Comedy Archives - Page 18 of 76 - FILM FREAK CENTRAL

Ernest & Celestine (2012) + Jodorowsky’s Dune (2014)

April 10, 20142012, 2014, Adventure, Animation, Authors: Walter Chaw, Belgium, Comedy, Crime, Documentary, Drama, Family, France, Luxembourg, Theatrical

Ernest et Célestine
**½/****
screenplay by Daniel Pennac, based on books by Gabrielle Vincent
directed by Stéphane Aubier, Vincent Patar, Benjamin Renner

JODOROWSKY’S DUNE
**½/****
directed by Frank Pavich

by Walter Chaw Broad, earnest, unassuming animation from France, Ernest & Celestine is the tale of a little girl mouse, Celestine (voice of Pauline Brunner), and gruff bear Ernest (Lambert Wilson), who overcome their cultural prejudices to become fast friends. Celestine is outcast because she’d like to be an artist instead of a dentist; Ernest is outcast because he’s a busker struggling to eke out a subsistence living. Over a series of misadventures, the two end up doing the Badlands in Ernest’s ramshackle hideaway, awaiting their fate and trying to enjoy their borrowed time. It’s all leading to a grim ending, but it’s not that kind of movie.

The Wolf of Wall Street (2013) – Blu-ray + DVD + Digital HD

March 23, 20142013, 2014, Authors: Angelo Muredda, Authors: Bill Chambers, Biopic, Blu-ray Disc, Comedy, Crime, Directors: Martin Scorsese, Drama, DVD

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***½/**** Image A+ Sound A Extras C-
starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin
screenplay by Terence Winter, based on the book by Jordan Belfort
directed by Martin Scorsese

by Angelo Muredda "For us, to live any other way was nuts," Ray Liotta's schnook turned gangster Henry Hill explains early on in Martin Scorsese's Goodfellas. With that, spoken over a montage of permed Italian men in tailored suits gorging themselves at an upscale restaurant, Hill at once launched a wave of lesser, faux-conflicted pictures about the swanky perks and ethical compromises of organized crime, and raised the fundamental moral question of Scorsese's latest, The Wolf of Wall Street. An unashamedly indulgent, ribald, and formally troubled biopic of Jordan Belfort, this unofficial Goodfellas follow-up likewise revolves around the kind of work that makes living like a pig in shit possible. His kinship to Hill aside, Belfort has had an unusually clear-sailing trajectory to garner the interest of a filmmaker who tends to be drawn to Catholic tales of excess followed by redemptive suffering. Belfort is still a born stockbroker and swindler, despite his working-class origins and federal inquiries and stints in rehab; the fact that he debuted on Wall Street the day of the crash and remains in demand as a guru well after the financial crisis of 2008 seems to give Scorsese and screenwriter Terence Winter pause, as well the astonishing survival rate of cockroaches should. What better way to make a film about such a man, Scorsese and Winter appear to have concluded, than to structure his story as a Roman orgy?

Le Week-End (2013)

March 20, 20142013, 2014, Authors: Walter Chaw, Comedy, Drama, Theatrical, UK

***½/****
starring Jim Broadbent, Lindsay Duncan, Jeff Goldblum, Olly Alexander
screenplay by Hanif Kureishi
directed by Roger Michell

