Film Noir Series: The Set-Up (1949)

Robert Ryan as Stoker Thompson

My latest Film Noir Spotlight entry for Next Projection. The sixth film on my list is The Set-Up (1949).

Before there was Raging Bull, there was The Set-Up, Robert Wise’s brutally devastating glimpse into one night in the life of an aging, struggling boxer. It’s no great surprise, then, to hear Martin Scorsese waxing poetic about the influential merit of the film on the DVD’s commentary track. The Set-Up is a potent noir classic; a gritty documentary-type film made well before such a style even existed.

Right from the opening frame, it sets itself apart from other Hollywood releases in the late-1940s. Devoid of any soundtrack, the opening credits pan over a brutal fight in a boxing ring – a perverse, violent “dance” that only ends when one man is finally knocked out, to the crowd’s roaring approval. Robert Wise, a director often associated with his upscale musicals like West Side Story (1961) and The Sound of Music (1965), zeros in on the sights and sounds of a boxing match to recreate an authentic atmosphere.

Based on a Joseph Moncure March poem (which, in actuality, had a black ex-convict at the heart of its narrative, not a white boxer), The Set-Up moves along briskly in real time. At 35 years of age, Bill ‘Stoker’ Thompson (Robert Ryan) is considered “over-the-hill” by the bloodthirsty mobs that flock to the sweat-drenched boxing matches at the Paradise City arena. His own manager (George Tobias) is so sure that Stoker will go down in his match that he takes “dive” money from a gambler who goes by the pseudonym Little Boy (Alan Baxter) – and neglects to inform Stoker. Despite desperate pleas from his wife, Julie (Audrey Totter), to retire, Stoker insists he has one more big fight left in him.

The film unfurls slowly, gradually familiarizing the audience with Stoker as he prepares for his duel in the ring against a much younger opponent. With its revolving door of compelling secondary characters, all of whom offer their own personal tales of woe and victory, The Set-Up is a stripped down tale of the physical and psychological struggles of men like Stoker. All the boxers in the room are big dreamers although, judging from their anxious chatter, they are all too aware that their one-time shot at fame is fleeting.

Lensed by cameraman Milton Krasner, you can practically smell the stale air and feel each punch thrown. Alternating between intimately brutal, bloody close-ups and jarring wide shots, the fight scenes demonstrate both stunning choreography on the part of the actors and superior camerawork by the crew. Like gladiators in the Coliseum, the men in the ring are modern day warriors, complete with a powerful fan base that can be heard screaming and stomping from their dressing room. The crowd is comprised of those who place the bets and those who just love a bloody exhibition – like the blind man who has his friend narrate the fight sequences and the housewife who embarrasses her husband by screaming obscenities in her quest for more blood.

With his weathered features – complete with cauliflower ears, five o’clock shadow and upper lip sweat – Ryan breathes life into the role of Stoker. Considering his years as a boxer in college prior to acting, Ryan is a natural, carrying himself like a battered, yet determined, athlete. Looking as though he carries the weight of the world on his shoulders, Ryan gives a remarkable performance. His Stoker is one of the finest incarnations of a struggling athlete in film. His scenes with Audrey Totter as his wife, Julie, are particularly compelling, adding depth to both of their characterizations.

The Set-Up remains a startlingly raw slice-of-life narrative that more than earns its place as an influential noir classic. It balances a superbly crafted story with exquisitely choreographed fight sequences, all of which is anchored by an understated, naturalistic performance from Robert Ryan. It’s a knockout.

FINAL GRADE: A+

Film Noir Series: Born to Kill (1947)

My latest Film Noir Spotlight entry over at Next Projection. You can check out the review HERE. The fifth film on my list is Born to Kill (1947).

A beautiful woman watches a tall, brooding man playing a game of craps at a casino. She watches him out of the corner of her eye as he rolls the pair of dice. When their eyes eventually meet, the man’s mouth lifts into a tiny smile. This wordless exchange lasts only a couple of moments, but the powerful connection between the two leads at the centre of Born to Kill is undeniably palpable.

