List List Bang Bang

September 30, 2012

2012 (July to September) Screening Log

Filed under: 2012,Screening Log — misterjiggy @ 10:00 am

September 2012

Last Updated September 30, 2012


  • Contraband (2012 – Baltasar Kormákur) mixed (cable)
  • Bye Bye Braverman (1968 – Sidney Lumet) con (cable)
  • Friends with Kids (2012 – Jennifer Westfeldt) mixed(-) (Blu-Ray)
  • To Rome With Love (2012 – Woody Allen) mixed (cable)
  • Wanderlust (2012 – David Wain) mixed (cable)
  • The Grey (2012 – Joe Carnahan) mixed (cable)
  • The Master (2012 – Paul Thomas Anderson) pro(+) (Theater – 70mm)
  • The Age of Consent (1932 – Gregory La Cava) pro(-) (cable)
  • The Hunger Games (2011 – Gary Ross) pro(-) (DVD)
  • What Every Woman Knows (1934 – Gregory La Cava) pro (cable)
  • Nobody Lives Forever (1946 – Jean Negulesco) pro(-) (cable)
  • Gabriel Over the White House (1933 – Gregory La Cava) mixed (cable)
  • Tell It to The Marines (1926 – George W. Hill) mixed(+) (cable)
  • Lonesome (1928 – Pál Fejös) PRO(-) (Blu-ray)
  • Secret Beyond the Door (1947 – Fritz Lang) pro (Blu-ray)
  • Battle Cry (1955 – Raoul Walsh) mixed (cable)
  • Passage to Marseille (1944 – Michael Curtiz) mixed (cable)
  • Great Expectations (2012 – Mike Newell) mixed(-) (TIFF)
  • An Ideal Husband (1947 – Alexander Korda) pro(-) (cable)
  • Pardon Us (1931 – James Parrott) pro (DVD)
  • The Iron Horse (1924 – John Ford) pro (cable)
  • Private Hell 36 (1954 – Don Siegel) pro (Blu-Ray)
  • The Fallen Sparrow (1943 – Richard Wallace) mixed (cable)
  • Tower Heist (2011 – Brett Ratner) pro(-) (cable)
  • Greed (1924 – Erich Von Stroheim) pro(+) (cable)
  • Sleeping Beauty (2011 – Julia Leigh) pro (cable)
  • Haywire (2012 – Steven Soderbergh) mixed(+) (cable)



 August 2012

Last Updated August 31, 2012


  • Wives Under Suspicion (1938 – James Whale) mixed (cable)
  • Mysterious Island (1961 – Cy Endfield) pro (cable)
  • The Rickshaw Man (1958 – Hiroshi Inagaki) pro(+) (cable)

Though I appreciate Hiroshi Inagaki’s mid-fifties Musashi Miyamoto samurai trilogy featuring the great Toshiro Mifune, I don’t rank the films amongst my favorite Japanese films of the era.  Despite the success and influence of the films I guess I find them just a little too staid and conventional, particularly compared to the inventive and iconoclastic samurai films that would follow.  In fact the first film of the series was mainstream enough to land a best foreign film Oscar (like another contemporary straight forward period film in a classical style, Kinugasa’s Gate of Hell).  My interest was peaked though when TCM recently ran The Rickshaw Man, another Inagaki/Mifune collaboration (they made over 15 films together).  The Rickshaw Man is a non-samuari film, a big budgeted comedy/drama period film, presented in color and Tohoscope.  While it’s also a rather conventional film made in a classical studio style, it’s a completely winning film.  Episodic and decade spanning, it’s a warm and moving effort, that’s intimate while suggesting the epic.  Seemingly largely forgotten on Western shores today, The Rickshaw Man has been highly lauded in the past – a Golden Lion winner in Venice (beating out, amongst others, another Japaenese color scope film, Kinoshita’s excellent The Ballad of Narayama) and placing 19th in the 1999 Kinema Junpo poll of greatest Japanese films (though completely absent from the 2009 version of the poll).  In this 1958 remake of a version of the story Inagaki directed in 1943, Mifune plays Matsugoro, a humble and poor rickshaw driver, a boisterous (nicknamed “Wild Matsu”) but good natured and honorable man who becomes attached to a comparatively affluent young boy and helps guide him to manhood.  All the while Matsugoro is secretly in love with the boy’s widowed mother gracefully played by the great Hideko Takamine (in one of her two meaningful pairings with Mifune, the other being A Wife’s Heart, a solid but lesser Mikio Naruse film).  While Matsugoro’s unrequited love takes on a sort of tortured martyrdom and the tear jerking proceedings risk sliding from the bittersweet to the oppressively bathetic, Mifune saves the day with an absolutely bravura performance, employing the full complement from his acting bag of tricks.  The film contains two key set pieces (a running race and a ceremonial kodo drum performance) that are surely amongst some of the more memorable moments in Mifune’s awe inspiring career.