by Walter Chaw Nick (Jim Broadbent) has been fired from his professorship, and, not to celebrate but maybe to memorialize it, he and wife Meg (Lindsay Duncan) take a romantic trip to the City of Light. Well, a trip, anyway. After two awful films (Morning Glory and Hyde Park on the Hudson), Roger Michell returns to form (and to screenwriter/playwright Hanif Kureishi) with this bitter little pill, Le Week-End, whose title, read the way I think it was intended to be read, just drips with acerbic disdain. It reminds me of an exchange about midway through where a desperate Nick tells Meg that he loves her and Meg hisses, in a way that only a British actress at the absolute peak of her powers could hiss, "Love… DIES." Yet Meg doesn't hate Nick and Nick, for his part, isn't quite the milquetoast he presents himself as in moments like these, when he falls on the street and injures his knee to the ringing, castrating laughter of his mate, or when he infers that Meg wants to leave him and starts to whimper like a child. Also at about the halfway mark, the couple encounters an old colleague of Nick's, Morgan (Jeff Goldblum), who promptly invites them to a dinner party in honour of Morgan's latest literary success ("It could happen to anybody," he says; "It didn't happen to me," Nick responds), and suddenly Michell and Kureishi have the meat of professional and personal jealousy to worry off the bone, too.

The Grand Budapest Hotel (2014)

March 13, 20142014, Authors: Walter Chaw, Comedy, Directors: Wes Anderson, Drama, Theatrical

**/****
starring Ralph Fiennes, F. Murray Abraham, Edward Norton, Tony Revolori
written and directed by Wes Anderson

by Walter Chaw I'd be hard-pressed to think of many sequences in the movies better than the two minutes from Wes Anderson's The Royal Tenenbaums where Richie gets picked up at the Green Line Bus by his adopted sister Margot following a lengthy absence. It's beautifully composed, emotionally weighted, and punctuated with the best use of Nico in a sentence, ever. There's a rub there–my favourite Wes Anderson films are the ones that use music in this way; I ally him in my mind with artists like Sofia Coppola and, sure, Quentin Tarantino. I think the full potential of film is only really reached when all the elements that go into a movie–the seven arts, as it were–are used in concert. Wes Anderson, as he utilizes fewer and fewer pop songs in his films (his latest, The Grand Budapest Hotel, is his first without any), is losing emotional complexity as his hermetically-sealed, obsessive-compulsive dreamscapes become increasingly complex. Consider the moment from Django Unchained where our heroes ride into act two to Jim Croce's "I Got a Name." It's iconic, transformative; the scene has a quarter of its power without the agency of that song. Tarantino truly gets it. When Anderson opens The Darjeeling Limited with The Kinks' "This Time Tomorrow," letting the scene play in slow-motion as Adrien Brody's character tries to outrun the ghost of his father, wow. I remember hearing about the introductory tracking shot of the research vessel in The Life Aquatic with Steve Zissou, how Anderson was possibly planning on scoring it with a Radiohead song ("How to Disappear Completely," if memory serves) and how that potential marriage gave me a shiver of anticipation. The farther Anderson falls into his navel, the clearer it is that he no longer gets what he used to get, swallowed whole by the grey beast solipsism.

The Wind Rises (2013) + Frozen (2013)

February 25, 2014****/****, 2013, 2014, Adventure, Animation, Authors: Walter Chaw, Biopic, Comedy, Disney, Drama, Family, Japan, Musical, Romance, War

THE WIND RISES
****/****
written and directed by Hayao Miyazaki

FROZEN
**½/****
screenplay by Jennifer Lee, inspired by Hans Christian Andersen's "The Snow Queen"
directed by Chris Buck and Jennifer Lee

Editor's Note: This review pertains to the original Japanese-language version of The Wind Rises.

