Sean Connery in Memoriam

Cinema lost another giant this year as the legendary Highlander Sean Connery himself passed away aged 90 in the Bahamas. Now, he might have had some very regressive personal ideas that have been repeated ad nauseum by leftists. But one can't claim that he wasn't a mesmerizing screen star, and also (his constant Scottish accent and lisping s's notwithstanding), quite a great actor as well. This post takes a look at some of his best performances.

From Russia with Love (UK, 1963)
Dir. Terence Young

There are many ways of approaching the Bond series, but it is also interesting to watch the earliest entries where everything was not that set in stone. While Dr. No already had a version of the basic formula, the first sequel in the series took a different path, having a more real world espionage-based and dark sequel. As it is one of the more serious entries in the franchise, I find it also surprisingly underrated.

It's still a Bond film, so there's plenty of ludicrousness. The entire film begins with a scene where Bond is seemingly killed, but it turns out it's just some guy wearing a rubber mask (for some reason) in Red Grant's (Robert Shaw) training exercise. Grant's dark reflection of Bond is one of the reasons people remember this film so fondly, but it has some other good characterizations as well, from the double-agent Tatiana Romanova (Daniela Bianchi) to the actual main villain Rosa Klebb (Lotte Lenya), who never even meets Bond face-to-face. 

But Red Grant does, in perhaps the best fight scene of the entire series.

 

Before Daniel Craig came along, Connery was the only actor who managed to get a sense of danger out of the Bond movies. He is constantly in over his head, but his cocky nature and luck also make him come out on top of any situation. Bond is probably the worst secret agent possible, but it just adds to the allure of the character. Espionage is well below his radar after women and boozing.

★★★★

Marnie (USA, 1964)
Dir. Alfred Hitchcock

 

Late-era Hitchcock films aren't also quite as well-known, and it may seem even surprising that Connery starred in a Hitch movie. Marnie is a exploration of trauma and lies and their effects on a relationship. It also has a Psycho-like table-turn, in which we at first follow Marnie (Tippi Hedren) as she cheats, swindles and steals money from each of her employers. When she gets caught by Connery's Mark Rutland, he takes it upon himself to get to the bottom of her personality flaws and functions.

 

As it was already the 60's, Hitch could have more graphic sex and violence than used to in his films. Connery is more of a hands-on actor than Jimmy Stewart or Cary Grant who had problems with their masculinity in Hitch's movies. The central character of Marnie, however, is way too half-baked, a damsel in distress with little agenda of her own. Hitchcock has interesting scenes play out her panic attacks, but is seems he could have grounded the end reveals a bit more with the role of Marnie's mother being almost nonexistant beforehand. I think the film showcases a little too clearly Hitchcock's problems with women, and as a result, it's a good try to have a multilayered psychological thriller, but times had already passed such a chauvinistic view of things. It's not among the best of it's director's standards.

★★★

The Offence (USA, 1973)
Dir. Sidney Lumet

 

Connery made four films in total with Lumet, and as directed by a veteran who leaned heavy on good scripts and getting the best out of his actors, he also made some of the best work in his career. Here he plays a British policeman driven evenly more desperate as a child-murderer's case lingers on.

 

I'd say the bleak outlook on a 20-year police procedure has probably been a major influence on Bong Joon-ho's Memories of Murder. Lumet, however directs this mostly like a stage play, with minimalist interrogation rooms and very dialogue-heavy scenes. Lumet is interested in a breaking psyche, and the growing desperation that brings a seemingly good police to do atrocious deeds. It covers similar themes than a lot of showier films which is probably why this small-scale movie has had such relatively light attention.

Connery's role, however, is yet another character that takes out his inner anger and frustrations on women, in this case his long-suffering wife. Well, he has violent tendencies towards suspects as well, so he's not entirely likable by any means, but still, one has to wonder why so many of his characters share this woman-beating tendencies.

★★★ 1/2

The Wind and the Lion (USA, 1975)
Dir. John Milius

Milius found a good historical epic with which to tell a story about one of his greatest heroes, Theodore Roosevelt. It wasn't his last Roosevelt film, and Ol' Teddy is restricted here to a quite brief supporting role, though he is the Wind in the title. The Lion, then is Connery's Raisuli, a Berber prince out for glory. At that point it wasn't considered problematic to have Scots portray Arabs. Rather, he is used here to be a world-class lover and a fighter, in the same vein as Rudolph Valentino. 

