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Cinema Legends Over 100 Years Old Still Alive (as of 1/1/2024)

A few days late here, but here are the century old survivors of film in 2024.

Norman Spencer - producer (b. 1914)

María Cristina Camilo - actress (b. 1918)

Adriana Sivieri - actress (b. 1918)

Caren Marsh - dancer, actress (b. 1919)

Betty Brodel - singer, actress (b. 1919) + 3/3/2024

June Spencer - actress (b. 1919)

Maj-Britt Håkansson - actress (b. 1919)

Arnold Yarrow - actor (b. 1920)

Juan Mariné - cinematographer (b. 1920)

Robert Marcy - actor (b. 1920)

Francis Rigaud - director (b. 1920)

Patricia Wright - actress (b. 1921)

Jack Rader - actor (b. 1921)

Beulah Garrick - actress (b. 1921)

Barbra Fuller - actress (b. 1921)

Edgar Morin - director, screenwriter, philosopher (b. 1921)

Elisabeth Kirby - actress (b. 1921)

Elizabeth Kelly - actress (b. 1921)

Georg Stefan Troller - director, screenwriter (b. 1921)

Ray Lawler - playwright, screenwriter (b. 1921)

Joe Caroff - film poster artist (b. 1921)

Ray Anthony - musician, actor (b. 1922)

Micheline Presle - actress (b. 1922) + 2/21/2024

Janis Paige - actress (b. 1922)

Jacqueline White - actress (b. 1922)

Annette Warren - singer, actress (b. 1922)

Helen Colvig - costume designer (b. 1922)

Sara Luzita - dancer, actress (b. 1922)

Annabel Maule - actress (b. 1922)

George Morrison - director (b. 1922)

Stella Greka - singer, actress (b. 1922)

Bess Meisler - actress (b. 1922)

Aram Boyajian - editor, producer, director (b. 1922)

Virginia Fleener - animator (b. 1922)

Manos Zacharias - director (b. 1922)

Vincent Ball - actor (b. 1923)

Ralph Senensky - director (b. 1923)

Eileen Page - actress (b. 1923)

Johnny Pate - film composer (b. 1923)

Phil Nimmons - film composer (b. 1923)

Vera Linnecar - director, animator (b. 1923)

Enid Wizig - animator (b. 1923)

Jozef Hen - screenwriter, director (b. 1923)

Kim Yaroshevskaya - actress (b. 1923)

Ruth Geller - actress (b. 1923)

Paul Harding - actor (b. 1923)

David D. Osborn - screenwriter (b. 1923)

David Lawton - actor (b. 1923)

Adeline Leonard Seakwood - production coordinator (b. 1923)

#dannyreviews #nonagenarian #2024 #happy new year #micheline presle #janis paige #jacqueline white #vincent ball #annette warren #ray anthony #jack rader

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Steamboat Willie (1928)

2024 had opened with the greatest rejoicing among fans of Disney and old school animation. After 95 years, the earliest version of Mickey Mouse is now in the public domain and is owned by the public. Immediately after midnight, YouTube account "Corridor" uploaded the iconic Disney short "Steamboat Willie" and as of this writing, the video has 376,000 views and is sure to go up. I thought I would celebrate by reviewing this 7 minute masterpiece which shows the inception of an American icon.

The cartoon opens with the famous shot of Mickey commanding a steamboat down the river, although without the permission of his boss, the giant Peg-Leg Pete (although without the Peg-Leg). Mickey is forced to do his chores while Pete's parrot taunts him. The steamboat picks up a bunch of animals including a cow and a goat. Minnie is also picked up and the two have fun playing music when the goat eats sheet music of "Turkey In The Straw" that Minnie brought aboard. The fun continues as Mickey and Minnie play the animals like musical instruments, using a duck quack, the cow's teats and a bull's set of teeth. Pete discovers the jam and orders Mickey to peel potatoes, again with the parrot taunting over him, but Mickey throws one of the potatoes to shut the parrot up, ending the cartoon.

"Steamboat Willie" is every bit the piece of film that is found in every montage celebrating the cinema of the 20th century. Mickey at the helm of the Steamboat is as iconic as Charles Foster Kane whispering "Rosebud" or Rick Blaine saying "Here's looking at you kid". And yet, the animation is primitive, the music by future Looney Tunes/Merrie Melodies composer Carl W. Stalling is generic and the dialogue is unintelligible. All of that can be excused due to the art of animation being in the developmental stages and that it was the first animated sound film. Taken for what it is, "Steamboat Willie" resonates with people of all ages just for the very idea that it was Mickey Mouse's debut to the world and that's what really matters. It's the same thing with "The Jazz Singer", despite being the first full length talkie, it is really a mediocre film, and had it not been for the history, no one would care for it. If anything, the flaws are actually the most fascinating part.

Back in 1928, "Steamboat Willie" was the warmup feature for a now lost film called "Gang War" starring Jack Pickford (brother of Mary) and Olive Borden. The audience were blown away by Mickey Mouse, for the sheer brilliance of the cartoon as if it was other worldly. Also, the fact that "Gang War" was another early talkie that most likely was devoid of a musical score and the dialogue tended to be bland and inaudible. The film was panned by critics calling it another cliche flick. The critics had all the kind words for the cartoon preceding the feature which was more revolutionary. The audience demanded "Steamboat Willie" be repeated and the rest is history. I wonder if a copy of "Gang War" will surface and if it will find a new audience who might be receptive due to its association with "Steamboat Willie". Maybe, maybe not.

What will come from this new public domain status for early Mickey Mouse? Much like the plays of Shakespeare or the art of Leonardo Da Vinci, there is an audience willing to put their interpretation of the classic character in their own art, literature or parody. 2024 and beyond should and will be filled with endless possibilities.

9/10

#dannyreviews #steamboat willie #walt disney #mickey mouse #public domain #carl stalling #minnie mouse #turkey in the straw #peg leg pete #happy new year #2024

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John Farnham: Finding The Voice (2023)

Crocodile Dundee, Yahoo Serious, The Wiggles and Steve Irwin. Four of the most legendary imports from Australia that have penetrated the American Pop Culture consciousness. Unfortunately, one of the great figures from Down Under has not received the same attention and that is the singer known by fans as "The Voice"; John Farnham. Director Poppy Stockell has created one of the best music documentaries in recent years that has yet to reach the Netflix or Amazon Prime audience, but luckily is available on iTunes. Even if you've never heard of John Farnham or heard one note of his songs, you are in for a feel-good rock and roll tale.

