LA STRADA (1954)

Starring: Anthony Quinn, Giuletta Masina & Richard Basehart

Director: Federico Fellini

La Strada is often considered one of the masterpieces of 20th century filmmaking, a sad and poignant remembrance of innocence lost and of the roads that each of us must choose. As with much of the work of director Fellini, man is viewed as suspended between the heavens and the earth, adroitly symbolized here by Il Matto/The Fool (Basehart), a high-wire circus performer. Fellini's motifs are among the most influential of all post-WWII filmmakers, and you'll find clever Fellini and La Strada references in such unlikely films as Blues Brothers 2000. Giuletta massina's Chaplin-like Gelsomina is among the screen's most poignant and tragic performances, and she, like the entire film, is aided by Nino Rota's evocative score. Fellini had few production values to work with, but here he doesn't need them. La Strada is among the most studied films of late Italian Neo-Realism and a classic of the first rank. (115 mins.)

My Rating: ****

PANDORA'S BOX (1929)

Starring: Louise Brooks

Director: G. W. Pabst

Pabst's most famous film featured his first, star-making collaboration with American actress Brooks in a complex exploration of sexual psychology and Weimar Germany's social decadence. Working from Frank Wedekind's play in Pabst's trademark realist style, Pabst and Brooks transformed the character of Lulu from an evil temptress into a hedonistic innocent at ease with her sexuality. Pursued by men and women alike, Lulu is prey as much to social repression as to her own insatiable desires, as she winds up blamed for the troubles that others have brought on themselves through their own sexual hypocrisy. The appearance of Jack the Ripper at the conclusion is a sign less of sensationalist melodrama than of Lulu's internalized victimization. Brooks's subtle, nuanced performance and Pabst's fluid editing style infuse Pandora's Box with a sensuality that remains undiminished to this day. Critically panned on its release, Pandora's Box has since come to be seen as a hypnotic masterwork, remarkable for its frank treatment of sexuality and the sympathetic, inscrutable, fascinating presence of Brooks, who became a Jazz Age flapper icon. (131 mins.)

My Rating: ***1/2

ALL ABOUT EVE (1950)

Starring: Bette Davis, Ann Baxter, George Sanders & Celeste

Holm

Director: Joseph L. Mankiewicz

Mankiewicz's jaundiced look at the show biz battle zone better known as Broadway is probably the summit of Hollywood movie-making; it's as finely crafted an entertainment as we're likely to see. Eve, a female Uriah Heep, insinuates herself into the good graces of some theater folk whose generosity does not prepare them for this cunning steamroller out to eliminate years of hard knocks at their expense. What gives this cynical high comedy its emotional resonance and depth, however, is poignance with thick Davis plays Margo Channing, the just-turned-forty actress who's a living monument to enormous talent and volcanic temperament.

Witty dialogue to spare, especially great when spoken by Sanders and Thelma Ritter. 6 Oscars include Best Picture, director, screenplay, and Supporting Actor (Sanders). Later musicalized on Broadway as Applause. (138 mins.)

My Rating; ****

UP IN THE AIR (2009)

Starring: George Clooney

Director: Jason Reitman

Ryan Bingham (Clooney) makes his living personally handing out pink slips -- he's the top hatchet man at a company that other companies hire when they are downsizing. And since business is booming, his job keeps him on the go constantly. He flies all across the country, staying in a series of nice hotels. And although this itinerant lifestyle prevents him from having any kind of stable, regular life, this doesn't bother him in the slightest -- he's thrilled to be a boy in a traveling bubble. During one particular layover, he strikes up a conversation with Alex Goran (Vera Farmiga), a fellow savvy traveler. They bond over the ins and outs of various airlines and hotels, and quickly fall into bed. By morning, they are figuring out when their schedules will allow them to meet up again, even though they both make it clear that there are no strings attached.