There's planty of action scenes equal to Milius's later Conan the Barbarian, and a Stockholm sydromish romance with Candace Bergen's reporter, who finds that there's more to the Berber lifestyle than meets the eye at first. Meanwhile, Teddy (Brian Keith) faces pressures on his foreign policy back home, but meets them with his personal philosophies, which isn't nearly as interesting. The seperate stories don't quite click together and the ending is quite underwhelming. nevertheless, it is an enjoyable film to watch since Connery's and Milius's approaches to tell manly men tales are tangentially similar.

★★★

The Rock (USA, 1996)
Dir. Michael Bay

Finally, among the last really entertaining romps Connery made, and also the movie was more or less to blame for many of Connery's late-era woes. The Rock's stunt casting sees him play pretty much a James Bond type that has been kept in a prison cell for 30 years. He's a quippy man of action, but at the same time a mentor too. That the aged Connery happend to fit into a thoroughly modern action movie so well gave the wrong imprsiion to other filmmakers who attempted similar approaches, the bottom of the barrel being 2003's LXG which made Connery quit acting altogether.

 

You can find plenty to blame in Michael Bay's approach. Connery seems to enjoy to play a character that sees things to be as black-and-white as they were in the 1960's, which extends also on his sex politics. He also seemingly kills or maims a lot of innocent people in a very tacked-on car chase, that's nevertheless a great showcase of Bay's strengths as an action director. By contrast, Nicolas Cage's weirdo, modern action man and Ed Harris's noble main baddie are more nuanced characters, but Connery holds his own against these two great performances. Bay has only regressive things to say, but that's only if you try to search anything meaningful in his cavalcade of outrageous plot turns and huge explosions. As a 90's romp, it's still great fun, and perhaps should have been Connery's actual retirement film so he could have gone out on top.

★★★★

DePalma x Hitchcock

 
Director Brian DePalma just turned 80 years old (yesterday, but I'm having trouble keeping schedules), so it's a good opportunity to take a look at three of his movies. Throughout his career, DePalma has been criticized for outright stealing scenes, set ups and camera angles from well-known directors, mainly Alfred Hitchcock. As a sort of postmodernist, both winking at people familiar with films and developing them into something new altogether, DePalma is a clear forerunner for filmmakers such as Quentin Tarantino or Ben Wheatley. So in this post, I have three thriller films of DePalma's that really go all in in swiping stuff from Ol' Hitch, and see whether the steal made for a better movie or whether it's just a lukewarm version of stuff better made before.

Obsession (1976)

Pilfers from: Vertigo (1958)

While Sisters (1972) was DePalma's calling card for the world of the thrillers, this was a certain turning point in his career. For one, he managed to snatch Hitchcock's frequent collaborator, composer Bernard Herrmann to do the music. For the other, he got ire from Hitch himself, who considered the film to be a remake of his own Vertigo. Both movies are stories of an obsessed man (played by Cliff Robertson here) losing his beloved, but later finding a doppelganger who he remakes in her image. But in both cases, the "new" woman has a secret and some knowledge of the past that comes to cost the protagonist.

The original script was done by Paul Schrader, who is an expert in having troubled characters with an inner life in total turmoil. It was extensively rewritten by DePalma to better touch upon what he wanted from the film. Schrader had different ideas for the entire ending, which probably would have been considerably different from Vertigo. It would have been interesting to see another time-hop, since the 16-year skip in the beginning takes us quite by surprise.

Robertson is perhaps not the most charismatic leading man, he does sell the inner anguish, but is like a cold fish in romantic scenes. DePalma has later said he didn't really buy his performance here, also perhaps due to the actor being difficult to work with. John Lithgow as his best friend and business partner steals a lot of the intrigue, and if you're familiar with some of DePalma's later efforts, you'll know what kind of a role he's playing here as well.

The film goes into a lot more taboo subjects Hitch couldn't, including incest. They both don't really care on whether the central criminal plot makes little sense, but Hitchcock as a more mature filmmaker can better drive the focus of the film to be solely of the central character's, well obsession. Both movies are interested in trauma being played out, surfacing as PTSD in sudden bouts of madness. But the film is also perhaps too slow for its own good. Vertigo packs a huge story in a very compact running time, but here one keeps hoping the film would roll along, having mainly an interesting ending. It also seems like the ideas of the pain of lost love being mirrored in art or restauration thereof, was approached with more sophistication by Hitchcock.

DePalma also takes cues from Dial M for Murder, Rope and Marnie.