The film opens in 1966 with Farnham, then a teenage plumber’s apprentice, being discovered while singing at a local musical event. After contributing to a few jingles, he became an overnight success under the name "Johnny Farnham" with the novelty song "Sadie (The Cleaning Lady)" which went to #1, beating The Beatles and other internationally recognized acts of the day. Suddenly, Farnham was the most recognized person in Australia and living the high life. Unfortunately, fame eluded him overseas and his matinee idol status became outdated by the mid-70s. Bordering on has-been, Farnham takes a job as lead singer of the already famous Australian group Little River Band in order to regain his status, but clashes with his fellow band members occurred and he came out of his tenure in debt. That's where his manager Glenn Wheatley comes to Farnham's side to institute the comeback of a lifetime. Mortgaging his house and shopping the album "Whispering Jack" to record companies and radio stations that wrote the singer of "Sadie..." off years earlier, Wheatley puts everything on the line to help his best friend. The gamble paid off and "Whispering Jack" became the biggest selling album by an Australian in the country's history and its hit song "You're The Voice" became an anthem for world peace. After struggling to regain his popularity, John Farnham was on top of the world, with endless tours of Australia and Europe that continued for years to follow.

"Finding The Voice" is as good a biography as you can get because not only do you get the full story that doesn't seem as stilted as a Wikipedia article, you walk in the subject's shoes. Director Stockell shows us John Farnham as both celebrity and regular human being. There are moments where you can picture Farnham at his lowest and the descriptions of a mid-life crisis backed up by depression, panic attacks and tears. Then there's the confidence of recording an album like "Whispering Jack", sifting through thousands of demos and eventually finding the song that becomes his signature tune, originally over the objection of its songwriter. The result is a biography that puts every episode of “Behind The Music” to shame, and honors its subject as a survivor of the music industry’s cutthroat system of instant fame and inevitable rejection.

This documentary also touches on the importance of Glenn Wheatley and his wife Gaynor in shaping Farnham’s life and helping his sanity when he was at his lowest point. Singer Richard Marx mentioned in the film that the music industry is not a place known for friendships, but John Farnham and Glenn Wheatley’s relationship ran so deep that even when Wheatley found himself in legal trouble, Farnham did not abandon him. If anything, their bond deepened. Sadly, Wheatley died in early 2022, around the same time as frequent collaborator Olivia Newton-John. The last 10 minutes acts as an elegy to the two and gives them the deserved credit for being integral parts of Farnham’s life and success.

One of John Farnham’s biggest hits with the Little River Band “Playing To Win” defines his pursuit to conquer the world:

If you want me, come and get me You don't have a chance if you don't move now I'm not waiting any longer You know that I'm playing to win this time

Well John, you won the battle and are reaping the rewards of your success.

9.5/10

#dannyreviews #john farnham #finding the voice #you're the voice #poppy stockell #australia #sadie the cleaning lady #little river band #glenn wheatley #richard marx #olivia newton john

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Animation Professionals Over 90 Still Alive

10 years ago, Cartoon Brew had an article about animators from the Golden Age and beyond over a certain age still living.

https://www.cartoonbrew.com/animators/who-are-the-oldest-living-animation-artists-88196.html

Unfortunately, the lion's share of that group have since passed away, save for a handful of names. For this post, I would like to highlight (in age order) those from studios like Disney, Warner Brothers as well as independent bases that are around today who represent the last living links to old school animation. These include artists, directors and writers. Exclusive voice actors or animated music composers are not counted.

Vera Linnecar (b. 1923) Halas/Bachelor, Bob Godfrey

Enid Wizig (b. 1923) Warner Brothers

Joe Hale (b. 1925) Disney

Lillian Schwartz (b. 1927) Independent

Witold Giersz (b. 1927) Independent

Bob Singer (b. 1928) Warner Bros., Hanna-Barbera

Yoji Kuri (b. 1928) Independent

Robert Verrall (b. 1928) National Film Board of Canada

Peter Maddocks (b. 1928) Independent

Zdeňka Deitchová (b. 1928) Gene Deitch

Art Leonardi (b. 1929) Warner Brothers, MGM

Jules Feiffer (b. 1929) Paramount, Terrytoons

Don Iwerks (b. 1929) Disney

Phil Roman (b. 1930) Chuck Jones, Fox, Independent

Howard Beckerman (b. 1930) Famous Studios, Terrytoons, Independent

R.O. Blechman (b. 1930) Terrytoons, Independent

Stan Hayward (b. 1930) Bob Godfrey

Joseph Koenig (b. 1930) National Film Board of Canada

Jack Heiter (b. 1930) Warner Brothers, Nickelodeon, UPA

Rein Raamat (b. 1931) Independent

Ed Seeman (b. 1931) Paramount

Fred Wolf (b. 1932) Independent

Brian Trueman (b. 1932) BBC

Fumio Kurokawa (b. 1932) Nippon Animation

Yvonne Andersen (b. 1932) Independent

Masaki Tsuji (b. 1932) Mushi, Toen, TMS

Dean Tavoularis (b. 1932) Disney

Doris A. Plough (b. 1932) Disney, Don Bluth, Hanna-Barbera, Fox

Inessa Kovalevskaya (b. 1933) Soyuzmultfilm

Boris Kolar (b. 1933) Independent (no other photo available)

Update (12/23): Adding Virginia Fleener (b. 1922) Disney

#dannyreviews #animation #walt disney #warner brothers #enid wizig #vera linnecar #joe hale #lillian schwartz #witold giersz #bob singer #yoji kuri #robert verrall #art leonardi #jules feiffer #don iwerks #phil roman #howard beckerman #jack heiter #r.o. blechman #stan hayward #rein raamat #ed seeman #brian trueman #fumio kurokawa #yvonne andersen #dean tavoularis #doris a plough #inessa kovalevskaya #boris kolar #cartoonbrew

[dannyreviews]

The Age of Innocence (1993)

1993 was the second coming of 1939 when it came to the number of American films that were released. Martin Scorsese's "The Age of Innocence" remains one of that year's absolute gems, a departure (no pun intended) from the famed director's usual gritty nature. Replacing gunfire with passing glances and mafia dealings with upper class gossip, "The Age of Innocence" is classic Scorsese and in my opinion, among his best films ever.

Based on the novel by Edith Wharton, "The Age of Innocence" , focuses on the impending union of the two most important families in New York society. Lawyer Newland Archer (Daniel Day-Lewis) is engaged to be married to the sweet and quiet May Welland (Winona Ryder) and their marriage is the talk of the town. At the same time, May's cousin Ellen (Michelle Pfeiffer) has returned to New York to non-stop gossip pertaining to her impending divorce. Steeped in a world of customs and tradition, Newland is drawn to Ellen's unconventional lifestyle and while handling the matters of her divorce, the two begin an affair. Newland must decide which moral route to take, one that will maintain his place in the hierarchy of the upper crust, or the other sizzling in passion, yet tainted in scandal.