When Ryan arrives back in the home office, he meets no-nonsense career-oriented twentysomething Natalie Keener (Anna Kendrick), a fast-rising up-and-comer who wants to change the company's practices and save millions by having the staff fire people remotely via webcams. Furious at the thought of losing a lifestyle he's grown quite comfortable with, he convinces his boss (Jason Bateman) to let him take Natalie on a few trips so that she can learn what it's really like to fire someone.

She learns the ins and outs of dealing with people who've been given the worst news of their lives -- how to handle them firmly but calmly, while serving up a few inspirational platitudes. Clooney brings to these sequences a maturity we haven't seen in his other work -- honestly, if you had to be fired you would want Ryan to do it. But it's precisely the character's ability to comfortably cut ties that makes him a loner in his private life. He conveys Ryan's lone wolf persona not as a defense against life -- a mask to cover up some hidden pain -- but simply as just the way the guy is. That makes his slow transformation -- his realization that Alex might be something more than just another friend with benefits -- all the more realistic.

For its first half, Up In The Air combines the workplace comedy with the road movie, and it's an engaging, entertaining melding of those two durable genres. But where the film surprises is by changing gears halfway through into a bittersweet family comedy. Ryan's sister (Melanie Lynskey) is getting married, and, for possibly the first time in his life, he wants to make a real connection with his siblings. This follows through on yet another plot strand -- Ryan's attempt to make a living as a self-help guru. He has a side gig lecturing about how to manage your life, and he stresses that the weight of relationships in our lives slows us down when life is all about moving forward. Up In The Air is about Ryan learning what's true and what isn't about this speech he's been giving for years.

Reitman's film is so ambitious you can't shake the feeling he's trying to create "The Great American Movie," a summation of where we are right now at the close of the 21st century's first decade. Up In The Air is so truthful, poignant, and entertaining, so assured with its adherence to classical Hollywood structure, that he just might have pulled it off. (109 mins.)

My Rating: ***

THE STRANGE LOVE OF MARTHA IVERS (1946)

Starring: Barbara Stanwyck, Van Heflin, Lizabeth Scott & Kirk Douglas

Director: Lewis Milestone

In The Strange Love Of Martha Ivers, relationships formed in childhood lead to murder and obsessive love. The wealthy Martha Ivers (Stanwyck) is the prime mover of the small Pennsylvania town of Iverston. Martha lives in a huge mansion with her DA husband, Walter O'Neil (Douglas), an alcoholic weakling. No one knows just why Martha and Walter tolerate one another....but Sam Masterson (Heflin), an Iverstown boy who returns to town, may just have a clue. At least that's what Martha thinks when Sam asks Walter to intervene in the case of Toni Marachek (Scott), who has been unjustly imprisoned. It seems that, as a young boy, Sam was in the vicinity when Martha's rich aunt met with her untimely demise. What does Sam know? And what dark, horrible secret binds Martha and Walter together? Directed by Lewis Milestone, and based on John Patrick's Oscar-nominated original story, Love Lies Bleeding, this movie creates in Martha a unique and interesting, driven, obsessed, and spoiled character, but one not without sympathy. Stanwyck is outstanding as Martha, with her predatory smile and sharp, manicured nails. Douglas is surprisingly convincing as a lost, sad, weak man, who loves his wife, but is unable to gain her respect. This movie eventually lapsed into public domain and became a ubiquitous presence on cable television.

Something of a warm-up for the later The File on Thelma Jordon, The Strange Love of Martha Ivers mixes obsession, desire, delusion, ambition, and fear into a fascinating and enthralling tangle. Unusual for a movie of its period, it's fairly sophisticated in dealing with what is, at heart, a "sick" relationship between Martha Ivers (Stanwyck) and Walter O'Neil (Douglas), and demonstrating how easily a person (Sam Masterson [Heflin]) can get sucked into one. Fortunately for Masterson, he gets out in time, but it's a pretty narrow escape. Ivers is a remarkably tense film, although it's a tension that tends to linger beneath the surface; this is appropriate, as it reflects the turmoil and anxiety that lies under the calm surface of Ivers' and O'Neil's lives. That tension gives the film its life and strange vibrancy, and gives snap to even mundane scenes. There are some problems, notably the fact that the creators don't really seem to have a grasp on Masterson's motivation after the idea of blackmail enters the picture. Is he really interested in the money or is it a plot to get to the bottom of the Martha mystery? But the compelling, multi-layered performances of the stars (including Scott) more than make up for the few flaws in the script. (117 mins.)

