Film Pairing — A Continuation of The American Mob

Moviegoers in the ‘last decades of the previous century found gangsters entertaining. And number of notable directors stepped up to the challenge — Francis Ford Coppola, Martin Scorsese, and Brian De Palma to name a few. Here are two more.

 

Al Pacino

The Godfather, Part Two — It would seem damned near impossible for a sequel to The Godfather to stand up to the original.  And that remains true in my mind.  But the 1974 Part Two couldn’t have come any closer.  It is a fine, if not a great film. Al Pacino as Michael Corleone is every bit the equal of Marlon Brando as the original godfather. Michael is, in essence, the respectable, sensible, non-violent son, who reluctantly accepted the role of godfather when the dad dies. We watch as the poison (an all too familiar mix of unquestionable loyalty and violent revenge for those who violate it) permeates his life. There is also a bit of documentary about this film.  We witness New York City as it evolves over the decades and “the family” as it falls apart; and we gain insight into the mob’s move to Miami and the near disaster the Corleones experience in jumpin’ Havana as Cuba is about to be taken over by Castro and his rebels. Francis Ford Coppola directed both the original and Part Two, which, like its predecessor, was based on Mario Puzo’s best-selling novel. As in Part One, the cast boasts some of the country’s best actors – Robert De Niro, Diane Keaton, Lee Strasberg, Harry Dean Stanton, James Caan and, I have to mention, Troy Donahue, who is equal to his role.

Joe Pesci, Ray Liotta, Robert De Niro

Goodfellas — I had forgotten how brutal this film is.  Apparently my memory chose to retain the film’s outlandish dark humor instead.  Here we have the mafia of a later vintage than The Godfather and made perhaps a bit lighter, faster and livelier by the constant action and nostalgic period background music. Special kudos go to the casting director. First prize goes to the currently unknown Christopher Serrone, who played the main character, gangster Henry Hill, as a young man. The scene-stealer in chief was Joe Pesci (“Do I amuse you?”) who was hilariously nasty. Every actor hit his or her mark.  A warning though: Unlike The Godfather films this is a film completely about the guys. White guys. Jews, African Americans and women do not fare well in the world of thugs (hopefully not a preview of coming attractions in real life.)  Ray Liotta played the adult Henry Hill who was part of the big Air France heist in 1967. Paul Sorvino and Robert De Niro round out the cast. Samuel L. Jackson makes a brief appearance. And then there was a momentary appearance by Henny Youngman (Take my wife…please.”) Martin Scorsese directed the critically and publicly acclaimed 1990 film based on Nichols Pileggi’s, novel, Wiseguy.

What I’ve noticed during this series of films about the mafia is that there is a strong and currently reinvigorated theme that ran through the mafia sub genre of crime films and books — Family. First is blood relation. Second are those invited into the family (made men). These are guys who have proven over time and events their undying, unquestioning loyalty. They do whatever they are told. It is a closed society, and its members are untouchable. (Pardon me if I note this is reminiscent of our new first “family.”)

While viewing the double feature, an accompaniment — these films have red wine written all over them. What a great excuse to do a flight of various deep red, dry wines. Or several flights.  Pardon me purists, but for those who go alcohol-free, there are a number of such wines (getting better all the time) now in the marketplace.

Film Pairings — One Smart Nasty, One Sleazy Nasty

Dorothy Parker once said, “If you can’t say anything nice, come sit by me.” Both of these movies have nothing nice to say about its characters or humanity in general. No one is nice.  No one. It is a cynical double feature for those in the mood for cynicism.

The Two Faces Of January — Patricia Highsmith’s novels have proven to be a rich source for cinema.  Strangers on a Train, the three Ripley movies and this one, The Two Faces of January.  Hossein Amini directed the three principal actors, Viggo Mortenson, Kirsten Dunst and Oscar Isaac in this 2014 tale of two male con artists, a beautiful woman and a suitcase full of money.  Grittily set in Greece and Turkey, we watch the shift of power as all three attempt to outsmart the authorities and each other.  This is one of those smart, small films you’ll only see on platforms like Netflix.  I don’t have a problem with big budget, action packed, technologically pumped up blockbusters. But I am pleased that low budget, difficult to distribute little jewels like this have a way to get to us.