★★★

Dressed to Kill (1980)

Lifts from: Psycho (1960)

This one starts and ends with a threatening shower scene. Also one of the key scenes of this film is a heavy reference of the seduction scene from Vertigo; both of the take place in an art museum, and use very little dialogue. DePalma can and will use a lot more explicit sex scenes. Classic Hollywood star Angie Dickinson is surprisingly game, even though in nude scenes she used a body double.

The most notable steal from Hitchcock's sole horror movie comes from the structire. Both films kill off the main female character midway through, and from thereon follow her sister trying to solve her murder, played here by Karen Allen. The film also uses other similar stock characters, such as a young man hung up on his mother, a sleazy private detective and a psychiatrist trying to find the reason on theories of sexual repression (played by Michael Caine). But DePalma also enjoys a bit of misdirection, having some familiar seeming roles be entirely red herrings. 

DePalma can easily be criticized for misogynist attitudes in films, and in here too, an adulterer woman gets her comeuppance very bloodily. It's a bit of a SPOILER, but the trans community has also heavily criticized the film's portrayal of transsexual tendencies and, having the early 60's Psycho-like idea of having them act as serial killers. There really isn't anything positive the film will say about any sexuality out of your basic monogamous cis-sexuality, but at least Allen's character is a sex worker who also works as an active protagonist.

The film also has a point in pointing how Hitchcock's voyeristic tendencies are obsessive, damaging and toxic, taking their ideas to their logical counterpoint. But it also revels in these very same tendencies. DePalma also plays on his own experiences, since the infidelity that starts out the film was something that was happening in his own family as well. The film has great camerawork and a beautiful soundtrack that makes murder of women highly aestethicized and thus making the audience complicit of the filmmaker's perversions. Also the film's ending is frustratingly bad, having odd conclusions and a dumb jump scare straight out of Carrie.

★★ 1/2

Body Double (1984)

Purloins from: Rear Window (1954)

The idea of duality of an identity or dual personas is very central in DePalma's filmography which probably explains why he's so obsessed with Vertigo in particular. This one dives also deep into ideas of voyerism, prevalent also in Hitch's Rear Window and Dial M for Murder. It makes Hitch's distrust of authorities also an aspect of shame and self-hatred following from obsessive and sexual thoughts.

The film has a cold open on a B-grade horror movie which reminds of Blow Out. The main character (played by Craig Wasson) here is an actor struggling with mental illnesses such as claustrophobia. He wanders off the set and notices a woman who does erotic dances in her apartement every night. Looking at her through telescope, he becomes somewhat obsessed, but also starts to suspect her life may be in danger, giving him an excuse to stalk her in the streets. But even as he witnesses more and more evidence of brutal crimes being committed, he is not believed by the authorities because they see him just a pervert.

At the time, DePalma was seen having gone too far with his use of sex and violence in his films. It's easy to see DePalma just following on with what the Italians were doing a little prior (even if he himself strongly denies it), yet his success opened doors for plenty of Hollywood Erotic thrillers in the late 80's and 90's (most of which were a lot more moralizing). Also DePalma was very much on top of the neo noir movement, making sleek, beautiful pictures to go with gritty stories he was telling. The film even incorporates a Frankie Goes to Hollywood music video in the middle of itself. It's all highly entertaining.

One can see how DePalma is working to solve some mysteries of film entertainment and its use in the world himself. With this and Blow Out a craftsman working in the film industry finds a "true life" plot which affects his way of working. Which is of course just as outlandish and over the top as anything else in Tinseltown. Is real world violence catching up, and does it have a symbiotic relationship with thriller films as well? Do they feed each other? In this case, the lines between movie and reality really fall apart in the 4th wall-breaking finale. Was all the suspense and thrills for nothing? Is the film completed?

When he worked these ideas into his Hitchcock thriller, I think his constant steals also started to actually work for the film's own benefit.

★★★ 1/2

Movies I've seen in the weeks 44-45

This is not counting the films I've seen at Night Visions Maximum Halloween 3009 -festival, as I'm doing a report on that later on.

