetoast Every Man who dreams himself the hero of countless adventures became so ubiquitous that any mousey guy with an active fantasy life was immediately identified as a Walter Mitty type.

More than 60 years later we have Walter’s latest incarnation in “The Secret Life of Walter Mitty,” starring and directed by Ben Stiller. An actor who has often dealt in broad caricatures, Stiller here dials things way down. And he’s more interested in heart than in laughs.

The film opens cleverly enough with poor gray Walter wending his way to his job at Life magazine. He’s usually so lost in his own imagination that he misses his train. The opening credits are cleverly projected onto the city buildings around him.

Walter is a shy guy who aches longingly for a new coworker (Kristen Wiig) who seems not to know he exists. So he invents fantasies in which he’s able to sweep her off her feet. Part of the fun of the film’s opening passages is not knowing what’s real and what’s in Walter’s noggin.

Walter lives in the tomb-like basement of a vast office building where he’s a “negative assets manager.”  His job is to receive, process, and print the rolls of film sent by the one Life photographer who has resisted the digital revolution. Of course you could also read “negative assets manager” in another way…and in fact Walter finds his livelihod threatened when the magazine is taken over by a sneering  downsizer (Adam Scott) who announces they’re closing up shop after publishing one last issue. (more…)

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wolf 2“THE WOLF OF WALL STREET” My rating: C+ (Opens wide on Dec. 25)

179 minutes | MPAA rating: R

Is “The Wolf of Wall Street” the result of some sort of show-biz wager?

It’s as if Martin Scorsese (arguably America’s greatest living filmmaker) and Leonardo DiCaprio (Scorsese’s latter-day DeNiro) accepted a challenge to make a three-hour movie that would entice us to laugh along with despicable characters – just because they thought they had the special juice to pull it off.

And there are moments when they come close.

“Wolf” is based on the memoir by Jordan Belfort, a poster boy for ‘90s stock market shenanigans, who made millions selling his customers worthless securities and ended up going to prison for his misdeeds.

Now I’m the sort of fellow who tries to find the essential humanity in just about everyone, but Belfort is the financial equivalent of Adolf Hitler and Pol Pot. He’s arrogant and greedy and virtually without conscience – capitalism at its most corrupt.

And DiCaprio and Scorsese have to sweat like stevedores to make him a palatable companion for 180 minutes.

This is a speedball of a movie that maniacally tears along from one scene of misbehavior to the next, hardly ever slowing down to contemplate just what message we’re to take away. Presumably Scorsese disapproves of Belfort and what he represents … but the film feels just the opposite. It seems a monumental  celebration of greed and excess.

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Idris Elba as the imprisoned Nelson Mandela

Idris Elba as the imprisoned Nelson Mandela

“MANDELLA: LONG WALK TO FREEDOM”  My rating: B- (Opens wide Dec. 25)

139 minutes | MPAA rating: PG-13

“Mandela: Long Walk to Freedom” is an honorable stab at a screen biography of a much-revered individual. On one level it’s inspiring, sure…how could a movie about the late Nelson Mandela not be inspiring?

But it’s also pedestrian…not in terms of production value but in its low-keyed sensibilities. Director Justin Chadwick, a veteran of British television with only two other features to his credit (“The Other Boleyn Girl,” “The First Grader”), is aiming for an intimate epic but comes up short. As a huge admirer of Mandela, I wanted to be deeply moved by this film. I wasn’t.

For starters, there’s the casting of Idris Elba in the title role. I know, I know…Elba is a terrific actor and extraordinarily studly, which is part of the problem. Look at the brooding look he gives in the poster for the movie…it’s more “The Wire” than peace, love and brotherhood.

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Paul Muni as Emile Zola

Paul Muni as Emile Zola

“THE LIFE OF EMILE ZOLA”screens at 1:30 p.m. Saturday, Dec. 28, at the Kansas City Central Library, 14 W. 10th St., as part of the film series Muni the Magnificent.

Its title notwithstanding,”The Life of Emile Zola” is anything but a conventional screen biography.

This Oscar winner for best picture could more accurately have been entitled The Dreyfus Affair, for that notorious case of military injustice is the film’s centerpiece.

We’re introduced to Émile Zola (Paul Muni) as a young man living in a freezing Paris garret in the 1860s (his roomie is painter Paul Cezanne) and trying to jump start his literary career.

Making the acquaintance of a weary prostitute, he interviews her, taking notes on her sad story and writing the best-seller Nana. He’s arrived.

The film then shoots forward several decades. Zola is now a well-established author whose naturalistic novels have scandalized many readers and revolutionized writing. As his old friend Cézanne notes, Zola has become fat and complacent.

And then the Dreyfus scandal hits the headlines in 1894.

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Tom Hanks as Walt Disney, Emma Thompson as P.L. Travers

Tom Hanks as Walt Disney, Emma Thompson as P.L. Travers

“SAVING MR. BANKS” My rating: B+ (Opening wide on Dec. 20)

125 minutes | MPAA rating: PG-13

“Saving Mr. Banks” — a serio-comic look at Walt Disney’s tireless courtship of “Mary Poppins” author C. L. Travers — can be viewed either as a charming explanation of how one of the best family films of all time came to be made, or as an infuriating example of corporate self aggrandizement.

While cognizant of the latter, I’ll go with the former.

