By Joe Bendel. How better to start the 2011 Bosnian-Herzegovinian Film Festival than with a film about the arbitrary nature of geography? Antonio is Italian. Veljko is Bosnian. Yet both have only felt truly at home in a particular apartment in the picturesque Slovenian city of Piran. That is where their paths fatefully crossed during WWII in Slovenian filmmaker Goran Vojnović’s Piran-Pirano (trailer here), the opening film of the 2011 BHFF in New York.
Antonio was not a Fascist, but his father certainly was. A school teacher whose lesson plans were little more than hateful propaganda, he decides discretion is the better part of valor when Tito’s forces arrive. Only concerned with his own neck, he leaves his college-aged son behind in their flat. Through sheer fortune, Antonio eludes the Partisans’ initial sweep of the apartment, but he is caught flat-footed by Anica, a young Slovenian woman traveling with the partisans.
Mourning her entire family, the vengeful Anica is in no mood to show mercy to an Italian, yet they reach an uneasy truce of sorts for the night. It is there in the apartment that Veljko discovers them. Like Anica, he has also lost his family, but he is not inclined towards retribution. In fact, he is not much of a soldier at all.
Told in flashbacks when the two men meet again decades later, Piran’s themes of cruelty and compassion in times of war have obvious resonance for Bosnian audiences. It hardly glorifies Tito’s army either, clearly depicting the summary executions ruthlessly carried out by the Communist forces. The commander matter-of-factly accepts the brutal tactics, as well as the potential death of innocents, as the cost of waging war. However, some of his subordinates are more enthusiastic about the dirty business of war. Continue reading LFM Review: Piran-Pirano @ The 2011 Bosnian-Herzegovinian Film Festival
By David Ross.Rolling Stone has celebrated Bob Dylan’s seventieth birthday with a lavish spread featuring a list of his seventy best songs and a smaller list of the best Dylan covers (see here). There’s no doubt that Jimi Hendrix’s “All Along the Watchtower” is the supreme Dylan cover, turning a gnomic ditty into a sweepingly prophetic desert-vision with the tone quality of an LSD-fueled aurora borealis, but otherwise the list has little – in fact almost nothing – to recommend it.
Let me offer a sounder guide to the greatest Dylan covers:
Fairport Convention (Sandy Denny, Richard Thompson, et al.) were consistently masterful Dylan interpreters. Here they magnificently elevate two minor chestnuts: “I’ll Keep it With Mine” (from their 1969 album What We Did on Our Holidays) and “Percy’s Song” (from Unhalfbricking, also 1969 – they had a very good year). Dylan wrote and recorded the songs in the early sixties, but they saw the light of day only with the 1985 release of the compilation Biograph. Over and over again, Fairport fulfilled the highest function of the Dylan cover: drawing attention to the obscure wonders of the oeuvre.
Hendrix not only swallowed whole and fully metabolized “All Along the Watchtower,” but nearly gave the same treatment to a far bigger fish, “Like a Rolling Stone,” which he ripped through at the Monterey Pop Festival in 1967, and, as far as I know, never played again.
Joe Cocker’s Mad Dogs and Englishman, a gypsy caravan of top-flight session musicians, lends a soulful huskiness to “Girl from the North Country” (from 1963’s The Freewheelin’ Bob Dylan), while Joni Mitchell and Johnny Cash capture the song’s tender and crystalline essence on the Johnny Cash Show. The Cash-Mitchell duet appears on the surprisingly nugget-filled album The Best of the Johnny Cash TV Show: 1969-1971 (2008).
The Band were not merely Dylan idolaters but Dylan collaborators and bandmates, protégés in the fullest sense. Their version of “This Wheel’s on Fire”– which Dylan co-wrote with Band member Rick Danko – appears on their 1968 masterpiece Music from Big Pink and distills the yodeling, yowling, jingle-jangle dustbowl America that Dylan somehow tapped into. Dylan’s own version of the song appears on The Basement Tapes (1975).
Gram Parsons of the Byrdsand Flying Burrito Brothers– and brief solo glory before sister morphine escorted him to the next world – brings his particular wistful yearning to the Burrito’s fragmentary version of “I Shall Be Released,” an anthemic concert-closer of a tune that the Band had debuted on Music from Big Pink.
The Byrds were the greatest and most prolific Dylan interpreters and never more so than on their 1968 country-rock classic Sweetheart of the Rodeo, which features two standout, fully countrified Dylan covers: “You Ain’t Going Nowhere” and “Nothing was Delivered.” Dylan himself released versions of the songs on The Basement Tapes.