 

The Bag Man — What a strange film. Some might conclude that this is a morality tale in which an evil genius toys with a fool who sticks by his principles when they are the very characteristics that are used to dupe him. Unfortunately I expected but didn’t get the moral of the story. Perhaps that is it — nothing to get — in a noir perspective.  The French called this movie Cat in The Bag. In some countries it was released as The Motel.  The 2014 film is dark, violent and at times flirting with the horror genre and at others inexplicably surreal. For me the saving grace amidst the gratuitous bloodletting is Brazilian actress Rebecca Da Costa, who, if she had a sleeve, would have something up it. (what?). No matter, she is the beauty, brains and the best reason to watch the movie.  John Cusack, plays a character he’s played well a few times before while Robert De Niro and Crispin Glover do what they do without breaking a sweat.   The dark and sleazy film was directed by David Grovic. 

For the first film, ouzo maybe.  For the second, bring a blanket to the sofa before you settle in. Depending on your attitude, you could be happy with a whiskey on the rocks or a cup of hot chocolate.

Film Pairing — Stone And Under Suspicion, Actors Shine

I’m embarrassed to admit that I’m drawn to the sport of boxing. I know it is a brutal, brain-bruising sport. But there’s something about it that few other sports can claim. Unlike football, for example, another constant concussion sport, boxing is one on one — one person’s fitness, endurance and strategy against another’s. There’s no way anyone can say, “we’d have won if we had a better quarterback.” One body and one brain engaged in a primal battle. It may be wrong and reflect the worst of human nature, or nature itself; but it is about as pure as it can get.

On the other hand, I’m not at all embarrassed to admit that I admire British actors and actresses more, generally speaking, than their American counterparts. I buy into the process of repertory experience, which usually means that actors develop considerable skills before celebrity is bestowed.

Bearing both of these thoughts in mind as I considered this double bill — Stone and Under Suspicion — I’m not necessarily saying these are among the best crime films ever made. They aren’t. But they meet two very important criteria worth noting. Each film is, at its core, a singular battle between two individuals, and these four characters are portrayed by American actors every bit equal to the best Britain has to offer.

The first, Stone (2010), is a claustrophobic little film. Even though Robert De Niro is one of the stars, I’d never heard of it. That he could effectively portray anyone was never in question. Here, he is a flawed bureaucrat in the criminal justice system trying hard to suppress his own demons while trying to cast out or at least sort out demons in others. We watch and appreciate. What was pleasantly surprising is the phenomenal job Edward Norton did portraying a kind of pure evil. The battle between the two as the convicted arsonist Norton attempts to convince De Niro, that he should be paroled is fascinating. Snake charming. Or a dance. The dance, as in Ali and Frazier, is everything. Milla Jovovich also stars.

Under Suspicion (2000) is less concerned about philosophy. The dance that turns out to be largely between Gene Hackman and Morgan Freeman is simpler in the sense that there appears to be no larger truths involved. It is simply cat and mouse. Hackman plays a wealthy, powerful and talented lawyer in Puerto Rico, who is implicated in the murder of a young girl. Freeman, the top cop, calls him in to, of course, “clear up some details.” And just as most of the drama in Stone takes place in De Niro’s office inside a prison, most of Under Suspicion takes place in the Freeman’s office inside the police station. Though the film is essentially about the two men, actress Monica Bullucci, plays a significant role.

As I mentioned earlier I find these films especially interesting less because they have successfully realized the overall goal, but more because of the performances of the actors. The chance to see the cream of the American crop of actors in roles that allow them to show the depth of their talent isn’t as frequent as it ought to be.