by Walter Chaw Hayao Miyazaki's alleged swan song The Wind Rises is mature, romantic, grand storytelling that just happens to be something like a romanticized biography of Jiro Horikoshi, the aeronautical engineer behind the design of the Mitsubishi A5M, which led, ultimately, to the Zero. Indeed, for a Western audience, watching Jiro's dreams of squadrons of Zeros buzzing over fields of green is chilling, and advance critics seemed unable to distinguish the Japanese war machine from the film's focus on a life lived in pursuit of dreams. In truth, separating these two aspects of the picture–the proximate and the historical–is self-defeating. (Dismissing the movie out of hand is equally blinkered.) One without the other, The Wind Rises loses anything like substance, resonance, importance. It would fall on the one side into gauzy bullshit, on the other into Triumph of the Will. As is, it's something more akin to Studio Ghibli's own Grave of the Fireflies in its humanizing of a man whose dreams were corrupted into something terrible. Einstein would be one of the West's potential Horikoshi corollaries–and if Miyazaki had done Albert's biography, I'd expect to see mushroom clouds illustrating his fantasies of relativity. For Horikoshi, Miyazaki provides upheavals and disasters as highlight to each of his life events: He first meets his wife in a train crash; in a lilting epilogue, when Jiro bids farewell to his dead wife, Miyazaki offers fields of devastation and a village in flames. Throughout, Miyazaki presents earthquakes, rainstorms, sudden bursts of wind as reminders of…what? The inevitability of change? The portents of war? The cycles of life and death? All of that; but what compels is the idea of helplessness in the face of larger forces–that although we chase our dreams, we're never really in control of our destinies.

The Jungle Book (1967) [Diamond Edition] – Blu-ray + DVD + Digital Copy

February 23, 20141960s, 2014, Animation, Authors: Bill Chambers, Blu-ray Disc, Comedy, Coming of Age, Disney, DVD, Family, Musical

***/**** Image C+ Sound A- Extras A
story by Larry Clemmons, Ralph Wright, Ken Anderson, Vance Gerry, inspired by the Rudyard Kipling “Mowgli” stories
directed by Wolfgang Reitherman

by Bill Chambers SPOILER WARNING IN EFFECT. The Jungle Book receives only two passing mentions in Neal Gabler’s mammoth biography of Walt Disney, even though it has the distinction of being the last animated film Disney lived to produce and ended his career in a commercial triumph to bookend the early success of Snow White and the Seven Dwarfs. Gabler’s brevity on the subject suggests that The Jungle Book was of little consequence to Disney, but there are clues to the contrary between the lines, such as when Gabler writes tantalizingly about Walt’s opinion that early drafts of the script were too “sober.” Indeed, he was personally invested in the project to the point of choosing it over his relationship with long-time story man Bill Peet, who’d brought Rudyard Kipling’s Mowgli stories to Disney’s attention in the first place. Peet’s adaptation was, as Walt saw it, beset by its fidelity to Kipling, and he solidified his vision for lighter-hearted fare by hiring radio icon Phil Harris, whose husky, hearty voice would become synonymous with Disney animation in those posthumous years. The energy and levity Harris brought to the minor character of Baloo the Bear led to a reconceiving of the narrative so that it pivoted, in Gabler’s words, on the Falstaff/Prince Hal dynamic between Baloo and child hero Mowgli.

Nebraska (2013) – Blu-ray + DVD + Digital HD

February 17, 20142013, 2014, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, DVD

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***½/**** Image A Sound A Extras C+
starring Bruce Dern, Will Forte, June Squibb, Stacy Keach
screenplay by Bob Nelson
directed by Alexander Payne

by Walter Chaw Alexander Payne returns to form after the disappointing The Descendants with the muted, often hilarious, and sentimental-without-being-schmaltzy filial road trip Nebraska. It's easily his most tender work, despite the mordant, sometimes bitter humour Payne has become known for in his best work (Election remains his crowning achievement; About Schmidt is no slouch, either), and it makes a brilliant move in offering a showcase opportunity for national treasure Bruce Dern. Shot in black-and-white, with a spare, minimal production design making it an expressionist piece projecting the barren interiors of its broken characters, Nebraska, though not the adaptation of the identically-named collection of Ron Hansen short stories I initially hoped it was, at least possesses the same wintry, intellectual mien.