My Rating: ***1/2

THE GODFATHER (1972)

Starring: Marlon Brando, Al Pacino, James Caan, Talia Shire,

Diane Keaton & Robert Duvall

Director: Francis Ford Coppola

The 1970s' answer to GONE WITH THE WIND, from Mario Puzo's novel on the violent life and times of Mafia patriarch Don Corleone (Brando). Pulp fiction raised to the highest level, masterfully done, and set to Nino Rota's memorable score. Absolutely irresistible. Academy Award winner for Best Picture, Actor (Brando), and Screenplay (Coppola and Puzo). Baby in baptism scene is actually Coppola's infant daughter Sofia - who later costarred in THE GODFATHER, PART III. Followed by two sequels.

Mario Puzo's popular novel comes to life in artful fashion. Film in foreboding tones, the movie takes us into the lurid world of the Mafia. Marlon Brando won an Oscar for his performance, but it's Al Pacino who grabs your attention with an unnerving intensity. (175 mins.)

My Rating: ****

KISS ME DEADLY (1955)

Starring: Ralph Meeker & Cloris Leachman

Director: Robert Aldrich

"Remember Me."

One of film noir's darkest nightmares, this grim adaptation of one of Mickey Spillane's "Mike Hammer" thrillers has as much to do with the paranoiac sci-fi films of the fifties as it does with the two-fisted universe of the private eye. Meeker is Hammer, a sleazy gumshoe on the trail of "the great whatsit" (actually a box filled with radioactive substance), who's willing to beat, berate, and otherwise abuse anyone standing in his way. Directed with stunning artistry (and tongue in cheek) by Robert Aldrich, the film has weathered critical distaste to emerge as a cult classic, a brutal and often very funny critique of Spillane's macho sensibility and the nuclear paranoia of fifties America.

Years ahead of its time, a major influence on French New Wave directors, and one of Aldrich's best films. Leachman's film debut. Some video versions have 82 seconds of additional footage which completely changes the finale.

(105 mins.)

My Rating: ***1/2

TO KILL A MOCKINGBIRD (1962)

Starring: Gregory Peck

Director: Robert Mulligan

Excellent production of Harper Lee's sensitive book about an Alabama lawyer bringing up his two motherless children. Peck was never been better, and the two children are most affecting. Superb script (Horton Foote) and direction (Robert Mulligan) make this, in its own quiet way, one of the best movies dealing with race relations that the Americasn film industry has ever made.

Peck won an Oscar as a Southern lawyer who defends a black man accused of rape, and tries to explain proceedings to his children and their friend. Leisurely paced, flavorful adaptation of the best-selling novel; Foote's screenplay also earned an Oscar. Robert Duvall's film debut. (129 mins.)

My Rating: ****

THE LIFE AND DEATH OF COLONEL BLIMP (1943)

Starring: Roger Livesey, Deborah Kerr & Anton Walbrook

Directors: Michael Powell & Emeric Pressburger

A truly superb film chronicling the life and times of a staunch for-king-and-country British soldier. Sentimentally celebrating the human spirit, it opens during World War II and unfolds through a series of flashbacks that reach as far back as the Boer War. Roger Livesey is excellent in the title role. Deborah Kerr portrays three woman in his life across four decades with charm and delight. Definitely a keeper.

Title character bears no relation to famous David Low caricature buffoon on whom he's supposedly based. Heavily cut for various reissues; often shown in b&w. (163 mins.)

My Rating: ***