The latest  from director John Lee Hancock (“The Rookie,” “The Blind Side”) is set during Travers’ two-week visit to L.A.  in the early 1960s, arranged so that Disney — who more than two decades before had sworn to his wife and daughters that he would bring their favorite heroine of children’s literature to the screen — could coax, canjole and charm the dubious author into signing over the movie rights to her books.

Disney was nothing if not determined. Without authorization he had been working for years on the a screenplay and his in-house tunesmiths — brothers Robert and Richard Sherman —  already had written the songs for what would be one of the greatest movie soundtracks of all time.

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a 12-Years-A-Slave“12 YEARS A SLAVE”

Based on the true story of a free black man kidnapped and enslaved just before the Civil War, Steve McQueen’s film is not only about the horrors of slavery but also the toll that “peculiar institution” takes on those who practice it. Brilliant perfs from Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong’o.

a blue“BLUE IS THE WARMEST COLOR”

Adele Exarchopoulous, 19, gives one of the greatest screen performances of all time as a French high school girl who falls hopelessly and totally in love with an older woman (Lea Seydoux). Abdellatif Kechiche’s film has been knocked in some quarters for its graphic sex scenes – but that’s 12 minutes in a three-hour movie that follows a young woman’s life over several years in astonishingly psychological detail.

a enough“ENOUGH SAID”

Writer/director Nicole Holofcener is the master of the modern relationship film. In this wise, witty and wonderful comedy a divorced mom (Julia Louis-Dreyfus) finds herself befriending a trendy poet (Catherine Keener) while falling for the poet’s scruffy but loveable ex (the late James Gandolfini).  It’s a charming look at late love filled with juicy dialogue, dead-on performances and gentle social satire. (more…)

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Christian Bale...fat, bald, and out of control

Christian Bale…fat, bald, and out of control

“AMERICAN HUSTLE” My rating: C+ (Opens wide on Dec. 18)

138 minutes | MPAA rating: R

David O. Russell’s “American Hustle” is crammed with near-brilliant moments and performances.

Yet the film itself left me cold. More than cold. Alienated.

Granted, mine seems to be a minority opinion. Other scribes are tossing words like “masterpiece” and “great American comedy”  at “Hustle.” Maybe they’re seeing something I missed.

Amy Adams

Amy Adams

Inspired (loosely) by the ABSCAM operation of the late 1970s (when the FBI lured — entrapped? — politicians into taking bribes through an elaborate ruse that involved a phony oil sheik), it’s the story of a couple of con artists who get swept up by the feds and, to avoid prosecution, agree to help the government set up an even bigger con.

The film begins with a superb wordless introduction in which con man/dry cleaning magnate Irving Rosenfeld (Christian Bale) emerges from the shower and gets to work on the face he presents to the world. The normally cut Bale (he’s Batman, fer chrissakes) put on maybe 40 pounds to play the tubby, middle-aged Irving.  Now he stands in front of a mirror creating, strand by strand, spray by spray, the world’s most atrocious comb-over ‘do. It’s awesomely funny, in an I-don’t-believe-what-I’m-seeing way.

Irving is smoking a stogie at a pool party when he gets a glimpse of Sydney Prosser (Amy Adams), a young woman on the make both professionally and romantically. He’s ugly, she’s beautiful (unlike every other director in America, Russell looks at Amy Adams and sees rampant sexuality, God love him) and they bond over jazz. Soon he’s teaching her the ropes of financial scamming, and together they’re enjoying an erotic field day.

The catch is that Irving is married to the gold-digging Rosalyn (Jennifer Lawrence), a quintessential Jersey princess. She won’t divorce him and, anyway, Irving is absolutely crazy about her young son, whom he has adopted.

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inside llewyn 2“INSIDE LLEWYN DAVIS” My rating: B+ (Opening Dec. 20 at the Glenwood Arts)

105 minutes | MPAA rating: R

I freakin’ love “Inside Llewyn Davis,” the Coens’ moody, bitterly funny, dead-on accurate recreation of the early ’60s New York folk scene.

I love it despite the fact that it’s a downer — similar in mood to “Barton Fink” — and that its protagonist is a talented but selfish sphincter.  I love its atmosphere, I love the music.

Of course, the main character is a dick, and I might  love the film even more if it showed even a teeny bit of heart, but then it wouldn’t be a Coen Brothers movie.

We meet our titular protagonist, Llewyn Davis (Oscar Isaac), playing and singing in Greenwich Village’s Gaslight club in 1961. Llewyn (pronounced Lew-In) is performing a traditional song called “Hang Me Oh Hang Me,” and he’s really, really good.

Of course he’s also a folkie purist, a snob, and an artiste whose uncompromising vision pretty much rules out anything like commercial success. He’s like a perverse King Midas — everything he touches turns to crap.

The film follows Llewyn as he drifts around the city during a cold snap. Wearing nothing but a threadbare sports coat and a muffler, his touseled hair blowing in the frigid breeze, our man could almost be a character out of Dickens. (Clearly, the Coens have  studied the cover of “The Freewheelin’ Bob Dylan” LP.)

He’s got no home so he crashes where he can. He spends a night with a Columbia University professor and his wife, and inadvertently lets the couple’s big orange cat escape. Locked out of the apartment, Llewyn has no option but to carry the feline about on his chilly perambulations.

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