By Jason Apuzzo. The imagination sometimes wanders in unexpected directions. Govindini’s recent post on The Demise of bin Laden and The Cinematic Legacy of 9/11 put me in the frame of mind to revisit a favorite film of mine from years ago, a classic Hollywood action spectacle with eerie and unsettling echoes in the September 11th attacks: Irwin Allen’s The Towering Inferno, from 1974.
The Towering Inferno is, in my opinion, a genuinely great Hollywood adventure film – likely one of the best the industry has ever produced. It was certainly recognized as such in its day; the film was nominated for 8 Academy Awards, including Best Picture (it won 3 Oscars – for Cinematography, Editing and Best Song). What’s more, the film was a gigantic hit at the domestic box office – taking in around $116 million. What this means is that adjusted for inflation, the film would’ve grossed around $482 million today. (By comparison, the top film at the domestic box office in 2010, Toy Story 3, made $415 million.) Today the film is largely remembered for being the greatest of the 1970s era ‘disaster’ epics, but that probably puts the film in too narrow a box. There really are very few action films of its scale, energy or dramatic impact. The film also has the distinction of being the last great action film made by either Steve McQueen or Paul Newman, who co-starred in the film – and so for that reason alone, The Towering Inferno has a special place in cinema history.
Around 1973, just after the smash success of producer Irwin Allen’s The Poseidon Adventure, a bidding war erupted between Fox and Warner Brothers for a forthcoming novel called The Tower, which told the harrowing tale of a fire that breaks out in the world’s tallest building just as celebrities and dignitaries gather for its opening. The Tower, which I’ve read, is basically a morality tale set in a spectacular setting – in which we get to see how different types of people behave in the midst of a terrifying crisis.
Allen wanted to adapt the novel for Fox, but Warner Brothers outbid him for the novel. As luck would have it, a similar novel called The Glass Inferno – telling almost the same story – would also soon be coming out on the market, so Allen acquired the rights to that one. Allen then pulled one of the great producing maneuvers in Hollywood history: he called a summit between Fox and Warner Brothers, and got both sides to co-operate on an expensive joint project marrying the two novels into one film: The Towering Inferno, with a screenplay – a superb one, by the way – to be written by Stirling Silliphant. Thus was born the first major joint studio project in history. (As an interesting aside, years later James Cameron’s similarly expensive disaster epic Titanic would be another such joint venture, this time between Fox and Paramount.)
Old-school cast photo for "The Towering Inferno."
The film that resulted from this collaboration between these two major studios lived up to expectations – and to some extent surpassed them. A project that could easily have flopped, or spun out of control in a maelstrom of budget overruns, dangerous stunts and FX work – or out-of-control star egos – was put together by Irwin Allen in an atmosphere of crisp, military precision and professionalism.
The first big thing Allen did was assemble the film’s extraordinary cast, beginning with the improbable, blockbuster pairing of Steve McQueen and Paul Newman. More on that pairing below. Take a look at the rest of the cast, though, for Towering Inferno: Faye Dunaway, William Holden, Fred Astaire, Jennifer Jones, Richard Chamberlain, Robert Vaughn, Robert Wagner … and, of course, O.J. Simpson (he’s actually pretty good in his few scenes). Can you imagine a cast of this caliber appearing in a special effects picture today? It’s unimaginable. Continue reading Classic Blu-ray Review: The Towering Inferno, American Ambition & The Post 9/11 World
Dominic Cooper as Uday Hussein in "The Devil's Double."
By Jason Apuzzo. A picture is worth a thousand words, you know? Some great new images are becoming available of of Dominic Cooper as Uday Hussein in the new film The Devil’s Double. I’ll be posting them here periodically in the run-up to the film’s release on July 29th.
For our new readers, The Devil’s Double is a new film about the mobster-like lifestyle of Saddam Hussein’s son Uday – and the moral crisis faced by his body double Latif Yahia. Both characters are played by Dominic Cooper, and the film otherwise stars French actress Ludivine Sangier as Uday’s mistress, Sarrab. The film is based on the real-life memoirs of Latif Yahia, and is directed by veteran director Lee Tamahori (Die Another Day, The Sopranos, Next).
The film is incredibly un-p.c. in its depiction of the notorious “Black Prince” Uday, who is portrayed in the film as a carefree, sadistic monster with a keen taste for violence and sex. As regular readers will recall, Libertas’ Joe Bendel reviewed The Devil’s Double at Sundance in January and absolutely loved it. Lionsgate will be releasing the film here in the States on July 29th.