"The Age of Innocence" may be gentile in its appearance, but it's every bit the nail biter as "Raging Bull" or "Goodfellas". The adaptation by Scorsese and Jay Cocks shows dynasties pitted up against one another like mob families, favors that are made to keep up appearances and a family matriarch and high end couple with all the power in the world like mafia dons. At the same time, the art direction by Dante Ferrets and costume design by Gabrielle Pessucci, doesn't merely recreate late 19th century New York, but embraces every facet it possesses, from vast estates filled with art collections, fine china and chandeliers to ornate opera houses where their audience and actors don the most glamorous haute couture. When it comes to matching the authenticity of its period, there is not one false note. Having culminated from decades of prior period pieces, "The Age of Innocence" takes the genre to a whole new level of appearance that has rarely ever been repeated.

Scorsese assembled one of the most diverse casts of recent years. In addition to the 3 main actors, there are Golden Age of Hollywood stars (Norman Lloyd, Alexis Smith), veteran British actors (Michael Gough, Alec McCowen) and the new crop (Richard E. Grant, Robert Sean Leonard) and each brings their own craft to this unique film. Robert De Niro or Joe Pesci would have seemed out of place if they were included in the cast, so it was wise to delve further in the variety of acting styles and backgrounds and have each of them adapt to the lingo of Edith Wharton's New York. Also, to have the calming voice of Joanne Woodward narrate the story transitions the film into Merchant-Ivory territory, which I'm sure Scorsese studied up on prior to filming.

As for the main cast, Daniel Day-Lewis is absolutely terrific in playing the emotionally repressed Newland Archer, who must balance his double life amidst its open secrecy. Winona Ryder also shines in an Oscar nominated turn as May in all of its Golden Age of Hollywood charm. And then there's Michelle Pfeiffer, who is absolutely mesmerizing in portraying Ellen's liberal personality, in a performance that the Academy should have considered. The supporting cast standouts include Stuart Wilson as Ellen's "other man" Julius Beaufort, a lecherous scoundrel, Miriam Margoyles' BAFTA winning performance as Mrs. Mingott, May's grandmother, and Sian Phillips as Newland's mother.

"The Age of Innocence", along with Jane Campion's "The Piano", Jim Sheridan's "In The Name of the Father" (also with Daniel Day-Lewis) and James Ivory's "The Remains of the Day", represent in my opinion, the best of cinema in 1993. Out of those films, "The Age of Innocence" isn't the top one (that honor belongs to "The Piano"), but it represents the most expertly made. The acting, direction, novel adaptation and authentically honored period are all building blocks to the neatly tied packaged result.

9/10

#danny reviews #the age of innocence #martin scorsese #edith wharton #daniel day lewis #winona ryder #michelle pfeiffer #dante ferretti #gabriella pescucci #norman lloyd #alexis smith #michael gough #alec mccowen #stuart wilson #miriam margolyes

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Cinema Legends Turning 100 in 2024

Even though there is one more month to go in 2023, I thought I would get a head start on this post. Without further ado, the centenarians for 2024.

Eva Marie Saint - actress

William Russell - actor

Robert M. Young - director (Update: Died On February 6, 2024 at 99)

Lee Adams - lyricist

Priscilla Pointer - actress

Ann Vernon - actress (Update: Made it to 100)

Krishnaveni - actress

Mimis Plessas - film composer

Maria Riva - actress

Joyce Randolph - actress (Update: Died On January 13, 2024 at 99)

Ted Hartley - actor, producer

Nadia Cattouse - actress

Woody Woodbury - actor, comedian (Update: Made it to 100)

Meta Velander - actress

Pia Velsi - actress (Update: Made it to 100)

Yatsuko Tan'ami - actress

Bo Bjelfvenstam - director, screenwriter, actor

Jean Harlez - director

Madeline Anderson - director

Alfred Hoffman - actor

Kang Cheng - director

Fada Santoro - actress

Walter Schultheiss - actor

Donald Pelmear - actor

Teresa Cunillé - actress

Ip Chun - martial artist, actor

Rolf Schimpf - actor

Terry Gibbs - film score musician

Elaine Schreyeck - continuity supervisor

Stanley Sopel - producer

Eunice Christopher - actress

(no photo available)

Gloria Stroock - actress

(no photo available)

Robert Porter - producer

(no photo available)

Pat Jaffe - producer, editor

(no photo available)

Norbert Terry - director, producer

(no photo available)

Alice Toen - actress

(no photo available)

Richard Gilbert - director, producer

(no photo available)

Ronald Spencer - director, producer

(no photo available)

#dannyreviews #2024 #hollywood #centenarians #eva marie saint #william russell #robert m. young #priscilla pointer #ann vernon #krishnaveni #mimis plessas #maria riva #joyce randolph #ted hartley #nadia cattouse #woody woodbury #meta velander #pia velsi #yatsuko tan'ami #bo bjfelfvenstam #jean harlez #madeline anderson #fada santoro #lee adams #happy new year

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Rolling Stone Magazine Top 250 Guitarists - The Omissions List

Once again, Rolling Stone Magazine puts together a list that no one asked for and it's a complete mess. Instead of analyzing craft and technique, Rolling Stone goes for popularity and mediocrity. Who in their right mind thinks that Joni Mitchell, not known primarily for her guitar work, is Top 10 material, but Slowhand himself, Eric Clapton only worth making it it to 35? Also, why is The Edge, probably the worst guitarist ever, have a place in the top 50 and Jose Feliciano, a master of classical style, not even crack the top 200? I can go on for hours about the inconsistencies, but for now, I will focus on the many guitarists that Rolling Stone left off.

Martin Barre

Jeff "Skunk" Baxter

George Benson

Joe Bonamassa

Doyle Bramhall II

Roy Clark

Mike Dawes

Paco De Lucia

Al Di Meola

Dave Edmunds

Tommy Emmanuel

Peter Frampton

Justin Hayward

Allan Holdsworth

Stephen Housden

Antonio Carlos Jobim

John Jorgenson

Laurence Juber

Terry Kath

Leo Kottke

Yngvie Malmsteen

Gary Moore

Steve Morse

Joe Pass

John Renbourn

Louie Shelton

Tommy Tedesco

Robin Trower

Bert Weedon

John Williams

If I left anyone off, include those names in the comments.

Update (11/12/2023): Just discovered Doyle Dykes and he was another omission from the Rolling Stone list. Because I’ve hit the 30 photo cap, he gets an acknowledgment here.

