Jimmy Stewart and Kim Novak in Vertigo (1958)Although I’ve seen it many times over the years, it was only today I finally got around to writing something about Alfred Hitchcock’s 1958 wonder, Vertigo. I posted my “review” (if you can call it that) here: Vertigo (1958). As I say in the piece, Vertigo, “… stands up as an enthralling movie, a magnificent confluence of directing, story, theme and performance.”

I understand that some people find watching older movies difficult (this one is over 50 years old). The quality of them isn’t always the best and often the style and look are hard to adjust to because current films are technically so much better, as far as image goes, and the style is often so different, usually so much more fast paced.

It helps, I suppose, to have grown up with some of these older movies. I think that makes them more accessible — because they are familiar, at least stylistically. But I feel a bit sorry for anyone who finds them hard to engage with.

In the case of Vertigo, as I watched it through it’s second half, as Scotty tries to remake Judy into his fantasy of Madeleine, his obsession, I was actually angry with him. I wanted to slap him on the head and say, “You moron! Don’t you see what you’re doing?”

You can only feel that way if you are fully, meaning emotionally, engaged with a movie. There is no greater litmus test for how effective and successful a movie is than an unthinking emotional response to it. Made in 1958, Vertigo stills snags me.

That is what a good movie should do. Everytime.

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Thinking about dialogue

by Bill on June 20, 2009

Casablanca - scene, Bogart and BergmanIt occurs to me that with a number of current movies, and I’m particularly thinking of action movies and romantic comedies (odd combination), there is often a dialogue problem. The problem is more or less that it is absent.

I was thinking about this because I just wrote up reviews of two older movies, both of which I like but neither of which I could recommend as sterling examples of cinema as a visual art. I wrote the reviews because I was trying to understand why I liked them when, while liking them, I felt they weren’t particularly good. What explained that apparent contradiction?

The movies I wrote about were The Rainmaker (1956) with Burt Lancaster and Katherine Hepburn and The Rare Breed (1966) with Jimmy Stewart, Maureen O’Hara, Juliet Mills and Brian Keith.

Cinematically, The Rare Breed is the better of the two. It’s visually pleasing but also pretty pedestrian. The “cinema” of the movie is functional. With The Rainmaker, it’s less than pedestrian but there is a reason for this: it’s a play on film.

Yet I liked both movies. Why? The stories and the characters which, in the cases of both films, were largely expressed through dialogue.

Currently, I see movies that want to capture iconic moments visually and verbally. A character is lit and shot in a certain way and delivers a line, the hoped-for memorable line. The problem, however, is that the line’s impact is dependent on the dialogue that has preceded it, and that’s absent. What has preceded it (in the action movie case) has been wordless yet noisy quick cuts of action, close-ups of stern heroes and villains, and dialogue that is often single word statements.

In the case of romantic comedies, there has been dialogue but lousy dialogue because the movie focused on the star and provided a dull stereotype as his or her foil. So the dialogue was boring. And often populated with words and phrases considered obligatory because they are “contemporary.”

The memorable lines, the iconic moments (”We’ll always have Paris,” or “You complete me,”) are the conclusion element of syllogisms. It is like 2 plus 2 equals 4. The number 4 is meaningless if not preceded by 2 plus 2. Those remembered movie lines are perfect because, like the number 4, they are the perfect conclusion to what has preceded them. And like a syllogism, every element is important. Remove even one, and it fails.

Of both the films I watched (Rainmaker, Rare Breed) the story, characters and dialogue were compelling and allowed for characters that were individual - distinct and engaging.

Both of those movies suffered from a lack of distinct visual style (but to be fair, they are forty and fifty years old). Yet both are more interesting, for me, than a great deal of what I encounter in today’s movies.

And I think it has something to do with dialogue. And that means character and story.

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A little something about Jean Arthur

by Bill on June 16, 2009

Jean Arthur in Mr. Smith Goes to Washington.I watched and wrote a review of Mr. Smith Goes to Washington the other day. After writing and posting the review I discovered that I had already written a review of it back in 2002. And here’s the thing: the first was a helluva lot better than the one I had just written.

On the other hand, the new review did help me realize I wanted to write something about Jean Arthur (this is not the post). I absolutely love her. Yes, it’s partly due to her squeaky voice that has a “cute” quality to it that you can’t resist. However, it’s also because I think she was a pretty darned good actor, particularly as a comedic actor.

Many of her movies are among my favourites like Mr. Smith Goes to Washington, Mr. Deeds Goes to Town, You Can’t Take it With You and Only Angels Have Wings. (Look who she worked with: Jimmy Stewart, Gary Cooper and Cary Grant!) To learn a little bit about her, have a look at the bio on IMDb.