Night of the Comet (1984) [Collector’s Edition] – Blu-ray + DVD Combo Pack

February 3, 20141980s, 2014, Authors: Walter Chaw, Blu-ray Disc, Comedy, DVD, Horror, Sci-Fi, Scream/Shout! Factory, Zombie

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½*/**** Image C+ Sound C+ Extras B
starring Robert Beltran, Catherine Mary Stewart, Kelli Maroney, Geoffrey Lewis
written and directed by Thom Eberhardt

by Walter Chaw SPOILER WARNING IN EFFECT. There's a quote from the seventh season of "The Simpsons" that applies to the problem before us where Bart, happening on a "Schoolhouse Rock" thing and learning from Lisa that it's one of "those campy '70s throwbacks that appeals to Generation X-ers," says, "We need another Vietnam to thin out their ranks a little." If there were, and if it had, we might've avoided the current rage for hipsterism–if the Joss Whedons of the world (and David Cranes and so forth) had found themselves casualties in some hostile jungle setting, then would this current youth generation have adopted, ironically, that last generation, and would people like me at my tender age of 40 be fuelling demand for hale distribution/archival companies like Shout! to produce exhaustively-supplemented HiDef releases of garbage like Thom Eberhardt's excruciating Night of the Comet? Look, I'm not immune–I wrote an entire monograph (200+ pages, no kidding) on Steve De Jarnatt's Miracle Mile that, in my defense, was more memoir than anything else (or is that more disclaimer than defense?). Still, I'll proclaim to my grave that Miracle Mile has substance, while Night of the Comet has none. The first and greatest danger of nostalgia is that having grown up with certain artifacts, we treat them like family and tend to love them unconditionally, as family does. This affection doesn't mean that junior isn't a grinning idiot, however, because at least in this instance, he is. And I'm a strong believer that if one of your family members is a grinning idiot, it's actually your job not to inflict him or her on other people.

Weekend (1967) [The Criterion Collection] – Blu-ray Disc

January 30, 2014****/****, 1960s, 2014, Authors: Angelo Muredda, Blu-ray Disc, Comedy, Drama, Esoterica, France, Road Movie, Satire, The Criterion Collection

WEEK END
****/**** Image A- Sound B Extras B
starring Mireille Darc, Jean Yanne, Georges Staquet, Juliet Berto
written and directed by Jean-Luc Godard

by Angelo Muredda “The horror of the bourgeois can only be overcome with more horror.” So says a militant cannibal as he stands over the remains of one such bourgeois husk late in Weekend, Jean-Luc Godard’s farewell to the alienated pop art and American genre gerrymandering of his early period. As the line about horrors piled upon horrors implies, Weekend is nasty, as valedictory addresses go–a scorched-earth attack on France under Charles de Gaulle that finds nearly all of its citizens massacred in car crashes of their own design and converted into consumable products, namely food. The humanism of minor tragedies like Vivre sa vie and the heedless joy of Frank Tashlin homages like Une femme est une femme has here curdled into a new, ugly form. Although its title suggests a world of leisure and free play, one doesn’t enjoy Weekend so much as one endures it.

We’re the Millers (2013) – Blu-ray + DVD + Digital HD

January 23, 20142014, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, DVD, Road Movie

**/**** Image A Sound A Extras D
starring Jennifer Aniston, Jason Sudeikis, Emma Roberts, Ed Helms
screenplay by Bob Fisher & Steve Faber and Sean Anders & John Morris
directed by Rawson Marshall Thurber

by Walter Chaw Rawson Marshall Thurber's return to the territory of the screwball gross-out comedy that put him on the map, the better-than-it-should-be Dodgeball, is the better-than-it-should-be (but not as good as Dodgeball) We're The Millers, an essentially plotless road-trip intrigue that nonetheless glances off 2013's concern with the decline of the middle class while providing a couple of chuckles along the way. It's the lowbrow version of Albert Brooks's Lost in America if looked at through a particularly sympathetic lens–a hint of a conversation about class, a whiff of something about how hard it is to make a living on streets getting meaner by the day. Ultimately, it's probably just lucky that the cast assembled has an impressive improvisational pedigree (and that the director is open to making adjustments midstream), lending a stale comedy of mistaken identity a degree of perhaps-undeserved life. It probably doesn't hurt that We're the Millers never, at any point, tries to be something it's not: rescued by a total lack of ambition.