#dannyreviews #rolling stone magazine #top 250 guitarists #martin barre #jeff skunk baxter #george benson #joe bonamassa #doyle bramhall ii #roy clark #mike dawes #paco de lucia #al di meola #dave edmunds #tommy emmanuel #peter frampton #justin hayward #allan holdsworth #stephen housden #antonio carlos jobim #john jorgenson #laurence juber #terry kath #leo kottke #yngwie malmsteen #gary moore #steve morse #joe pass #john renbourn #louie shelton #tommy tedesco

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Frasier (1993 and 2023)

The 1990s was probably the last great era for the American Sitcom and the majority of television viewers would probably pick "Seinfeld" as their favorite. As much as I love "Seinfeld" and its brand of famous gags, one liners and character quips, "Frasier" is in a class of its own above. For 11 seasons, Frasier maintained its Moliere/Alan Ayckbourn wit and farce without missing a beat. Nearly 20 years after the perfectly written series finale, "Frasier" has been rebooted and things have changed, some for the better and the rest for the worst. Here is the rundown about what made the original series a classic and the reboot (so far) a shadow of its former self.

TV Spinoffs are usually a hit or miss affair. The hits like "Laverne and Shirley" and "The Jeffersons" managed to remove themselves from their origin and create their own brand of humor. Others like "After MASH" and "Phyllis" were tedious affairs that forgot their roots and sailed into the sunset of mediocrity. And then you have "Frasier" which took the spinoff to brand new heights. Having already been an established supporting character in another massively successful series "Cheers", Frasier Crane was engrained in the collective consciousness of the prime time audience, so that was one notch in watching the pilot of the original "Frasier". The first thing was to reinvent Frasier as a radio psychiatrist which becomes the foundation for jokes about the human mind. But then you add supporting characters that are so multi-dimensional that they have to compete with the title character for the most laughs. That came in the form of David Hyde Pierce as Frasier's equally pompous psychiatrist brother Niles and John Mahoney as their blue collar, retired, disabled policeman father Martin. Watching the difference between tasting wine and singing Gilbert and Sullivan operettas to drinking beer and watching the ballgame on TV and you have a dynamic that is another foundation of excellent writing. At the same time, there's Peri Gilpin as Frasier's producer Roz who beds every man (single or married) in town and Jane Leeves as Daphne, Martin's in-house nurse and Niles' crush. When you have several running gags all synchronized in 11 amazing seasons that never jumped the shark, the possibilities are endless. Even recurring jokes like the rivalry between the Crane brothers, the elusive identity of Niles' wife Maris, or the random actions of Martin's dog Eddie, were add ons to an already colorful mosaic of wit and wisdom. Like the Sistine Chapel, or Bach's Goldberg Variations, Frasier is several fine tuned sequences that make up a Leviathan of a presentation. What can possibly go wrong?

The reboot of "Frasier" in hindsight should never have happened because in the series finale, the viewer wanted Frasier to have a happy ending and fine true love with his last girlfriend Charlotte. That hope goes out the window and instead what we get is another chapter in our titular character's hapless life when he becomes a lecturer in Psychiatry at Harvard. In the original pilot, we got to know each character's strengths and flaws in only 22 minutes. With the reboot, it takes 2 episodes just to establish each character's back story. Now that Martin is dead and Niles & Daphne are MIA, the majority of the new characters are generic, paint by numbers creations. Frasier's son Frederick (Jack Cutmore-Scott) is blue collar like his grandfather and the deja vu dynamic is not played up for laughs. You have a storyline written in about Frederick's roommate Eve (Jess Salguero) that gets too convoluted and ends up like a subplot in a cheesy soap opera. Most unforgivably, there's Niles and Daphne's son David (Anders Keith) who is supposed to be an amalgam of his parents, but instead of having headstrong principles and acerbic banter, he's just obnoxiously atrocious. This isn't the offspring of a fascinating couple, it's a clone of Screech from "Saved By The Bell". The only thing that somewhat works and has any relevance to the original series is Frasier's scenes with his new colleagues at Harvard which includes his old college friend Alan (Nicholas Lyndhurst) and department head Olivia (Toks Olagundoye). Alan is the new Niles in how he and Frasier exchange intellectual topics and if you can close your eyes, you'd think it was the Crane Brothers. Olivia is tolerable only when she's in the same room as Alan. Otherwise, her scenes with Frasier border on cringeworthy, which goes against the original formula of all the characters mingling with indefinite punchlines. Finally, Kelsey Grammer is at the helm of a rocky boat trying to steer it through choppy waves. He hasn't lost any of his charm but he can only do so much with what's written in the script.

Only three episodes of the reboot have aired as of now (10/22/2023), and the show has a lot to live up to its source material. Roz and Frasier's ex wife Lilith are supposed to make appearances in future episodes. What will they bring to the table and will it rival the classic episodes? I'm not holding my breath, but do hope that the show improves itself.

Original: 10/10

Reboot: 6/10

#dannyreviews #frasier #frasier crane #kelsey grammer #frasier reboot #david hyde pierce #niles crane #john mahoney #martin crane #jack cutmore scott #anders keith #nicholas lyndhurst #jess salgueiro #toks olagundoye #jane leeves #peri gilpin #eddie the dog #daphne moon #roz doyle

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Affliction (1997)

One of the hardest things to do when making an original piece of art is portray the real life surroundings of its plot. The film that goes above and beyond that encapsulation is the Coen Brothers' "Fargo" which is as perfect a film as you can get. But that's not the topic of this post. The following year came a film that has the desolate look of "Fargo", but in a more straightforward Hollywood fashion. Paul Schrader's "Affliction" is a competent piece of cinema that gets its strength more on its substance, but not in the plotting.

In the snowy hills of New Hampshire, officer Wade Whitehouse (Nick Nolte) has a lot of emotional baggage. He's in the middle of a messy custody battle with his ex-wife (Mary Beth Hurt), his friend (Jim True-Frost) is a suspect in the death of a Massachussetts businessman (Sean McGann) during a deer hunt, he is conflicted as to whether to marry his girlfriend Marge (Sissy Spacek) and is still haunted by his abusive childhood at the hands of his father Glen (James Coburn). When Wade's mother dies, he and his brother Rolfe (Willem Dafoe) must confront their personal demons while also getting to the bottom of a mystery involving the deceased businessman and his boss Selectman Gordon Lariviere (Holmes Osborne Jr.) pertaining to a dodgy real estate deal.