  • Consolation Marriage (1931 – Paul Sloane) mixed (cable)
  • The Champ (1931 – King Vidor) pro (cable)
  • The Criminal (1960 – Joseph Losey) pro(-) (On-line)
  • Bachelor Apartment (1931 – Lowel Sherman) mixed (cable)
  • Cowboy (1958 – Delmer Daves) pro(-) (cable)
  • Guilty Hands (1931 – W.S. Van Dyke) pro(-) (cable)
  • Prison (Fängelse) (1949 – Ingmar Bergman) mixed(+) (On-line)
  • The Iron Lady (2011 – Phyllida Lloyd) mixed(-) (cable)
  • Fanny by Gaslight (1945 – Anthony Asquith) pro(-) (On-line)
  • Shame (2011 – Steve McQueen) mixed (cable)
  • The Condemned of Altona (1962 – Vittorio De Sica) mixed (On-line)
  • Stress is Three (1968 – Carlos Saura) pro(-) (On-line)
  • Brink of Life (1958 – Ingmar Bergman) pro(-) (On-line)
  • The Sisters (1938 – Anatole Litvak) mixed (cable)
  • Shopworn (1932 – Nick Grinde) mixed(+) (cable)
  • Big Business Girl (1931 – William A. Seiter) mixed (cable)
  • All These Women (1964 – Ingmar Bergman) con(+) (On-line)
  • The Dark Knight Rises (2012 – Christopher Nolan) pro (Theater)
  • Les carabiniers (1963 – Jean Luc Godard) mixed (cable)
  • The North Star (1943 – Lewis Milestone) mixed(+) (cable)
  • Bedtime Story (1941 – Alexander Hall) mixed (cable)


July 2012

Last Updated July 31, 2012


  • It Rains on Our Lives (1946 – Ingmar Bergman) mixed (On-Line)
  • Hester Street (1975 – Joan Micklin Silver) pro(-) (cable)
  • Moderato cantible (1960 – Peter Brook) mixed (On-line)
  • Captain Lightfoot (1955 – Douglas Sirk) pro(-) (DVD)
  • Come Live With Me (1941 -Clarence Brown) mixed (cable)
  • Ten Cents a Dance (1931 – Lionel Barrymore) mixed(+) (cable)
  • Illicit (1931 – Archie Mayo) mixed (cable)
  • Nobody’s Children (1952 – Raffaello Matarazzo) pro (DVD)
  • Hellzapoppin’ (1941 – H.C. Potter) pro (On-line)
  • One Summer of Happiness (1951 – Arne Mattsson) pro(-) (On-line)
  • Up the Junction (1968 – Peter Collinson) mixed (On-line)
  • Kongo (1932 – William J. Cowen) pro(-) (cable)
  • Freebie and the Bean (1974 – Richard Rush) pro (On-line)
  • Beasts of the Southern Wild (2012 – Behn Zeitlin) pro(+) (Theater)
  • Thérèse Desqueyroux (1962 – Georges Franju) pro (On-line)
  • No Down Payment (1957 – Martin Ritt) mixed(+) (On-line)
  • Margaret (2011 – Kenneth Lonergan) pro(+) (DVD) (Theatrical Cut)
  • A Sailor-Made Man (1921 – Fred C. Newmeyer) pro(-) (cable)
  • Death of a Salesman (1951 – Laslo Benedek) pro (On-line)
  • Pool of London (1951 – Basil Dearden) pro (On-line)
  • Siamo donne (1953 – Franciolini, Guarini, Rossellini, Visconti, & Zampa) mixed (On-line)
  • La corruizone (1963 – Mauro Bolognini) mixed(+) (On-line)
  • Ginza Cosmetics (1951 – Mikio Naruse) mixed(+) (DVD-R)
  • 711 Ocean Drive (1950 – Joseph M. Newman) pro(-) (cable)
  • Crime of Love (Delitto d’amore) (1974 – Luigi Comencini) pro (DVD)