Based on the James Gunn pulp novel, Deadlier Than The Male, this oft-overlooked noir is arguably one of the nastiest incarnations of the genre. Adapted for the screen by Eve Greene and Richard Macaulay, Born to Kill goes against type by featuring a female in the lead – a woman just as despicable as her male counterpart. This unconventional noir doesn’t rely on the familiar tropes of the genre. The film is devoid of any flashback narratives or voice-overs provided by a down-on-his luck private eye. Instead, the plot revolves around the two villains at the centre, one of whom happens to be a man with a seductive edge.

Beautiful socialite Helen Brent (Claire Trevor) finds her soul mate in the form of a psychotic murderer named Sam Wild (Lawrence Tierney). After her first glimpse of him at the casino, she’s drawn to his dark good looks and finds his grim persona irresistible. When she discovers that Sam is behind the grisly murder of an acquaintance, Helen keeps her lips sealed, preferring instead to recount the bloody scene with him privately, with breathless passion. It’s violence as foreplay for Helen and Sam. In a reversal from the traditional femme fatale seducing the lead male, it’s actually Helen who can’t help but get caught up in Sam’s tangled web of violence and deceit. There’s just something about Sam that immediately draws a person to his side – everyone agrees to help him get away with murder, from his loyal friend Marty (Elisha Cook Jr.) to Helen’s own foster sister, Georgia (Audrey Long).

Lawrence Tierney and Claire Trevor

Despite its stationary camera, the visuals in Born to Kill create a compelling, sometimes haunting, atmosphere – whether it’s a shot of dark shadows obscuring the corpse of a young woman or the image of Sam menacingly crouched in a corner of the room only moments before committing a double murder. Such visuals serve only to heighten the tension, more than making up for the films often-static camerawork.

As Helen, Claire Trevor is nothing short of a revelation. Her barely concealed desire for Sam and her flippant attitude towards his violent nature touch on the dark recesses of her own soul. She hides her true nature beneath a warm and welcoming exterior, a façade that only begins to crack when her own freedom, or that of Sam’s, is under serious threat. As one character tells her: “You’re the coldest iceberg of a woman I ever saw.” Shrewd and manipulative, Helen takes what she wants and it’s a pleasure watching Trevor triumph in the role. She’s so good that you’ll catch yourself rooting for Helen.

Despite not being a strong enough actor to bring out the smaller nuances in the character of Sam, Lawrence Tierney is still strangely alluring in the role. We don’t know why Sam is so angry, only that he’s a hardened sociopath who can “make people or break them.”

In the minor role of private investigator Matthew Arnett, Austrian actor Walter Slezak excels as portraying the sleazy underbelly of a man less interested in justice and more interested in monetary gains. Although the role is under-written, Slezak succeeds at portraying yet another loathsome character in a film full of such types.

With two mesmerizingly evil lead characters, Born to Kill manages to wade through its melodrama to present an exciting and unconventional noir that is both dark and deliciously wicked. 

FINAL GRADE: A-

Movie Rant: My Favourite Films of 2011

Michael Fassbender and Carey Mulligan in Shame

Another year has come and gone and, like every other film fan on the planet, I've decided to compile a list of my favourite films of 2011. Going through reviews from the past year, I realized that I hadn't seen enough truly great films to make a list of 10. So, instead, I'll have to settle for a list of eight.

Keep in mind I haven't seen the following films (some of which likely would have made the list had I seen them on time): The Descendants, The Adventures of Tintin, Tinker Tailor Soldier Spy, A Separation, Albert Nobbs and Warrior.


My Top 8 Films of 2011
1) Shame
Controversy over its explicit rating aside, Shame is a close study of the isolating nature of addiction -- that gradual separation from the tangible and the emotional. Some of the most revealing scenes in the film are often the ones with little or no dialogue and Michael Fassbender's performance is nothing short of astonishing. Shame will stay with you long after the final credits.


2) The Artist
It's a vibrant and richly texualized film. Although the idea may not be new and some may argue that the premise itself is a bit of a gimmick, it's an undeniable crowd-pleaser and a beautiful one at that. With its two charming leads at the centre, The Artist is, above all, a love letter to cinema's past.