"Affliction" has the appearance of a film steeped in mystery and intrigue, but very little of it actually bears any real suspense. The story involving the businessman's death is treated as an ordinary subplot rather than the main story. Another criticism is how the town and its citizens are shown. The desolate nature of the small town lacks any real interest for its urban legends and old wives' tales. The characters are all creations of Hollywood from their mismatched accents (Minnesotan sounding people from New Hampshire) to costumes that look like a JCPenney catalog. It was those characteristics done right in "Fargo" that elevated that film to legenday status, the idea of a mystery being given full treatment, the characters speaking freely in their own dialect and the spontaneous flow of life going at a natural pace. In "Affliction", it's more like make-believe.

The one part of "Affliction" that is done well is its most important aspect, that of a father and son relationship in turmoil. Schrader's succeeds in showing us flashbacks that look like home movies down to the graininess of the film. We understand why Wade is not an effective parent, why he cannot commit to marriage and why he is on the brink of insanity. The narration by Rolfe connects the dots in showing the relevance between the Whitehouse family and the businessman's death, despite the latter's less than stellar use in the plot. When we find out the real story in the epilogue, we've stopped caring.

Nick Nolte gives one of his most effective performances as Wade. He's the guy you hate because of his callousness but the same time feel sorry for him because of his childhood scars. His rugged nature mixed in with his sensitivity is worn all over his face. James Coburn, in a well deserved Oscar winning performance, makes Glen Whitehouse into the Father From Hell, a lowlife with the most disdain for the human race. The final scene between the two is a testament to their acting chops and the lengths they can go to churn out characters with dimension. The rest of the cast (Spacek, Dafoe, Osborne, True-Frost) are also terrific in otherwise thankless roles. The one acting performance that was off-putting was that by Brigid Tierney as Wade's daughter Jill, which was all whining and no human dimension. Her scenes come off as cheap, direct to video family theatrics, not an R-rated Hollywood indie film directed by a Hollywood legend like Paul Schrader.

In addition to Coburn's Oscar win for Best Supporting Actor, the only other nomination was a well deserved one from Nick Nolte in the Best Actor category. "Affliction" could have been a masterpiece like "Fargo" if it only adhered more to the urban legend mentality and breathed life into its surroundings with more visual and characteristic subtlety. As it is now, "Affliction" is "Fargo-lite".

7.5/10

#dannyreviews #affliction #paul schrader #nick nolte #mary beth hurt #jim true-frost #sissy spacek #james coburn #sean mccann #willem dafoe #holmes osborne jr.

[dannyreviews]

Hester Street (1975)

Period pieces, like any film genre, are always hit or miss affairs. Some films emulate the era perfectly, by nailing the art direction, the costumes and the speech of the era. Then there are period pieces that lack one or more of the above. Unfortunately, Joan Micklin Silver’s “Hester Street” falls under the latter. While it honors the era of its plot, the way its cast presents it falls short.

In 1896. on Manhattan’s Lower East Side, recent immigrant Yankel (Steven Keats) has assimilated to American life. He’s changed his name to Jake, works as a machinist, and put all religious traditions to the wayside. At the same time that he’s having an affair with a local woman named Mamie (Dorrie Kavanaugh), his wife Gitil (Carol Kane) and son Yossele (Joey) (Paul Freedman) come over to America. In that time, Gitil fails to assimilated like Yankel, and coupled with his constant infatuation for Mamie, their marriage faces its share of challenges.

“Hester Street” does a great job at portraying late 19th century New York, with its Jewish enclave on the Lower East Side filled with horse carts, fruit stands, beggars and tenements. Director Silver even turns segments of the films into mini silent films where the characters interact with each other without spoken dialogue. Credit cinematographer Kenneth Van Sickle and production designer Stuart Wertzel for their faithful recreation. That’s all well and good, but once the characters speak, is where “Hester Street” starts to lose a lot of its luster. With the exception of from some of the Yiddish language dialogue, the actors seem like they’re playing dress-up instead of living and breathing the era. The actors’ Yinglish accents seem fake and too pronounced to be taken seriously. There’s acting in a matter of fact way, and then there’s over-emphasizing your lines, and “Hester Street” is filled with that in spades.

Steven Keats is miscast as Yankel aka Jake. His performance is more like a theme park characterization all the way down to his fake mustache, and it’s all a distraction from what should have been a competent performance. Keats only excels at acting like a silent film actor with pratfalls and facial mannerisms. Carol Kane, in her film debut, is too maudlin to really make us care about her. While her command of the Yiddish language is impressive, Kane doesn’t stand out in anything else. She’s boring to watch and it isn’t because of the way her character is written. With two actors that are all wrong in their parts, you don’t route for Jake and Gitil’s marriage to work and if you can’t identify with the characters, you don’t have a fulfilling film.

“Hester Street” received an Oscar nomination for Carol Kane’s performance which acted more as a filler than a genuine addition. The most laughable nomination was a Writers Guild Award for Best Screenplay, for a story that crams a generic story into 90 minutes without letting us really get into the characters. “Hester Street” could have been a great insight into the Jewish community beyond art direction, but merely scratches the surface over the differences between religion and secularism like a quick PowerPoint presentation. I wanted to know the full back story between Yankel and Gitil and how they got to this point in their lives, but all I got were two poor schmoes that you can find in any bread line or cramped tenement house.

5/10

#danny reviews #hester street #joan micklin silver #jewish #yiddish #lower east side #steven keats #carol kane #dorrie kavanaugh #doris roberts

[dannyreviews]

High Hopes (1988)

If you’re a frequent visitor to my page, you would know that one of my favorite directors of all time is Mike Leigh. His unconventional manner of working without a script and crafting the actor’s performances through workshops creates an actual slice of life printed on film. 1988 was the year that Leigh broke away from being a national figure of the arts and branched off internationally. “High Hopes” is Leigh’s introduction to a wider audience of cinema lovers and 35 years later, he’s viewed as one of Britain’s greatest auteurs.

The film focuses on a slew of characters that couldn’t be more different in economic classes and personalities. We’re introduced to Cyril and Shirley (Phil Davis and Ruth Sheen), ex-hippies that love Karl Marx, hate Margaret Thatcher, smoke marijuana and take in strangers. Cyril’s elderly mother Mrs. Bender (Edna Dore), a widow losing grip on her life. Cyril’s unstable sister Valerie (Heather Tobias) who is married to a self made businessman and adulterer Martin (Philip Jackson) and finally, Mrs. Bender’s rich neighbors Laeticia and Rupert (Lesley Manville and David Bamber). Over the course of a few days, these characters will clash in the most ironic, humorous and tragic ways.