To sip or not to sip: I’d watch the first film spirit free. But to cap off your evening in Puerto Rico — and you do get glances of it here and there — try my standby, rum and tonic with a twist of lemon. Not lime. Lemon. Well, lime if you must.

Film Pairing — Two Movies About People Duct-Taped To Chairs

If the kidnappers get what they want, the victims of two stupid abdutions will go free. This is the premise of both films in this double feature recommendation.

In perhaps one of the most daring acts of casting, Martin Scorsese directs Jerry Lewis and Robert De Niro in King of Comedy. In the second, Christopher Walken gets the chance to be Christopher Walken and on-screen for the entirety of a full-length film — The Suicide Kings. It’s not quite a one-man show; but it nearly is.

And just as Lewis is held hostage, spending a good deal of his screen time taped to a chair listening to Sandra Bernhard, so to is Walken in Suicide Kings all-tied up trying to get the best of a bunch of kids who abducted him.

In The King of Comedy, 1983, De Niro plays a lifelong loser who has always dreamt of being a late night comedian, a popular talk-show host like Johnny Carson. Lewis plays the reigning late night king. This isn’t “Hey ladeeeee” Lewis or Cinderfella. And he is up to the acting challenge, showing us that the on-air personality may not be at all like the one off stage. De Niro isn’t Taxi Driver dangerous. Instead he plays goofy with a close to dangerous subtext. He too is up to the challenge. One might think that the casting director must have dropped some acid, but it all works in a quirky way, creating a one-of-a-kind film. Credit goes to Bernhard as well, though, given the character, it was less a stretch. Watch for cameos from Dr. Joyce Brothers, Tony Randall, Victor Borge and members of The Clash. In the film, Di Niro kidnaps Lewis and will release him only when Di Niro gets a chance to perform on a version of the “Tonight Show.” It’s bizarre, no doubt. Then there’s that good question, where else can we find Robert De Niro doing stand-up?

In Suicide Kings (1997), Walken is Walken all movie long. I know a few people who can mimic him pretty well. I think all you need to do is break up a sentence with a pause that seems inappropriately placed and show an expression that doesn’t relate to whatever it was you just said. Walken, I think, wants to continually defy your expectations and continually surprise you. Frankly, I think it works. I can watch him all day long. But if you don’t like Walken, skip the film. There is very little else. He plays a once powerful gangster, who has no pull anymore. But a group of rich don’t know that. In an attempt to free a sister of one of the men from kidnappers who want $2 million in ransom, they kidnap Walken and will release him only if he uses his gangster connections to convince the kidnappers to free her. They tie him up and the fun begins. Among the brash young’uns are characters played by Denis Leary and Jay Mohr.

What do you drink when the movies are not necessarily all that darkly funny? The King of Comedy is more creepily funny than darkly funny. Maybe not hard liquor. Or, if so, a mixed drink. Even though the films are neither trendy nor retro, a Cosmopolitan or a Royal Gin Fizz might work.

Film Pairing — Hard Boiled Private Eyes

Standard American private eye requirements: Down and out, hard drinker, personal demons, undisciplined pursuit of the truth. Unexpected nobility of purpose, maybe. Meet John Rosow of The Missing Person and Harry Angel of Angel Heart. They both meet the requirements. There are other similarities in the films. Both private detectives are hired by mysterious clients to deal with missing people. And, as each film develops, it becomes clear that they might not want to do what they were hired to do.

The Missing Person (2009), starring a rock-faced Michael Shannon as a dissolute P.I., is a stunningly moody, artful film, heavy on style, but pretty damn good on content as well. A man, too strung out to even consider killing himself, takes a case that seems both easy and rewarding. All he has to do is follow a man on a train and report what he sees. The simple assignment gets more complicated as you would expect. What these complications include are a fascinating 9-11 connection and an important philosophical question. In the end the cynical P.I. must make decisions that calls upon a sense of right and wrong. Is he up to the task? I’m not sure where this film came from, or where Michael Shannon has been all these years for that matter. With very little exposure, the film and the actor nonetheless gather praise whenever they are noticed and rightfully so.

