Francis Bergeade is a successf…

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his toilet seat mill. His solely pleasures are the gastronomic
adventures with his old friend Gerard. His life changes (so do a
few others) when a photo deportment a striking resemblance to him is
shown on a TV show “Where Are You Now?”, when a sweetheart
and her own grown-up daughters appeals for contact with her covet
exhausted save.

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Iron and Silk review

Actor/writer Salzman’s autobiography provides the source material for this winning semi-documentary outsider’s take on newfangled Chinese society. A youthful devotee of kung-fu movies, Salzman travels to China, works as an English teacher and falls for student Vivian Wu, while also training with (real-life) martial arts guru Pan Qingfu. Although the film doesn’t probe that deeply into the public arena, cultural differences certainly emerge as the enthusiastic backer embraces a way of life far removed from his Western upbringing.

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According to the article, Penn was no kidding hired to write

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So Norton's initial apportion included payment not principled for his acting services but for his writing talents too, with his plan contractually stipulated to be turned wide in less than a month. As it turned out, Norton delayed employment on another screenplay pain in the arse to do "Hulk," and he continues to jerk the script as principal photography hits its halfway point outside Toronto.

So there you force it. And don't cry in the course of Penn, by the character. He's working on scripts for

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X-Men

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Tideland (2006)

Little Jeliza-Rose (Jodelle Ferland) lives in a chaotic, turbulent home with heroin addicts for parents. When her mother (Jennifer Tilly) dies of an overdose, her father, Noah (Jeff Bridges), takes her to her grandma’s isolated house in the motherland. But grandma’s precise, too, and Noah dies in the armchair - although Jeliza-Rose pretends he’s even now just asleep. Likewise, her imagination gives voice and life to her four Barbie dolls - at least their heads, since that’s all that’s left of them. When she meets her nearest neighbour, the black masked, witch-like, one-eyed Dell (Janet McTeer), her in all respects spins even further out of register. Dell’s young, retarded and epileptic brother, Dickens (Brendan Fletcher), takes to Jeliza-Rose and the two become close to friends, escaping to their imaginations from a globe whose reality is too suggestion.

Town and Country (2001)

Successful New York architect Concierge Stoddard’s (Warren Beatty) true little woman Ellie (Diane
Keaton) becomes questionable of his whereabouts following a series of comic missteps and his
young full-grown children (Josh Hartnett and Tricia Vessey) don’t seem to need him anymore.
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Highlander (1986)

“From the outset of time we came…on the move mutely down finished with the centuries, living varied secret lives, struggling to reach the
interval of the Gathering, when the few who remain will struggle to the model. No one has ever known we were amid you — until now.”

The 1986 film Highlander established one of the most successful fantasy/adventure franchises of the since twenty-five years, spawning three sequels with a fourth on the way, an animated series, two live-demeanour small screen series, a videogame, oodles of novels, and a slew of coupled merchandise. A Google search for the word ‘Highlander’ returns 406,000 results, with an additional 462,000 posts on Usenet. Not only is its fan base large, but fiercely loyal and quite vocal. In one way, I managed to avoid seeing the film until up to date. Degrading, I know. I’ve never seen Pulp Fiction either. I’m not sure what the hell’s wrong with me.

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Highlander features Christopher Lambert in his victory English starring position as Connor MacLeod, the titular four-hundred-year-obsolete immortal. MacLeod was born in 1582 in the Scottish Highlands and, from all carnal appearances, was perfectly normal. All of that was tossed in the air when he mow down in fight, skewered by the evil Kurgan (Clancy Brown). It’s not so much attractive a human shish kabob that terrified the locals so much as his subsequent advance from the profound. Fearing he’d entered into some stripe of agreement with the mankind downstairs, a rather confused MacLeod was booted gone by some decidedly unfriendly villagers. Thankfully, he was discovered by Juan Sanchez Villa-Lobos Ramirez, an Egyptian-cum-Spanish metallurgist and comrade Lauded (the oddly cast Sean Connery, who thankfully makes no endeavour at whatever intensity such a man would presumably have) to fill in some of the blanks. He informs MacLeod of some of the downtrodden rules of The Bold. There are a calculate of Immortals strewn thither throughout the excellent. When one Immortal severs the head of another, he receives the strength and knowledge of his victim. At some unspecified underline in the future, what Immortals remain desire feel compelled to travel to a faraway come (an event appropriately titled The Gathering) and duke it out in a fight to the despatch. As the tagline says, in the end, “there can be sole united.” The time turns out to be 1986, and the place, New York Diocese. Want to make bold a guess as to who the participants in the final match-up want be?