50 years earlier, William Wyler’s “Dead End” gleaned on the topic of gentrification (a term not coined at the time). In that film, a slum on the East Side of Manhattan was gradually being transitioned into a high end neighborhood where the upper crust were more appealed by the status of living in such a place rather than fitting in. Mike Leigh took this topic to a whole new satirical level. Mrs. Bender is the last pensioner on a block that is being bought up by condo developers and transformed into prime real estate. When Mrs. Bender locks herself out of her home, Laetita is hesitant to help her, but begrudgingly does so as to not appear too cold. It is inside where both Laetita and Rupert treat her more as an inconvenience rather than someone they are willing to help, much like how they view all poor and working class people with contempt. Leigh doesn’t hide the rich neighbors’ almost-hatred of this poor woman, a savage dig at the upper crust Thatcher-loving milieu destroying the backbone of English society.

“High Hopes” shows us that both the rich and the poor and left-wing and right-wing are both warped in their everyday lives. Cyril and Shirley talk about revolution, but know that its unrealistic to carry out. Instead, they prefer their current lifestyle because anything else would be a detriment. Out of all the characters, they are the happiest, yet the most idle. Valerie and Martin are the most miserable, even though they are economically stable. Laetita and Rupert want to be seen as generous, whether its helping old ladies or going to homeless charity dinners, but don’t want to lift a finger. If anything, they are hippies masquerading in fancy dress up. Mrs. Bender is the only character that is really salt of the earth, a symbol of a patriotic Britain far gone. And yet, Leigh doesn’t turn these characters into status symbols, but actually living, breathing creations. 

Leigh’s usual revolving door of actors have never disappointed in 50 years of film, television and theater. “High Hopes” is no exception. Every performance emulates the natural dialect of both the neighborhood and the economic class so you get a feel of the rift between the characters. But I would like to highlight one particular scene that shows not only the amazing cast, but the cinematic ambiance of capturing a moment in real time. When the family gathers for Mrs. Bender’s 70th birthday, they are in complete shambles. As the candle is blown out, Valerie insists that her mother has a piece of the cake, but is completely shot down. This leads into a fight in which the camera is solely on Mrs. Bender with the saddest expression imaginable. If this was a Hollywood film, the mother would’ve screamed at them for being rude, but instead you have a much more down to earth reaction. That is a credit to Edna Dore, who I believe should have won every acting accolade in the book for that scene alone. Classic Mike Leigh moment.

“High Hopes” was a big hit on the film festival circuit, winning an award at the Venice Film Festival as well as winning acting prizes at the European Film Awards for Sheen and Dore. As the last 35 years have shown, Mike Leigh has revolutionized the way in which characters are molded and turned into regular human beings. I have yet to see another director come this close in taking on Leigh’s unadulterated substance.

9/10

#dannyreviews #high hopes #mike leigh #phil davis #ruth sheen #edna dore #heather tobias #philip jackson #lesley manville #david bamber #karl marx #margaret thatcher #gentrification

[dannyreviews]

Women Talking (2022)

Sarah Polley is one of those auteurs whose filmography plays out like a student learning their craft. Her feature film debut “Away From Her” was simplistic in its narrative, then came her autobiographical documentary “Stories We Tell” where her storytelling improved. Now we have “Women Talking” which is Polley coming into a milieu of character development and emotional strife. With the Academy Awards only a few hours away from the writing of this post, Polley will surely be dusting off space on her shelf for her well deserved Oscar.

From Miriam Toews’ novel of the same name, “Women Talking” focuses on a small group of women and girls in a Hutterite colony in Canada. Abuse has been rampant for a long time and things have hit a breaking point with the arrest of some of the colony’s most powerful elders. With charges pending, a meeting of some of the victims takes place in which a decision must be made. Will they stay behind and forgive their abusers, which would mean a place in heaven? Or will they desert the only home they ever know and risk eternal damnation? Over the course of 24 hours, that choice is debated back and forth.

The only thing contemporary about “Women Talking” is the year that the story takes place; 2010. Beyond that, this is as much a period piece as any classic novel from the 19th century adapted by Merchant-Ivory or David Lean. The characters’ fashion, speech, demeanor and movement all harken back to a long ago era, despite the year and their insulation from the outside world is also odd. Just like the Amish in Pennsylvania or Hasidic Jews in parts of Brooklyn, the past is the present, and the present is non-existent. The choice to photograph in semi-black and white was also wise as if to illustrate the purgatory that each woman lives through on a daily basis, but also the fact that they live in another universe that happens to be on Earth. Even the film score by Oscar winner Hildur Guðnadóttir has the feel of a Sci-fi epic, but with a more Classical slant. It may have taken place in recent years and brings up now-current issues such as #MeToo, but “Women Talking” couldn’t be more of an anomaly in so many categories, and that winds up being the film’s greatest strength.

“Women Talking” starts very deceptively as a Brecht style drama in which dialogue is spoken more in verse format and there’s very little emotion from each character. Words repeat nonstop and you wonder what the nucleus of the film really is. But that is the entire point, these women are conditioned to act as common folk, knowing very little about things that the majority of humanity take for granted, like maps and grammatical punctuation. Brecht’s work can be seen as dry poetic legalese, that stagnates the environment around its characters. But then gradually, the dialogue becomes more free-flowing, the sentences much looser in pronunciation and the cries much more melodic, rather than pent up and the colors even become a little brighter. As you see the characters evolve, so do their surroundings.

One of the drawbacks about a film’s ensemble is that there are no truly standout performances, but rather little standout scenes. The cast spans from veterans like Judith Ivey, Frances McDormand and Sheila McCarthy to the newer crop of actresses like Claire Foy, Rooney Mara and Jessie Buckley. All of them are equally amazing and do their own acting exercises which illuminates the drama. Ivey is the one that has the most heart tugging scenes. Being the eldest of the group, her character Agata knows only the few acres of land as her world, but its her strength that makes her see beyond familiarity. Foy’s Salome is another character whose hurt and injury is all over her face and voice. Buckley’s Mariche is probably the most delicate of the women, precious like a porcelain doll, but fragile like cracked glass. The problem is, not enough time is given to really let us know these women individually, as opposed to as the collective that are presented as. That is not the fault of the screenplay, but the plot’s setting and circumstances. That being said, I would have liked to at least see one or two characters up close as a sample of what life in the colony was like instead of brief flashbacks that give off a superficial experience.

After tonight’s Oscar ceremony, whether or not Sarah Polley wins the Oscar for Best Adapted Screenplay, she will be a major player in Hollywood and I hope she takes advantage of it well. “Women Talking” may not be perfect, but it’s the calling card for a fruitful career that I hope will be rich in future masterpieces.

