Hugo

A few years ago, Martin Scorcese, the director known mostly for his films depicting the brutality of mob violence, decided to make a picture showcasing his love for film history. Based on the book "The Invention of Hugo Cabret", it's about an orphan who lives in and takes care of the clocks for the Train Station. Hugo's father, a master watchmaker has died, and his abusive Uncle has gone missing. And knowing the fate of most orphans in Paris, Hugo is anxious for no one to know of his existence.  So he keeps the clocks going and finds the occasional mechanical piece to use to fix his automaton (a sort of pre-cursor to robots).  Eventually Hugo runs afoul of Georges Melies, who runs the local toy shop, and who has taken a dislike to Hugo. But who also shares a connection with him that will unlock both their hearts.

The film is absolutely stunning to look at. Costumes, art direction, visual effects, and music all are top-notch, and the recreation of early Melies short films are brilliant. The performances are sweet and heart-felt.  And the magic of movies is alive and well.

The Man in the Gray Flannel Suit

One of my favorite pictures from the 1950's is "The Man in the Gray Flannel Suit".  I first saw it years ago in college for my "Film in American Culture" class, and I've pretty much adored it ever since.  Some of the things we were asked to consider in that class were the time period the film was made in, and what it was trying to say about American culture at the time.  And I think this picture says a lot.

Starring Gregory Peck and Jennifer Jones, it's the story of a 1950's male, a World War II vet, who's trying to provide for his family and navigate a changing world. His life is mostly pleasant, but boring, and very different from his experiences in the War.  It's a more cynical world, a TV world, and a world where it's harder to make the choices that will keep families together.  He takes a job on Madison Avenue, setting in motion a series of choices he must make as to what it will take to keep his family together and his conscience clear.

The performances are brilliant, particularly Gregory Peck and Fredric March, who plays his boss, a man who has lost his family due to his inability to control his ambitions. There's also terrific work from Jennifer Jones, Keenan Wynn, Marisa Pavan, Arthur O'Connell, and Henry Daniell is his usual sneering self.

"The Man in the Gray Flannel Suit" is a perfect example of what was happening at the time. Made in brilliant technicolor and filmed in Cinemascope, it was meant to be shown on a wide screen so as to compete with TV and get more viewers off the couch and in to the theaters.  The movie comments on this in several scenes of the family members being distracted a TV screen, and the pseudo-violence of TV Westerns, as compared to the actual violence of war. It's also one of the first movies to take on work-life balance, and shows how over-devotion to work can impact family dynamics.  And finally it takes on the topics of honesty and integrity, and how the lack of them can lead to bitterness and cynicism.  It's one of those rare examples of a film that can entertain while it's trying to get you to think.

The Rainmaker

Apologies to the Katharine Hepburn movie of the same name, but this "Rainmaker" is one of my favorite movies from the '90's, and ranks very high on my list of favorite legal thrillers.  I consider it the best translation of a John Grisham book to a movie.

It's the story of a young recent Law School graduate, Rudy Baylor, and his effort to take on a large insurance company in court.  Seems said insurance company is signing up insurees, but when it comes time to pay up on their claims, the claims, even though valid, are consistently denied.  So our bright young man takes them to court, on behalf of his lower-middle-class client.

The cast is a who's who of 80's movie stars and movie legends - Jon Voight, Danny Devito, Danny Glover, Mary Kay Place, Virginia Madsen, and Mickey Rourke to name a few.  Not to mention one of my personal favorites, Oscar-winner Teresa Wright ("Mrs. Miniver"), in her last movie appearance.  And the acting in all cases is all-around brilliant.

One of the things I really like about this movie, is that it really seems to "get" the spirit of the Mississippi Delta that I remember.  Granted, it takes place in Memphis, but from the strains of soul and gospel organ music, to the old homes and wraparound porches and eccentric characters, it just takes me back to what it felt like to live in the Delta.

Something else I find interesting is that it's directed by none other than Francis Ford Coppola, he of "The Godfather" and "Apocolypse Now" fame.  One of the great directors of the '70's, he had fallen on hard financial times, and this picture was one that he took while trying to pay off his debts. But while "The Rainmaker" may not rank up with some of his previous films, I think he totally nails this one.  And it's supposedly John Grisham's personal favorite of his books translated to film.  Which I guess puts me in good company.