Four Films
COVID-19 got me at last, so I am recovering in isolation. (I am doing OK, all in all, and the rest of my family, who had it in April, shows no signs of reinfection thus far.) I haven’t been entirely with-it, mentally speaking: two days ago, there was this time I spent 15 minutes staring into space and debating if I should A) roll to the bed’s other side to grab a Gatorade, or B) keep staring into space. I am now feeling closer to myself and would really like to do some writing during my involuntary solitude, but I’m not sure how my words are going to work yet. This post is me taking a baby step. I watched four movies in the last couple days; they were pretty good. Let’s see if I can write about them coherently, editing a bit as I go but not worrying about revision.
In order of watching, the films are Mank, Gimme Shelter, Postcards from the Edge, and The Wages of Fear.
Mank (2020)
Alcoholic Hermann Mankiewicz writes the script for Citizen Kane, which I have watched annually with a class for a decade now and love. I’ve meant to watch this one since I heard of it, and I liked it. Gary Oldman is as good as one expects Gary Oldman to be. The whole cast is very good, and knowing Kane as well as I do, I took great delight in seeing the pieces come together. I’m not sure this is a movie for the casual viewer, but fans of Oldman or Citizen Kane should watch for sure. Streaming on Netflix.
Gimme Shelter (1970)
Documentary following the Rolling Stones tour of the U.S. that ends with the disaster at Altamont. I like the Stones and know the lore behind the Woodstock counterpoint, but had never watched the film before. The structure makes it timeless. The film opens with the band arriving and performing in concert to adoring fans, then cuts to the band listening to radio reports about the deaths at Altamont. This basic structure repeats: excitement of the band on tour, arrangements for the approaching free concert disaster, and repeat until it’s time for footage of Altamont itself. The striking footage near the beginning of the band processing (somewhat?) the events ensure the viewer feels impending doom all the way through. There’s no talking heads, no expert testimony: just skillful editing telling a story and showing the rock legends in their naive, turbulent prime. Streaming on HBO Max.
Postcards from the Edge (1990)
Following a drug overdose, a Hollywood actress has to move back in with her overbearing Hollywood legend mother as a condition for a film role. Based on Carrie Fisher’s novel (she knew a thing or two about recovering from addiction and famous mothers), Postcards is a movie for just about anyone. Meryl Streep and Shirley MacLaine play mother and daughter, and their relationship is as wonderfully drawn as MacLaine’s eyebrows. The movie balances humor and Cynthia Vale’s turmoil, and ultimately leaves the viewer feeling good. A film that features Gene Hackman, Dennis Quaid, and Richard Dreyfus in small supporting roles? Yes, I’ll take that cast. Streaming on HBO Max.
The Wages of Fear (1953)
Two pairs of truckers desperate for a big payday haul tons of nitroglycerine across treacherous mountain roads. This French film delivers all the suspense its reputation promises. The camera work is masterful: each angle, each closeup or longshot chosen heightens the suspense. The characters are types more than fully-realized people–and as Ebert noted, the exposition is a bit long and makes weak use of the one weak female character–but the drama of the transport is powerful and memorable. An excellent film. Streaming on HBO Max.
The writing verdict? I’m not all there yet. It’s movies, reading, and Twitter for me again today, but it felt good to give it a shot. If you've read this far, thanks for bearing with me.