8/10

#dannyreviews #women talking #sarah polley #miriam toews #hildur guðnadóttir #judith ivey #frances mcdormand #sheila mccarthy #claire foy #rooney mara #jessie buckley #metoo #academy awards #oscars #hutterites #canada

[dannyreviews]

Hi, From the time I was born until I was 8 (1955-1963), I lived next door to the house you show as Harry Houdini's. I never heard that he had lived there until I was at University of Michigan and I met someone else who grew up in the neighborhood. I am just curious, besides word-of-mouth is there any other evidence that Houdini lived there. As an aside, one of my favorite photos in the world is of Mary Pickford. I had no idea I grew up about a half a block from her where she lived.

I was sent the photo of Houdini’s mansion from someone on the Whitestone Facebook page. The provenance of the photo was the NYC Tax Photos archive.

[dannyreviews]

Rolling Stone Magazine Top 200 Singers - The Omissions List

Once in awhile, I’ll do a music themed blog post and boy do I have a post for you. Rolling Stone Magazine opens 2023 with a list that no one asked for. Their 200 Singers list is an all time low for the once flourishing magazine. When you include auto-tuned singers like Billie Eilish, Taylor Swift, Beyonce, Ariana Grande, Lana Del Ray and dull as dishwater singers (again, my opinion) like Morrissey, Courtney Love, Michael Stipe, Bono, Bruce Springsteen and Eddie Vedder, you lose credibility in my book. Here are the singers of different backgrounds, genres, and vocalizations (in alphabetical order) that Rolling Stone failed to include on their inept list:

Jon Anderson

Julie Andrews

Paul Anka

Tina Arena

Charles Aznavour

Michael Ball

Jimmy Barnes

The Bee Gees (Barry, Maurice and Robin Gibb)

Pat Benatar

Tony Bennett

Andrea Bocelli

Jay Black

Colin Blunstone

Michael Bolton

Gary Brooker

Jack Bruce

Eric Burdon

Maria Callas

Eric Carmen

Paul Carrack

Enrico Caruso

Shirley Cesar

Peter Cetera

Eric Clapton

Petula Clark

Joe Cocker

Nat King Cole

Phil Collins

Perry Como

Burton Cummings

Bobby Darin

Sammy Davis Jr. 

Neil Diamond

Judith Durham

The Everly Brothers (Don and Phil)

John Farnham

Dan Fogelberg

Marie Fredriksson

Art Garfunkel

Judy Garland

Vince Gill

Ian Gillan

Lou Gramm

Daryl Hall

Johnny Hallyday

Morten Harket

George Harrison

Russell Hitchcock

Noddy Holder

Mick Hucknall

Billy Joel

Brian Johnson

Tom Jones

Eddie Kendricks

Carole King

Johnny Maestro

Steve Marriott

Dean Martin

Michael McDonald

Meat Loaf

Ethel Merman

Klaus Meine

Liza Minnelli

Jim Morrison

Anthony Newley

Harry Nilsson

Luciano Pavarotti

Gene Pitney

Leontyne Price

Maddy Prior

The Righteous Brothers (Bobby Hatfield and Bill Medley)

Paul Rodgers

Sam and Dave (Sam Moore and Dave Prater)

Neil Sedaka

Bon Scott

Beverly Sills

Carly Simon

Paul Simon

Levi Stubbs

James Taylor

Frankie Valli

Sarah Vaughan 

Anthony Warlow

Dionne Warwick

Ann Wilson

Carl Wilson

Steve Winwood

Robin Zander

#dannyreviews #rolling stone magazine #rolling stone top 200 singers #jon anderson #julie andrews #charles aznavour #pat benatar #tony bennett #andrea bocelli #gary brooker #maria callas #enrico caruso #eric burdon #petula clark #nat king cole #judith durham #john farnham #judy garland #vince gill #ian gillan #daryl hall #george harrison #billy joel #brian johnson #luciano pavarotti #meat loaf #steve marriott #paul rodgers #neil sedaka #beverly sills

[dannyreviews]

Cinema Legends Over 100 Years Old Still Alive (as of 1/1/2023)

Here are the century old survivors of film in 2023.

Norman Spencer - producer (b. 1914)

Branka Veselinovic - actress (b. 1918) † 2/8/2023

María Cristina Camilo - actress (b. 1918)

Adriana Sivieri - actress (b. 1918)

Caren Marsh - dancer, actress (b. 1919)

Betty Brodel - singer, actress (b. 1919)

June Spencer - actress (b. 1919)

Guido Gorgatti - actor (b. 1919)  † 5/11/2023

Maj-Britt Håkansson - actress (b. 1919)

Norma Barzman - screenwriter (b. 1920) † 12/17/2023

Arnold Yarrow - actor (b. 1920)

Juan Mariné - cinematographer (b. 1920)

Robert Marcy - actor (b. 1920)

Francis Rigaud - director (b. 1920)

Patricia Wright - actress (b. 1921)

Jack Rader - actor (b. 1921)

Bill Butler - cinematographer (b. 1921)  † 4/5/2023

Walter Mirisch - producer (b. 1921) † 2/24/2023

Beulah Garrick - actress (b. 1921)

Barbra Fuller - actress (b. 1921)

Edgar Morin - director, screenwriter, philosopher (b. 1921)

Irene Söderblom - actress (b. 1921) † 7/23/2023

Nikolai Dupak - actor (b. 1921) † 3/26/2023

Elisabeth Kirby - actress (b. 1921)

Elizabeth Kelly - actress (b. 1921)

Luisa Garella - actress (b. 1921)

Georg Stefan Troller - director, screenwriter (b. 1921)

Joe Caroff - film poster artist (b. 1921)

Ray Anthony - musician, actor (b. 1922)

Margia Dean - actress (b. 1922) † 6/23/2023

Norman Lear - producer, screenwriter, director (b. 1922) † 12/5/2023

Micheline Presle - actress (b. 1922)

Janis Paige - actress (b. 1922)

Bert I. Gordon - director (b. 1922) † 3/8/2023

Ebrahim Golestan - director (b. 1922) † 8/22/2023

Angel Wagenstein - screenwriter (b. 1922) † 6/29/2023

Jacqueline White - actress (b. 1922)

Peter Berkos - sound editor (b. 1922)

Annette Warren - singer, actress (b. 1922)

Wei Wei - actress (b. 1922) † 11/2/2023

Helen Colvig - costume designer (b. 1922)

Sara Luzita - dancer, actress (b. 1922)

Annabel Maule - actress (b. 1922)

Gloria Dea - actress (b. 1922)  † 3/18/2023

George Morrison - director (b. 1922)

Lucio De Caro - screenwriter, director, editor (b. 1922)

Stella Greka - singer, actress (b. 1922)

Nelma Costa - actress (b. 1922)

Bess Meisler - actress (b. 1922)

Aram Boyajian - editor, producer (b. 1922)

Virginia Fleener - animator (b. 1922)

Manos Zacharias - director (b. 1922)

#dannyreviews #Happy New Year #centenarians #hollywood #golden age of hollywood #norman lear #janis paige #bert i. gordon #ray anthony #walter mirisch #jacqueline white #joe caroff

[dannyreviews]

Cinema Legends Turning 100 in 2023

The latest crop of centenarians for 2023.