By Jason Apuzzo. • In the time since our last Sword & Sandal Report!, trailers have been released for Immortals and also for the new version of Conan. I’ll start with the Immortals trailer. What a disappointment! As much as I love the concept of building a film around the ancient Greek hero Theseus, slayer of the Minotaur and lover of Ariadne, this Tarsem Singh take on the myth is not working for me at all based on what I’m seeing so far in the trailer … a trailer for which the term ‘derivative’ would be an understatement. About halfway through the trailer a title card reads, “From the producers of 300,” which is about as unnecessary a statement as can be imagined given how utterly identical this film looks to 300. In fact, if this film wasn’t being made by the producers of 300, I would’ve recommended they sue for copyright violation, given how close the two films are in terms of their look, styling, costuming and even color palette.
Henry Cavill as Theseus in "Immortals."
300, however, at least had a perverse/decadent sense of humor about itself, of which – thus far – Immortals seems painfully devoid. The entire Immortals trailer gives us little more than earnest speeches, slo-mo action, mugging at the camera and massed CGI armies. The dialogue sounds dreadful, featuring such chestnuts of profundity as: “To those whom much is given, much is asked.” Wow, really? I’ve never heard that line before! I thought that to those whom much is given, still more could be given – along with a free Starbucks coupon!
As for Mickey Rourke, his physical transformation into The Elephant Man seems complete, which I suppose makes him a good choice as the villain here … provided his character wasn’t wearing bronze bunny ears, and provided his mumbled dialogue was actually comprehensible, which it isn’t. And as for future Superman Henry Cavill, he does nothing for me here – and nor does Freida Pinto, who in her first big Hollywood film already seems to be taking her clothes off. That certainly didn’t take long! Welcome to L.A., young lady – you’ll fit in just fine.
In any case, I’m lowering my expectations for this film, although not to the point that I’ll avoid it altogether. (In other Immortals news, cast member Joseph Morgan discusses his role in the film here.)
• … which brings us to the new Conan the Barbarian trailer. This trailer is slightly better than the one for Immortals in that I actually understand what the story is about (“No man should live in chains …”), it has a more masculine lead (Jason Momoa), war elephants, and Rose McGowan as an insane witch. All good elements. This trailer again features too much CGI for my taste, and music that sounds a little too close to Metallica, but on the whole the film looks less annoying than Immortals. Jason Momoa as Conan is also reminding me a lot of The Rock, which is a good thing.
How will the new Conan rate against the original Schwarzenegger/Milius version? Poorly, I suspect, but it still may be entertaining. The trailer goes on a bit too long, repeating its action sequences, as if the film has little else to offer. That’s a problem. The original Conan got by on a certain amount of cheeky good-humor, based around Arnold’s over-the-top persona. Hopefully they’ve found some way to preserve some of that in this new version. Continue reading Sword & Sandal Report!: Conan, The Immortals, Hercules, Game of Thrones Rock the Pre-Modern World!
By Patricia Ducey. One day in 1967, a Palo Alto high school student asks his history teacher how the German people could have missed the signs of the ongoing genocide being perpetrated by the Nazis. This innocent question ignites an idea, and teacher Ron Jones launches a classroom “simulation,” or experiment, to illustrate how good Germans -how anyone – could fall prey to totalitarian thinking.
Forty years later, Philip Neel, one of the students who participated in that experiment dubbed The Third Wave, has produced a documentary, The Lesson Plan, featuring interviews with students who participated, and with teacher Ron Jones himself.
Jones reorganized his classroom that week into a simulation of a prototypical fascist youth group. He enforced physical discipline and uniformity in the students’ posture and speech per his first-day dictum, “Strength Through Discipline.” He meant it to end there, he now avers, but students were eager for more. He added more simplistic, effective sloganeering on the following days: strength through community, through action, through unity and finally through pride. Strength through Community meant, for instance, that students were to share grades. Top students helped the lower students. Jones was heartened by the increased level of participation of the weaker students, while he banished to the library for the remainder of the semester some more successful students – who of course resented lowering their grades so students who did not do the work could get higher grades. Similarly, anyone who spoke against The Third Wave faced a mock trial and banishment. At Jones’s urging, students secretly “informed” on other students who spoke against the Third Wave, and the car club guys appointed themselves as Jones’s bodyguards. Jones found out only at the reunion that a few of these guys beat up a student journalist who was writing a non-flattering article on The Third Wave. When an outsider student asked a Third Waver to explain what they stood for, he could not give an answer.
By Joe Bendel. How better to start the 2011 Bosnian-Herzegovinian Film Festival than with a film about the arbitrary nature of geography? Antonio is Italian. Veljko is Bosnian. Yet both have only felt truly at home in a particular apartment in the picturesque Slovenian city of Piran. That is where their paths fatefully crossed during WWII in Slovenian filmmaker Goran Vojnović’s Piran-Pirano (trailer here), the opening film of the 2011 BHFF in New York.