Luigi Comenini, better known on these shores for comedies like the 1953 Oscar nominated Gina Lolobrigida vehicle Bread, Love and Dreams and one of its sequels (Bread, Love and Jealousy, aka Frisky), directs this strangely compelling drama with an unusual tone – part melodrama, part social problem film, part working class star crossed romance and part political film.  Italy has never been much of a “nation”, more like a collection of city states each containing a distinct culture, mores, dialect etc.  Simple North-South demarcations provide little insight for outsiders looking in, though this romance of cuture shock does rely on the rather extreme differences between its two central lovers, a Milanese factory worker and the a Sicilian woman who emigrated with her family to industrial Milan to find work in a factory (bringing to my mind Florida Balkan’s Calabrese bred, Milan residing factory worker in De Sica’s A Brief Vacation from the previous year).   The lovely Stefania Sandrelli stars and while she was born in Tuscany she was no stranger to playing Sicilians, most famously for Pietro Germi in dark comedy classics Divorce – Italian Style and Seduced and Abandoned.  Here she plays a product of an extreme patriarchical Catholic family, she’s tough, but chaste, superstitious, earnest and more than a little naïve.  Her love match, played by Giuliano Gemma, is a confident, politically astute, de facto head of a Marxist-athesist family.  From this simple friction comes the drama, all back dropped by a lament for the polluted environment and the workers fight for safe working condtions (though the modern looking factory presents a far different setting than the primitive conditions shown in the Turin set turn of the centrury workers rights drama The Organizer). There is no comedy to speak of in this sweet and somber film, and it hints in some ways as a compete reversal of the culture shock elements in the 1962 comedy Mafioso in which a Sicilian born efficiency expert working for Fiat and living in modern Milan with his chic blonde wife and blonde daughters return to Palermo for a visit.  While Comenini’s approach is classical (not exactly resembling the Italian art house “hits” of the day from the likes of Wertmuller, Ferreri, Bertolucci or Cavani) the result is winning.

  • Panique (1946 – Julien Duvivier) PRO(-) (On-line)
  • Fortune Is a Woman (aka She Played with Fire) (1957 – Sidney Gilliat) mixed(+) (DVD)
  • La notte brava (1959 – Mauro Bolognini) pro(+) (On-line)

Though almost forgotten today it seems, La notte brava is a truly undersung once influential film from a key period in Italian cinema.  In the late fifties skilled director Mauro Bolognini collaborated with celebrated novelist/poet/screenwriter Pier Paolo Pasolini on a number of films before Pasolini would slide into the director’s chair with his impressive debut AccattoneLa notte brava, scripted by Pasolini and loosely based on his 1955 novel Ragazzi di vita, is set over the course of a single action packed evening and the result is a somewhat episodic film that employs an impressive and highly attractive ensemble cast.  Its concerns are typical of Pasolini; the wild morally bankrupt youth of the Roman slums, the brawling, thieving, pimps, prostitutes, hustlers and black marketers.  This is not the idle youth with a hearts of gold found in Fellini’s I Vitteloni – but a slightly more nefarious type, more akin to the youth in the “France” portion of Antonioni’s I Vinti or the amoral park dwellers in La commare secca which was scripted by Pasolini but helmed by his protégé Bernado Bertolucci.  As I understand it, Bolognini and Pasolini during their period of collaboration were rather simpatico.  Both men were highly artistic, left wing and homosexual (though Bolognini was closeted).  It appears they ultimately broke over the certain glamorous and professional sheen of Bolognini’s films.  Perhaps, to Pasolini, Bolognini had bought too much into Rome as “Hollywood on the Tiber” and was succumbing to the post-neorealist trend of making what had been dubbed “Pink Neo-Realism” whereby slightly realistic environments and situations were used to showcase the latest buxom sex symbol (for example, think of the Silvana Mangano and Sophia Loren in the Oscar approved films Bitter Rice and Two Women, respectively).  Bolognini was more measured and less inclined to go the non-professional actor route, and make the type of brutal and raw provocations for which Pasolini would become famous.  In a desire for authenticity Pasolini eschewed professional non-local talent with the brutish Franco Citti playing the fringe dwelling pimp in Accattone.  When Passolini did turn to a professional actor to play the whore in Mamma Roma he would go to the earthy and middle aged Anna Magnani – a world class actress, but not exactly a conventional starlet.  In contrast, Bolognini in La notte brava used some relatively polished runway ready Italian beauties (Rosanna Schiaffino, Antonella Lualdi, Elsa Martinelli and Anna Maria Ferrero) and experienced non-Italian actors (French actors Jean-Claude Brialy, Laurent Terzieff and Mylène Demongeot).  In the end La notte brava may seem to some like a mere proletariat La dolce vita for the delinquent set, but to me the glamour is never fatal to the grit.

  • The Two Mrs. Carrolls (1947 – Peter Godfrey) mixed (cable)
  • The Deep Blue Sea (2011 – Terence Davies) pro (On-line)
  • M (1951 – Joseph Losey) pro (On-line)



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