Glynis Johns - actress (Update: Made it to 100)

Vincent Ball - actor (Update: Made it to 100)

Johnny Pate - jazz bassist, film composer (Update: Made it to 100)

Norman Klenman - screenwriter (Update: Died on 7/8/2023 at age 99)

Bob Barker - game show host, actor (Update: Died on 8/26/2023 at age 99)

Vera Linnecar - animator, director (Update: Made it to 100)

Jozef Hen - screenwriter, director (Update: Made it to 100)

Jimmy Weldon - voice actor (Update: Died on 7/6/2023 at 99)

Kim Yaroshevskaya - actress (Update: Made it to 100)

Mike Nussbaum - actor (Update: Died on 12/23/2023 at 99, 6 Days before his 100th birthday)

Ruth Geller - actress (Update: Made it to 100)

Paul Harding - actor (Update: Made it to 100)

Eileen Page - actress (Update: Made it to 100)

Stan Waterman - cinematographer, director (Made it to 100, Died on 8/10/23)

Ralph Senensky - director (Update: Made it to 100)

Marcel Zanini - jazz clarinetist, actor (Update: Died on 1/18/2023 at 99)

Gianna Piaz - actress (Update: Died on 1/27/2023 at 99)

Bettina Moissi - actress (Update: Made it to 100, Died on 11/21 2023)

Phil Nimmons - jazz clarinetist, film composer (Update: Made it to 100)

David D. Osborn - screenwriter (Update: Made it to 100)

(no photo available)

Silvia Infantas - singer, actress (Update: Made it to 100)

Enid Wizig - animator (Update: Made it to 100)

Wally Campo - actor (Update: Died on 1/14/2023 at 99)

Update (1/1/2024)

14 made it to 100

7 made it to 99

2 made it to 100 and died

#dannyreviews #Happy New Year #2023 #100 years old #centenarians #hollywood #golden age of hollywood #glynis johns #vincent ball #bob barker #mike nussbaum #jimmy weldon #stan waterman #phil nimmons #marcel zanini #barbara wallace #gianna piaz #bettina moissi #jozef hen #johnny pate

[dannyreviews]

Where is the Friend's Home? (Khane-ye doust kodjast?) (1987)

A characteristic that is lacking in mainstream Hollywood films is a plot that is so simply told, but excites you at the same time. Abbas Kiarostami’s “Where Is the Friend’s House?” involves a basic goal that expands into a 80 minute character study about what it takes to maintain selflessness at a young age and the finished product is one of world cinema’s hidden secrets.

On a somewhat uneventful day in a school classroom, Mohamed Reda (Ahmed Ahmed Poor) is scolded for repeatedly misplacing his notebook and is warned that he will be expelled if he does so one more time. By accident, his classmate and good friend Ahmed (Babek Ahmed Poor) takes Mohamed’s notebook and is desperate to return it to him to prevent his friend’s expulsion. What transpires is an arduous journey that Ahmed undertakes to find Mohamed’s home on the other side of town which will take him up stairs, hills and strangers’ backyards. 

This film isn’t solely about Ahmed’s journey, but about his fellow countrymen’s everyday tasks as well. Kiarostami weaves these two storylines side by side with the right plot devices and overlapping dialogue. For example, there’s a scene involving a business transaction between two strangers over the installation of doors on one of their houses. At first, you wonder what the purpose of this scene is, and then the sewing of both stories come together when Ahmed reappears and the builder asks if he could tear a page from Mohamed’s notebook to draw up the contract. So at the same time, you see Ahmed’s selfless act and what he’ll most likely grow up to be in his adult years, continuing his selfless ways to help his fellow man. 

“Where is the Friend's House?” is also a throwback to other films like “The Red Balloon” and “The Bicycle Thieves” that utilize the motif of a child fending for themselves in the streets. At the same time, it incorporates the theme of child actors acting like regular children that was previously done in “The 400 Blows”, “Forbidden Games” and “Spirit Of The Beehive” and later on in “Au Revoir, Les Enfants” “Cinema Paradiso” and “Ponette”. The result is a Venn Diagram of a film where the main story is the world through the eyes of a child who wants to make a man of himself, taking the lessons of his teacher and grandfather to heart, even doing something as foolish as running from home to unchartered lands to help a friend in need. The common bond between all these films is that they are non-Hollywood foreign language gems. American films are too caught up in stupid characters, cheesy CGI, convoluted stories and  unnecessary subplots that are incorporated into remakes and monotonous superhero franchises. I have yet to wait for an American director to focus on a linear story that may seem boring on paper, but grabs the viewer’s attention nonstop as if you’re in the character’s shoes. This film is more reality than some of the garbage that passes as “reality” television.

The Ahmed Poor brothers who play Ahmed and Mohamed are excellent from the very beginning. The very first scene tugs at your heartstrings when Ahmed’s Mohamed is crying in class as he’s threatened with being expelled from school. He’s only a little kid and yet the weight of responsibility overwhelms him. I can remember seeing classmates of mine cry in school when confronted with similar issues and seeing that crying on screen brought me back to those halcyon days. Then you have Ahmed, whose presence takes up 95% of the film, and his determination is on full display. Babek’s Ahmed manages to stick to his innocence without coming off as overly cute. He may be a grammar school student, but he has the grit and drive of an adult. Not many films can pull off having a child act like him or herself without being nauseatingly annoying. The Ahmed Poor brothers were naturals to be in front of the camera and did not disappoint.

Unfortunately, Iran did not submit a film to the Academy Awards Foreign Film category in the year of this film’s release. By missing out of being in the running, “Where Is the Friend’s House?” could have been more widely seen by American audiences and the film wound up debuting at the American film festival circuit 6 years later, well too late for Oscar consideration. Despite that, Kiarostami won awards at the Fajr and Locarno Festivals in 1987 and 1989 respectively. As of now, the film is #2 on MUBI’s Top 1000 Films list, one up from “The Godfather”, an impressive feat. So 35 years later, this masterpiece is getting the reception it richly deserves.

9.5/10

#dannyreviews #where is the friend's house? #abbas kiarostami #iran #persia #persian #ahmed ahmed poor #babek hamed poor #children in film #homework #notebook #khane-ye doust kodjast? #world cinema #international film #foreign film