There is a philosophical turn in the second feature as well. But Angel Heart (1987) is infinitely more visceral and heavy handed. In light of Mickey Rourke’s considerable talent as revealed in his recent performances, The Wrestler for example, we might want to take a look at just how good he was early in his career. And he was. This is Mickey Rourke before whatever happened to him mid-career happened to him. As a scruffy and apparently not too successful P.I., Harry Angel is made a financial offer he can’t refuse though, in fact, his instincts tell him to refuse it. We move from New York to New Orleans, where the P.I. tries to find a missing person and where, it seems, at each turn there is a bloody corpse. It becomes clear to Angel that he is, in the eyes of the Big Easy’s homicide cops, the most likely suspect in each murder. His client, played by Robert De Niro, is obviously holding out on his young hire, and the Louisiana’s mysterious connections to voodoo makes Harry’s life an increasingly terrifying experience. Lisa Bonet (No Cosby kid here) provides enough steamy (and brutal) sexual energy to send a rocket to Mars. The film was based on the novel Falling Angel, by William Hjortsberg.

If you drink — and Michael Shannon’s early scenes might put you off the sauce forever — the mood set by both these films calls for whiskey on the rocks, or some form of hard liquor. No Chardonnay. And if you’re inclined toward something non-alcoholic, water for example, at least make it unfiltered. No fancy bottled stuff.

Film Pairing — Tales of Two Fathers and Two Sons

By putting Perrier’s Bounty and City by the Sea together, we have a pair of father-son crime stories, both films with highly talented casts. While one is a dark comedy and the other merely dark, we have similar sensibilities at play. We also have, in my opinion, a similar sensitivity in the bright, young actors who play the wayward but highly redeemable sons — Cillian Murphy in Bounty and James Franco in City by the Sea.

Perrier’s Bounty (2011) is a twisted, quirky tale directed by Ian Fitzgibbon and narrated admirably by Gabriel Byrne. Set in Dublin, it stars Brendan Gleeson (In Bruges) as a crime boss who takes his own cruel actions as if they are personal affronts. “It’s devastating,” he says time and time again after doing something horrible. Jim Broadbent, convinced that if he goes to sleep he will die and that he will eventually sleep, believes he has nothing to lose by putting his life in danger. He is as hilariously courageous as he is a bad influence on his son, Murphy, who by fate and misjudgment makes all the wrong moves.

City by the Sea (2002) is a dark, violent thriller, sensitively set up and perhaps a bit too rushed at the end. Robert De Niro and Frances McDormand star in this gritty film that has more depth and less levity than Bounty. Set in New York — primarily a tremendously unap-pealing Long Island — the film is directed by Michael Caton-Jones who sets the action against this stark, desolated backdrop. Franco, who plays the son of a seasoned street cop, gives a moving portrayal of a young, petty criminal in way over his head.

It is not only interesting to compare the two young sons, but also the two fathers. Both of them seek some sort of redemption. Broadbent’s character is all too willing to help his son out of deep trouble as repayment for his own failure as a parent. De Niro, as Franco’s father, is a character with a lot of extra ethical baggage. Yes, ethical baggage. He is not at all eager to do the same for his lost son despite the fact the son deserves salvation.

Neither of the films received rave reviews when they were released. The comments were mixed at best. However, from my comfy sofa and flat screen TV, they were more than satisfying. I enjoyed the fine acting, the gritty cinematography and the drama much better than I would a couple of hours of long-in-the-tooth Law and Order SUV or the over-DNA’d CSI Miami.

It doesn’t matter which one you watch first. But, if you want to end on a lighter, more comedic note, do Perrier’s Bounty last. To accompany the evening, why not pour some Guinness? It works in New York and most certainly works for Dublin. And I’ve found a good, dark beer can add depth to the sadness and enhance the laughter.

CAPTION: Cillian Murphy (top), James Franco, (bottom).