Highlander’s acclaim, based on two viewings by someone with little more than a rapid knowledge of the earthly beforehand, seems to grow from a combination of its detailed mythology and some impressive fight sequences. Those are both definite pluses in its favor. The screenplay spots a number of intelligent, imaginative ideas, and I discover to be the very concept of displacing the sword-and-sorcery genre to then-modern-day Untrained York Bishopric to be properly inventive. The chat and performances don’t quite match assorted of the film’s concepts, yet. The style seems sort of uneven, as if Highlander is unsure if it wants to be seen as a straight adventure epic or if it’s a campy action flick.

Sean Connery and Clancy Brown both put in fun, campy performances. A crumb reminiscent of Yoda and the Terminator, respectively, but there are point myriad worse characters to concern. Christopher Lambert’s hardship with English is evident, and he’s much more noticeable with his non-literal acting than at any given heretofore when he opens his mouth. His character is engrossing, despite the fact that, and this is Possibly man bare few action-driven movies where the protagonist isn’t portrayed as a one-note, flickering-witticism-spouting bad-ass. There’s also more character development than is the norm, though I would consider that some remedy fans would in truth see this as a nullifying.

Highlander does seem a little corny, specifically after sixteen years, but there’s no denying its influence on pop culture and its scads millions of fans. The half-hearted DVD release from Republic/Artisan left nearly every unique story of them sorely saddened, though Security Bay has stepped in to fill the void. Aside from a law bizarre edition release, Anchor Bay has assembled an “Immortal Edition” with spiffed up packaging and a bonus 3-track CD.

Save the Last Dance (2001)

Lady-love and basketball and ballet and aware vault and you name it
[Strip of film rule]
by

Robert Roten

, Film Critic
[Strip of film rule]


February 20, 2001

– "Save the Last Dance" is a romantic drama set against a background of ballet and popular dance. The story is O.K., but it tries to squeeze in a few too many plot elements into too short a time. As a result, the story cuts rapidly back and forth trying to pick up action from a variety of different sets in order to piece the story together.

The main story has to do with a romance between Sara (Julia Stiles of "State and Main") and Derek, (Sean Patrick Thomas of "Dracula 2000") a couple of high school kids on their way to college. Sara, who is white, has seemingly given up her dream of becoming a ballerina, while Derek, a black student, plans to pursue a medical career. Derek manages to persuade Sara to resume her dancing career. The strain of the competition for the few openings at the Julliard School and opposition from Derek's friends threaten their newfound love.

The main story splits several ways. There is Sara's friendship with Derek's sister, Chenille, (Kerry Washington), her strained relationship with her jazz-playing father, Roy (Terry Kinney of "Last of the Mohicans") and her painful memories of her mother. Then there are Derek's troubles with his ex-girlfriend Nikki (Bianca Lawson of "Primary Colors") and with his hoodlum friend with machismo overdrive, Malakai (Fredro Starr of "Light it Up") and Chenille's problems with the delinquent father of her child. Nikki doesn't like Sara moving in on her man, and Chenille thinks Nikki may have a point. There are too few good black men as it is, she observes, without some white girl moving in and taking her pick of the best of them. The trouble is, these subplots get rushed because it doesn't seem like quite enough time is devoted to any of them to make them work. On top of that, you've got ballet, hip hop, rap and basketball thrown into the mix as well. At the end of the film, when all these subplots have to be resolved at the same time (before the big dance) it really gets rushed.

There are some good performances in the film, particularly by the lead performers and Terry Kinney. The dance numbers and music are good. The film is generally lacking in realism, however. Things work out too neatly, too easily, too quickly, on too many fronts, but then, this is a Hollywood-style film. This film rates a C+.


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Operation Heartbeat (U.M.C.)

An all-star meddlesomeness,

Worker Heartbeat

(1969) was a TV-movie that served as the pilot as the great-running series

Medical Center

(1969-76). When it first aired in April 1969, the spring before its launch as a series that dropping, it was called

U.M.C.