Body Bags (1993) [Collector’s Edition] – Blu-ray Disc

January 13, 20141990s, 2014, Authors: Bryant Frazer, Blu-ray Disc, Comedy, Directors: John Carpenter, Directors: Tobe Hooper, Horror, Sci-Fi, Scream/Shout! Factory, Thriller

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**½/**** Image A- Sound C- Extras B
starring Robert Carradine, Stacy Keach, Mark Hamill, Twiggy
written by Billy Brown & Dan Angel
directed by John Carpenter and Tobe Hooper

by Bryant Frazer In 1989, HBO debuted a horror anthology show, "Tales from the Crypt", based on stories from the disreputable EC comic books of the early 1950s. Jump-started by a stable of Hollywood big shots like Richard Donner, Joel Silver, and Robert Zemeckis, the show was a hit, and the wisecracking "Crypt Keeper" who introduced each episode quickly became a pop-culture icon. HBO's rival Showtime, known primarily for its softcore anthology "Red Shoe Diaries", was presumably aiming to duplicate that success when it backed Body Bags, an anthology project led by co-executive producers John Carpenter and his wife, Sandy King. Despite that genre pedigree, the series never got off the ground, but a pilot was completed: three half-hour segments with a goofy framing story involving Carpenter himself doing a deadpan Betelgeuse impression among the stiffs in a city morgue. The finished omnibus aired on Showtime as a one-off in the summer of '93.

The Wolf of Wall Street (2013)

December 24, 20132013, Authors: Angelo Muredda, Biopic, Comedy, Crime, Directors: Martin Scorsese, Drama, Theatrical

***½/****
starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin
screenplay by Terence Winter, based on the book by Jordan Belfort
directed by Martin Scorsese

American Hustle (2013)

December 19, 20132013, Authors: Angelo Muredda, Comedy, Crime, Drama, Theatrical

**/****
starring Christian Bale, Bradley Cooper, Jeremy Renner, Jennifer Lawrence
screenplay by Eric Warren Singer and David O. Russell
directed by David O. Russell

by Angelo Muredda "The world is extremely grey," a con artist intones in American Hustle, which for all its ineffectual stabs at ambivalence is a curiously prescriptive heist movie, the kind that constantly updates its ledger about who deserves what in the end, in case someone should go unrewarded. It's hard to say when David O. Russell–a formerly prickly sort so effectively housebroken in recent years that he's now on the fast track to Academy Award nominations four through five–became so square as to depend on this sort of moral calculus for his dramatic fulfillment: Its equally big-picture pronouncements aside, I ♥ Huckabees seems an odd way station between the redemptive U2-scored montage that closes Three Kings and the brotherly hug of The Fighter, as well as a far more pugilistic film than the one about boxing. Whatever the genesis of his newfound softness (which Russell has insisted is the mark of his maturity as an artist), it's never been as out of synch with either his manic sensibility or his aesthetic of distended, freewheeling set-pieces and outsized actorly emoting as it is here.

Inside Llewyn Davis (2013)

December 8, 2013****/****, 2013, Authors: Walter Chaw, Coen Brothers, Comedy, Drama, Music, Theatrical

****/****
starring Oscar Isaac, Carey Mulligan, John Goodman, Justin Timberlake
written and directed by Joel Coen & Ethan Coen