Laughing Gravy
Directed by: James W. Horn
Starring: Oliver Hardy, Stan Laurel, Charlie Hall
A hilarious short film about trying to keep a dog in a flat without the landlord knowing about it. Violent and nasty, just the way I like my old comedians.
*****

The Kid
Directed by: Charlie Chaplin
Starring: Charlie Chaplin, Jackie Coogan, Edna Purviance
Chaplin, alas, is not as funny as Laurel & Hardy. He's still searching for his style in this one, and constantly falls into overplayed melodrama. Some scenes I don't get such as the angelic vision near the end. As Hitchcock, Chaplin doesn't seem to trust the police too much.
***

9
Directed by: Shane Acker
Starring (voices): Elijah Wood, Jennifer Connelly, Christopher Plummer, John C. Reilly
Visually a treat, but story-wise too clichéd of all things! Also feels padded with unnecessary action sequences. But this was an award-winning short until Tim Burton and Timur Veryhardrussianname came a-calling.
***

(500) Days of Summer
Directed by: Marc Webb
Starring: Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend
This isn't the kind of movie that'll cheat you with false premises of love. Rather, it is one that'll make you feel better about relationships that don't work. It's funny and charming, but also painfully real at parts. The empty or overwhelming feelings felt inside when in a one-sided relationship are brought out especially well. The music and athmosphere is still a bit too indie for its own good. This isn't overtly analytical about relationships but if you want that, you can go watch Woody Allen instead. For us with a warmer heart this is a real treat. Even if it doesn't give us easy, simple solutions.
****

The 39 Steps
Directed by: Alfred Hitchcock
Starring: Robert Donat, Madeleinen Carroll, Lucie Mannheim
A quite entertaining Wrong Man -thriller, the kind which Hitch remade several times after this. I'd have to be Mr. Memory to distinguish all these.
****

The Man Who Knew Too Much
Directed by: Alfred Hitchcock
Starring: Leslie Banks, Edna Best, Peter Lorre
Surprisingly clichéd although they might have not been clichés when this was made. Yet another man-on-the-run flick by Hitchcock. His own remake was better. Although one has to admit no-one can make as good set pieces as him. Peter Lorre is a treat.
***

The Secret Agent
Directed by Alfred Hitchcock
Starring: John Gielguld, Madeleine Carroll, Peter Lorre
Not even Hitch's usual charms or Peter Lorre can save this one. Dull espionage flick.
**

Sabotage
Directed by: Alfred Hitchcock
Starring: Sylvia Sidney, Oskar Homolka, Desmond Tester
Not too shabby. One of Hitch's more suspenseful flicks, the waiting of a ticking bomb is almost unbearable.
****

20 Million Miles to Earth
Directed by: Nathan Juran
Starring: William Hopper, Joan Taylor, Frank Puglia
Would be an utterly forgettable King Kong-clone if it wasn't for Ray Harryhausen's charming lead monster. Stop motion puppets can be a lot more lively than real actors.
** 1/2

The Dark Knight
A bit structurally uneven, but so damned entertaining. And not to mention the best description of American traumas in the George W. Bush era. Great acting too, from all around. Utter top of its genre.
**** 1/2

Movies I've seen in the week 43

Fingers
Directed by: James Toback
Starring: Harvey Keitel, Danny Aiello, Tisa Farrow, Jim Brown
Harvey Keitel was a dirty, dirty man long before Bad Lieutanant. Here he plays a small-time gangster who dreams of becoming a concert pianist. The fun is, he won't even consider doing a reform to accomplish this. In fact, he plays a lot better when he does despicable things. The movie starts as a love letter to all sorts of music. But in the end it has a slightly cynic and misogynist world view. My favorite fingers in this one belong to the doctor who shoves them up Keitel's ass.
****

Enter the Ninja
Directed by: Menahem Golan
Starring: Franko Nero, Sho Kosugi
Not the best ninja movie around, but works as a cure for a bad day nevertheless.
***

North By Northwest
Directed by: Alfred Hitchcock
Starring: Cary Grant, Eva Marie Saint, James Mason, Martin Landau
I wish there was a Bond movie as ridiculously entertaining. The purest Hitchcock-plot of a wrong man goes to ridiculous lengths here. Grant shows a talent for giving a good straight-faced tongue-lashing to everyone no matter how deep is he in trouble. Has some of the greatest set-pieces in motion picture history.
*****

Rope
Directed by: Alfred Hitchcock
Starring: James Steward, John Dall, Farley Granger
Hitchcock seems to feel that the feelings of moral superiority by the intelligentsia are getting out of hand. The movie is experimental more in its execution rather than its story. Nevertheless, the plot about how the guilty are going to be caught works for him as well as always.
*** 1/2

Psycho
Directed by: Alfred Hitchcock
Starring: Vivien Leigh, Anthony Perkins, Vera Miles
Movies don't come much better than this. A multi-layered play with audience expectations. Ground-breaking, the first modern horror movie. A masterpiece in filming, lighting and editing. A great mystery if someone hasn't spoilt it for you yet.
*****