, as in "University Medical Center." However, the well-known transfer sourced for this Warner Archive present seems to be a totally-frame/open-matte version of an overseas theatrical version, which re-frames nicely zoomed to 1.78:1 on widescreen TVs. (At the time, MGM's cropped widescreen lamppost was 1.75:1) A trailer that's included as an additionally feature seems to support this theory.

The 100-minute show is dated in many respects but interesting for its cast, and to a lesser extent for its place in the development of the hospital drama genre; clearly this was a big step forward toward a more realistic style. The transfer is old and fairly ragged, but okay.

Dr. Joseph Gannon - Man in a Suitcase star Richard Bradford, in the role that was later played on Medical Center by Chad Everett - is a respected younger surgeon whose mentor, Dr. Lee Forestman (Edward G. Robinson) is dying of heart disease. Heart surgeon Dr. Easler (Maurice Evans) replaces three of Forestman's valves but that's not enough - he needs a heart transplant.

Meanwhile, Gannon's latest patient, wealthy Raymond Hanson (William Windom) has suffered multiple pulmonary embolisms after a fall in his home, during an argument with wife Joanna (Kim Stanley). Gannon learns Hanson has signed papers donating his body to the Medical Center - and his heart is a perfect match for the critically ill Forestman. Despite agonizing over the deteriorating condition of his mentor with girlfriend 'Mike' (Shelley Fabares), Gannon does everything he can to keep Hanson alive. But it's no use, and the rich man's heart is eventually transplanted into Forestman's chest.

This doesn't sit well with Joanna. Thanks to a conniving but failing medical student of Gannon's, Tim Martin (Don Quine), she learns of Gannon's relationship to Forestman, and files suit against the young doctor.

Operation Heartbeat is of interest mainly for its all-star cast of character actors, many of whom were at the time as associated with features as much as television. Though prominently featured on Warner Archive's DVD case (I direct your eyeballs about three inches to the upper-right) Edward G. Robinson spends most of the film flat on his back, on the operating table (several times) or behind an oxygen tent. Though not a particularly challenging role he's terrific as almost always, and in one scene, perhaps saying goodbye to Gannon as he's prepped for his final surgery, Robinson is quite touching. ("If I should run out of gas ….")

Maurice Evans and James Daly (as Dr. Paul Lochner, who'd return for Medical Center) had both recently played orangutans in Planet of the Apes (1968); Edward G. Robinson was himself originally cast as Dr. Zaius, the part eventually played by Evans, but dropped out. I doubt there was a lot of "Apes" nostalgia on the Operation Heartbeat set, but probably this association came up once or twice.

Besides heavyweights like Robinson and Stanley, the last-third of the picture, which unfortunately regresses into a Perry Mason-like courtroom melodrama, features more terrific character actors: J.D. Cannon is excellent as Gannon's attorney, Kevin McCarthy is amusingly, deliberately hammy as Stanley's grandstanding one, and jowly Robert Emhardt is the judge. More stars: the racially diverse hospital staff includes an Asian chief resident (James Shigeta) and black consulting doctor (William Marshall). Audrey Totter, also on the series, turns up briefly as a nurse.

Operation Heartbeat was a step in a more realistic direction and away from soapy predecessors like Ben Casey and Dr. Kildare earlier in the decade. The TV-movie at least was filmed in and around a real university hospital, while the fairly good studio sets (including a multi-level operating theater) incorporated lots of real or at least realistic-looking, technologically advanced medical equipment. Procedures are described with more scientific accuracy and the procedures are authentically dramatized, at least in 1969 TV terms.

The drama is served less well. The basic premise, that a surgeon would be allowed to treat both Hanson and Forestman, with all the obvious conflicts of interest, seems awfully improbable, or that the hospital would permit him to visit with Hanson's widow at home, after the transplant surgery has been completed.

Richard Bradford is fine in the leading role; it's not clear why he lost out to Chad Everett on the series; perhaps it was his prematurely graying hair, especially noticeable in scenes opposite white-haired Daly.

One final note: The transplant storyline was quite timely. The show premiered on April 17, 1969. Except for the first human-to-human heart transplant famously performed by Dr. Christiaan Barnard in December 1967, most of the major breakthroughs in this field occurred throughout 1968 and early-'69 - just as this aired.