by Walter Chaw I love the Coen Brothers, despite my suspicion that most of their movies don't think much of me at all. What's often read as disdain for their characters I've read mainly as antipathy for their audience: I believe they like their characters just fine, it's just that they could give a shit about your opinion of what happens to them. I love the Coens for their literary acumen, for their fine ability to understand not simply the form of genre–and, in their adaptations, of authors–but the entire function as well. They don't just adapt Cormac McCarthy and Charles Portis novels, they adapt those writers' entire bodies of work. O Brother, Where Art Thou? is a remarkable retelling of The Odyssey, for instance, because in addition to following the outlines of the poem, it adapts its themes and storytelling strategies; it's a dissection and a representation and glorious, of course. They return now to The Odyssey–or, at least, to the character of Odysseus–in Inside Llewyn Davis, a picture set in 1961, among the bohos and coffee shops of a Greenwich Village on the verge of Bob Dylan and the counterculture, and it's populated with lost souls in overlapping underworlds. Transpose that passage from Homer where Odysseus fills troughs with sheeps' blood to draw the undead (and finds his poor deceased mother there at her drink) to scenes in Pappi's (Max Casella) infernal nightclub as proto-hipsters and neo-beatniks assemble blandly on the edge of a trembling something while performers bleed out before them. In rituals for new gods, after all, there must be lambs to slaughter.

Frances Ha (2013) [The Criterion Collection] – Dual-Format Edition

December 5, 20132013, Authors: Angelo Muredda, Authors: Bill Chambers, Comedy, Coming of Age, Drama, The Criterion Collection

***½/**** Image A- Sound A- Extras B+
starring Greta Gerwig, Mickey Sumner, Charlotte D’Amboise, Adam Driver
screenplay by Noah Baumbach & Greta Gerwig
directed by Noah Baumbach

by Angelo Muredda There’s a lot to love in Frances Ha, but the highlight is surely a tracking shot of star, muse, and co-writer Greta Gerwig clumsily bounding through the streets of Brooklyn to the sounds of David Bowie’s “Modern Love.” (In a daily dispatch for mubi.com, Fernando Croce astutely toasts her “galumphing radiance.”) You could read this moment as either a joyous corrective to Michael Fassbender’s miserable NYC jog in Shame or a direct lift, down to the song’s abrupt stop, from Leos Carax’s Mauvais sang–think of Gerwig as the Ginger to Denis Lavant’s Fred. Or you could just accept it as the clearest expression of the film’s ambling structure: a lovely, headlong dive through traffic en route to somewhere safe but rewarding.

Monsters University (2013) [Collector’s Edition] – Blu-ray + DVD + Digital Copy

November 12, 20132013, Adventure, Animation, Authors: Bill Chambers, Blu-ray Disc, Comedy, DVD, Family, Pixar

Mu2

**/**** Image A+ Sound A+ Extras A
screenplay by Daniel Gerson & Robert L. Baird, Dan Scanlon
directed by Dan Scanlon

by Bill Chambers On a school trip to Monsters, Incorporated, young cyclops Mike Wazowski, the kind of pipsqueak who gets saddled with the teacher when his classmates choose partners, sneaks onto the scaring platform and follows an octopus-like creature through one of the closet-door terminals. Rather than reprimand him, the monster tells Mike he might have what it takes to become a scarer and gives him his cap, Mean Joe Green-style. That hat bears the logo of the Scarer’s alma mater, Monsters University (better than Fear Tech!); an undergrad is born.

SDFF ’13: Soft in the Head

November 6, 20132013, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals

**½/****
directed by Nathan Silver

by Walter Chaw Nathan Silver's second film in less than two years (he reports he now has four in the can) is the surprisingly affecting Soft in the Head, which works as a detailed study of lives of loud desperation. Natalia (Sheila Etxeberria) is a drunk, makes bad object choices, and is an all-around loser who also has the misfortune of being really pretty, making her the target of just about everyone she comes in contact with. Exteberria, the sister of an ex-roommate of Silver's, is a true find, as is Ed Ryan as kind, mild Maury, who walks the streets in search of lost souls to invite to bunk with him in his little apartment. Shades of Viridiana, and for all of Silver's protestations to the contrary, there's a certain formalism in his satire that gives an arc to what was, by his report, an almost-completely improvised, looser-than-loose adaptation of Dostoevsky's The Idiot, with only the character of poor, saintly, benighted Prince Myshkin remaining somewhat intact in Maury. Soft in the Head is saved from pretension, though, by the complete naturalism of the performances. Exteberria astounds for her unself-consciousness as a character irredeemable, defined by her lack of impulse control and horrific decisions. A friend, Hannah (Melanie J. Scheiner), provides the film its foil while Hannah's autistic brother Nathan (Carl Kranz) has a pivotal moment where he speaks directly to Natalia's essential problem as an insufficient object of desire. The last moments between Natalia and Maury are touching, and the final scene, where I swear I see Maury moving his hand on her thigh, speaks to puzzles, deep, in how there may be no such thing as holy saints invested in pure altruism. The only thing worse than a world with Myshkins, after all, is a world without them.