I don’t really like the term “appreciation” but I suppose that is what I hope to write. Before that, though, I hope to learn a bit more about her by picking up John Oller’s biography of her from about ten years ago, Jean Arthur: The Actress Nobody Knew.

By the way, one of the initiating factors in my watching and collecting of older movies was Jean Arthur. Sometime around 2000 or 2001 a series of DVDs were released under the heading Columbia Classics. Movies like Mr. Smith Goes to Washington and Only Angels Have Wings were among them and they are what got me interested in Jean Arthur.

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Jimmy Stewart rides again

by Bill on June 14, 2009

Destry (Jimmy Stewart) arrives in the town of Bottleneck. From the movie Destry Rides Again.I’ve just started reading Marc Eliot’s book, Jimmy Stewart: A Biography. Having just begun, I can’t say anything about it’s merits, though I can say I read Eliot’s book from a few years ago, Cary Grant: A Biography and enjoyed it. I’m not sure why, but I like reading biographies of Hollywood’s luminaries of the “golden” years. I do have a theory, though.

I think I read these books because they prompt me to go back and rewatch movies, some I had almost completely forgotten about. In Stewart’s case, Wikipedia says he, “… appeared in 92 films, television programs and shorts.” So, although I have quite a few Jimmy Stewart films they are just a smidgeon of what he made. But they’re almost all good ones!

Last night, I decided to go through some of them and decided to start with 1939’s Destry Rides Again. If you haven’t seen Destry, you’ve no idea what you’re missing. It’s a western comedy, with Jimmy Stewart playing a gunshy lawmen brought in to bring order to the lawless town of Bottleneck. It also features Marlene Dietrich. You can take a look at my 2003 review here.

Jimmy Stewart, by the way, was named third Greatest Male Star of All time by the American Film Institute (AFI), just behind Humphrey Bogart and Cary Grant.

And some other Jmmy Stewart movies I’ve written about:

Update:

I just found an old post, from 2005, regarding Eliot’s previous book (the one on Cary Grant). The post is titled: Cary Grant — who was that guy?

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A fashionable accent and some reviews

by Bill on May 30, 2009

I decided to try a background - just because. It does make the site a bit less plain jane, but I’ve always liked plain jane (minimalist, or close too). So there is a good chance my mind will change in a week or so if  tire of it. Or find it annoying. In the meantime …

I added or updated a few reviews on Piddleville. They are:

You may want to visit them. You may even want to leave a comment telling me I’ve no business writing reviews, that I’m an ass without a clue.

It wouldn’t be the first time! :-)

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Marilyn Monroe: the River and the Itch

by Bill on May 24, 2009

Picture of Marilyn MonroeSome decisions don’t work as well as you would like. In fact, they can work against your intentions.

For a variety of reasons I’ve had difficulty lately getting back into my movie watching routine which used to be almost a movie a night. The reviews I’ve written account for only a small number of the movies I’ve actually watched. I had the best intentions but I never did write about a great movie, The Contender (2000). Or do that review of all three Bourne movies.

I tried to kickstart things last night by watching The Seven Year Itch (1955). Bad idea.

I was hoping to watch something fabulous to reinvigorate my movie watching habit. It didn’t work out that way. My choice was poorly made. A bad decision. Although, there is the possibility it worked in an “end around” kind of way. Maybe it will kickstart things by focusing me on finding something fabulous. God knows, I know they are there. I think I’ll try again tonight. If you’ve any suggestions on what to watch, feel free to pass them along in the comments. In the meantime …

I did post a few reviews, including one I wrote this morning on the above mentioned movie. Those reviews are:

A couple of notes … if you’re not aware, you may be interested to know The Seven Year Itch was directed by Billy Wilder, script by George Axelrod and Wilder. And River of No Return stars Marilyn Monroe and Robert Mitchum.

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An assessment of Jacques Tati

by Bill on May 18, 2009

Jacques Tati as Monsieur Hulot in Les Vacances de Monsieur Hulot.I came upon the blog The Movie Projector and was immediately caught up in it. Two of the most intriguing posts, for me, were actually one post broken into two parts. It was an assessment of Jacques Tati (1907 - 1982), the French director renowned for his comedies and is famous comic character, Monsieur Hulot. The posts are:

To quote the author/blogger R. D. Finch from Part 1:

For a man who directed only five full-length films released between 1949 and 1972, the French director Jacques Tati (1907-1982) has a huge reputation among cinephiles. Two of his movies, Play Time (1967) and Monsieur Hulot’s Holiday (1953), were in 2008 named by the French publication Cahiers du Cinéma among the 100 greatest films of all time. Predictably, only a handful of movies on the list were comedies, including the two by Tati. He was recognized along with other comic masters like Charles Chaplin, Buster Keaton, and Woody Allen, a pretty impressive group of people to be included among. While most Americans who know anything at all about movies and popular culture are familiar with those names, I wonder how many know of Tati, much less recognize that among aficionados of film comedy his reputation is the equal of those other well-known geniuses.