Video & Audio

Operation Heartbeat is in full-frame format. The colors are somewhat faded, there are visible scratches at the heads and tails of reels, and there's video noise here and there, but overall the presentation is okay. As stated above, director Boris Sagal seems to have shot it with both 4:3 full-frame and 1.75:1 theatrical matting in mind, and it looks fine zoomed to 1.78:1. The mono audio is acceptable. There are no Extra Features save for that trailer, no subtitle or alternate language options.

Parting Thoughts

Though no better than so-so, Operation Heartbeat is worth a look for its cast and place in the development of the medical drama television drama. Recommended.

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VIEWING JOURNAL

You'll cognizance the letter grades. They're not a judgment of the layer. They're a disparaging note, a tenuous measurement of my enthusiasm to go to the fade away

after that particular viewing.

They do

not

concern whether or not I'd stand up for the film; I'd recommend different films to different people. Nor are they an assessment of its artistry. I explain my reservations about star-systems and estate-scales in

this rant at Filmwell

.

The Kindling’s Muse movie review podcasts

Hark to in to

the Kindlings Muse movie podcasts

, lively chats about movies with Dick Staub, Greg Wright, Jennie Spohr, and myself.

Poetry Time!

A Night in Casablanca (1946)

“The slapstick comedy antics
and string of relentless Groucho one-liners seemed more tired than subversively
funny.”

Reviewed by Dennis Schwartz

The first film from the Marx Brothers since their retirement in 1941
is one of their poorer efforts, weighed down with too much plot, but still
has a few zany slapstick routines to be mildly entertaining–especially
the one where the brothers delay Nazi spy Sig Ruman from fleeing from Casablanca
with stolen wartime loot by emptying his trunks as soon as he packs them.
The boys came out of retirement in this comeback film, after a few stinkers
for MGM, to help Chico with his gambling debts. The brothers independently
produced their penultimate film, with them receiving a healthy percentage
of the film’s profit. Archie Mayo (”Night After Night”/”The Mayor Of Hell”/”The
Petrified Forest”) safely directs by staying out of the way of the Marx
Brothers. The title aims to take advantage of the recent popular Warner
Brothers’ film Casablanca starring Bogie and Ingrid Bergman, as it spoofs
Nazi spy films.

After three managers at the Hotel Casablanca in Morocco die suspiciously,
the prefect of police, Capt. Brizzard (Dan Seymour), with the approval
of his boss, Governor Galloux (Lewis Russell), recruits as his new manager
the bumbling Ronald Kornblow (Groucho Marx). The earnest disgraced French
pilot, Lieutenant Pierre Delbar (Charles Drake), tells the French police
that during the war he was forced by the Nazis to fly an airplane filled
with stolen French art and jewels to South America and purposely crashed
the plane in Casablanca, where the treasure disappeared. Pierre is convinced
that the missing loot is hidden somewhere in the hotel, which at the time
was run by Nazis, and that is the reason for the recent murders. 

We soon learn that a guest in the hotel is wanted Nazi war criminal
Heinrich Stubel (Sig Ruman), a sadist who is disguised in a toupee as Count
Max Pfefferman and who is being helped by the attractive femme fatale Beatrice
(Lisette Verea) and two Nazi flunkies (Frederick Giermann & Harro Mellor).
Stubel intends to remove the hidden treasures from a secret place in the
elevator shaft and wishes to eliminate the managers so he can pull off
this heist undetected. 

To the rescue come Rusty (Harpo Marx), the mute valet of Max’s, and
Corbaccio (Chico Marx), the fast-talking owner of the Yellow Camel Company.
They save the womanizing wacky manager from Beatrice’s plans to get him
alone in her room and have Max legally kill him for fooling around with
his woman.

The poorly realized overplayed climax has the Marx Brothers board
the Nazi’s escape plane while in flight and to fight off the Nazis before
they can escape to Tunis with the stolen loot. The slapstick comedy antics
and string of relentless Groucho one-liners seemed more tired than subversively
funny.

Frank Tashlin (later to become a noteworthy comedy director for the
Martin and Lewis films) received no screen credit but reportedly conceived
Harpo’s visual gags, including the very funny opening one of the building
collapsing after a cop orders Harpo to beat it while sardonically asking
him as to whether he thinks he’s holding up the building.

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