SDFF ’13: Go Down Death

November 5, 20132013, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Esoterica, Film Festivals

½*/**** written and directed by Aaron Schimberg by Walter Chaw Okay, I'm gonna take a stab at this one. Aaron Schimberg's aggressively pretentious Go Down Death is an attempt to speak to the idea that communal storytelling is the key way in which humans communicate culture. Ostensibly based on a lost folklorist's collected works, it acts like a Guy Maddin, looks like early Jim Jarmusch, and really doesn't work at all, because if the film is a variation on a theme, it's a riff that goes on way, way too long. I spent an evening once watching mushroom prints, stained…

Starz Denver Film Festival ’13: All Together Now

November 3, 20132013, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Music

**½/****screenplay by Ryan Kasmiskie & Alexander Mireckidirecting Alexander Mirecki by Walter Chaw Two scenes: one featuring a bonfire-illuminated kiss against a forest backdrop, the other a man standing on a platform in a clearing as a crowd fills in around him. Both are captured in glorious 16mm, shot through with grain and lit by natural light; both are suffused with a magical, twilit glow that only really happens in exactly this way when you use old, some would say obsolete, technology. These moments almost, by themselves, justify the existence Alexander Mirecki's All Together Now. At the least, there's nothing about…

To Be or Not to Be (1942) [The Criterion Collection] – Blu-ray Disc

October 29, 2013****/****, 1940s, 2013, Authors: Walter Chaw, Blu-ray Disc, Comedy, FFC Must-Own, The Criterion Collection, Thriller, War

Tobeornottobe2

****/**** Image A+ Sound A- Extras A
starring Carole Lombard, Jack Benny, Robert Stack, Felix Bressart
screenplay by Edwin Justus Mayer, based on a story by Melchior Lengyel
directed by Ernst Lubitsch

by Walter Chaw Ernst Lubitsch took chances, none greater than To Be or Not to Be. Released in the first months of America’s involvement in WWII, in that initial flurry of propaganda that saw the Nazis as murderous, animalistic, inhuman Hun, Lubitsch chose instead to portray them as ridiculous, as human–to make a comedy, a farce…and a masterpiece, as it happens. It’s a crystallization of his work in that way: He’s always more interested in foible than in oppressive arcs of personal failure–if Nazis can be seen to be possessed of the same faults as the rest of us, the same vanities, the same fears. Make no mistake, To Be or Not to Be is no olive branch. Seventy years on, it remains among the most withering satires of totalitarian governments and the politics of groupthink, but it suggests that Nazism is just one of many insufficient sops to the insecurities hardwired into us–that we’re all just thin projections strutting and fretting our hour on the proverbial stage, each susceptible to things that would give relief from the pain of lack of self-confidence and identity. It’s a film that seeks to explain why people create cults of personality. That it sets itself amongst a theatre troupe performing “Hamlet”, itself a play that houses another play within itself (holding a mirror up to nature, indeed), makes total sense in a picture that, through this absurdity, seeks to highlight greater absurdities. Of all his great films (and when push comes to shove, I’d say Trouble in Paradise is and likely always will be my favourite Lubitsch), To Be or Not to Be is inarguably his greatest.