The posts are well worth reading and they’ve reminded me I need to watch Tati’s films again.

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Movies, books and upkeep

by Bill on May 17, 2009

I guess you could say I did a bit of house-cleaning with my blogs today - a sisyphean task to complete, but I gave it a go.

Although Piddleville continues to be an organizational mess, I made a few changes - temporary ones, I hope. (It needs some fixing). One was to create a “book review” section because I have a few movie related book reviews here and there. I added two today (yes, a very small start):

My Wicked, Wicked Ways - the Errol Flynn autobiography from 1959, and a wildly entertaining read.

The combustible Ava Gardner - the Ava Gardner: ‘Love is Nothing’ biography by Lee Server from a few years ago, also tremendously entertaining.

I don’t do a lot of book reviews but when I do it’s usually because I really enjoy the book, as was the case with both of these.

While I was at it, I also added a brief (and sadly lacking) review of one of my favourite movies, The Night of the Iguana (1964).

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Real-time does not negate past-time

by Bill on May 10, 2009

I was interested to find that one of my sites, Piddleville, which has been horribly neglected recently, still accounts for most of the traffic I get. People continue to find it using the long-tail approach - looking for something very particular (a movie, often searched with a particular year associated with the title, like Rio Bravo 1959) and finding it. People don’t land on the same page; they land on a wide variety of pages - it all depends on what they’re specifically looking for.

In a world where we talk about real-time conversations, this intrigued me. What does it mean when people are looking for past-time conversations as well? I suppose you could argue these are not conversations but information that may lead to conversations. I’m not sure that’s the point though.

When we speak of real-time I think we are talking about the topics of the moment, the current conversations. What the main Twitter web page would call “Trending Topics.” But there is a great deal of information, including conversations, that could be called “past-time” (for lack of a better word). In fact, they often inform real-time discussions as reference points and background.

I think what I’m trying to say is that we shouldn’t get so consumed by the idea of “real-time” that we forget that other thing, “past-time,” which contains a great deal of what we rely on to maintain those current topics and, sometimes, is interesting in and of itself, regardless of whether it’s the topic of the day. For myself, I often find the most interesting topics or information have nothing to do with what is the subject of the day but something entirely off-topic, even obscure - just because it fascinates me and because I can.

That was actually the whole idea behind Piddleville, a site devoted to movies and my gut responses to them. I had no interest in being another movie site regurgitating the marketing of the day with latest releases and then, after the weekend, announcing box office returns as if they were baseball or hockey standings.

I was actually more interested in what was not current. Initially this was what is usually thought of as classic Hollywood - movies of the thirties and forties and like that. But that was too restrictive as I realized what I was really interested in was almost any film that was not on the current week’s plate of “new movies.”

I struck me that these films that had vanished in time’s vault, even those as recent as a year or two ago, all had the investment of directors, actors, writers, cinematographers, grips and on and on, not to mention the financial investment, that equated to a lot of very hard work by a great deal of people, and was often lost in the hype over the blockbuster of the week.

In other words, why not write a blog about movies that may have been missed but were worth a look? What I ended up with was quite a few old black and white movies, but also quite a few movies that were only a few years old.

I’m surprised by the traffic they generate (nothing huge, mind you) and equally surprised by the comments they often get. For example, you would be amazed by how many people are interested in Rio Bravo!

Past-time.

Real-time is nice but it isn’t everything. And, sometimes, real-time is dependent on past-time. (Actually, you could probably argue that all of our real-time conversations are dependent on past-time. And as the occur, they immediately become part of the stream of past-time.)

Original post on Writelife.

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Testing the Twitter waters

by Bill on April 18, 2009

Yes, I’ve put Piddleville on Twitter (@piddleville).  When I say in the headline “testing the waters” I’m referring to this site being on Twitter. I’ve actually been on it for quite a while with @writelife.

I have two immediate worries with this site being on there. First, will I be able to maintain it so that it is worth anyone’s while to follow @piddleville? Secondly, will I find people/sites worth following using Piddleville?

That’s the thing with Twitter. You can follow everyone in the world that’s on Twitter, if you want to. It’s quite another thing to find the people to follow that make it a worthwhile effort. If my experience with my other account is any indication, it takes some time and some engagement to develop an account that is worth anything - both to you and to the people who’ve chosen to give you their attention.

I think I should have my answers in a week or so. As things have been going recently, I’ve been sluggish in maintaining Piddleville, the site. So how will it go now that I’ve added one more thing to maintain?

We’ll see!

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