Jessica Chastain in The Tree of Life

3) The Tree of Life
Audiences and critics alike will be hard-pressed to come up with a list of other films that are as ambitious, unique and full of meaning as Terrence Malick's latest. The Tree of Life is a bit of an enigma -- an often puzzling, yet incredibly powerful, film that deals with love, loss, death, nature and the universe. Without a linear narrative, the film includes long interludes of vivid cosmic and prehistoric visions. Spiritual and artsy, The Tree of Life challenges mainstream ideas of what a Hollywood film can achieve.


4) Hugo
One of the most visually beautiful films of the year, Hugo wraps you in a blanket of movie passion and nostalgia. Led by a wonderful ensemble cast, Martin Scorsese has created a haunting, yet whimsical, ode to the original pioneers of film.


5) Moneyball
There's no denying the long love affair that American cinema has had with the game of baseball. Moneyball is the best sports films to be released in years as it delves into the behind-the-scenes drama and inner workings of what it takes to build a winning team. Thanks to Brad Pitt's greatest performance to date, Moneyball reminds us that, despite the abundance of riches in professional sports, there are those who really do care -- for love of the game.


6) Martha Marcy May Marlene
Writer-director Sean Durkin has crafted a compelling debut feature that is ultimately a fascinating commentary on familial ties and paranoia. Elizabeth Olsen gives the kind of breakthrough performance that most up-and-comers can only dream about. She's quietly devastating and she makes it impossible to look away.

Michael Shannon and Jessica Chastain in Take Shelter

7) Take Shelter
With its slow-burning narrative, Take Shelter is a quietly unsettling indie hit that is more character study than apocalyptic thriller. In the lead role, Michael Shannon is remarkable. His quietly commanding performance is one of the highlights of the year and it's fascinating watching this gentle character battle his inner demons.

8) Midnight in Paris

With its commentary on the folly of nostalgia and the assumption that everything was a whole lot better "back in the day", Woody Allen has crafted a welcome escape from blockbusters and franchise sequels. Guided by Owen Wilson in the lead, the film takes a delightful, whimsical tour of Paris in the present day and the 1920s, where it once seemed as though only intellectuals and artists roamed the streets.

What are your favourite films of 2011?

Movie Review: Hugo

Asa Butterfield as Hugo Cabret

Hugo (2011)
Based on the Book By: Brian Selznick
Directed By: Martin Scorsese
Starring: Asa Butterfield, Ben Kingsley, Chloe Grace Moretz, Sacha Baron Cohen, Christopher Lee and Jude Law

Hollywood has been reminded of its celebrated history more than once in recent months, with both The Artist and Martin Scorsese's Hugo at the centre of this resurgence (of sorts) of old cinema. Both films couldn't have come at a better time -- while an endless stream of forgettable movies are dropped into theatres as a quick cash-grab for studios, audiences often need to be reminded that there are filmmakers out there who love the art of cinema and continue to make great, challenging films.

Scorsese, by using the source material from Brian Selznick's graphic novel The Invention of Hugo Cabret, has crafted a love letter to the world of cinema. By jumping on the opportunity to promote his passion for film preservation and its forgotten pioneers, Scorsese has ultimately created a film for adult movie buffs in the guise of a children's adventure.

Young Hugo (Asa Butterfield) is an orphan boy living behind a giant clock in a beautiful Paris train station in the 1930s. With his keen knack for stealing discarded items and fixing them, Hugo bides his time inventing little gadgets -- none of which cures his loneliness. Desperate to connect with the people he watches beyond his isolated quarters, Hugo befriends Isabelle (Chloe Grace Moretz), an imaginative girl living in Paris with her godfather, Georges Melies (Ben Kingsley). Together, the two embark on a series of adventures involving a mysterious automaton left behind by Hugo's dead father (Jude Law), a heart-shaped key and a case of hidden identities -- all the while being chased around by a tyrannical station agent (Sacha Baron Cohen).

Hugo is, essentially, two films expertly weaved together into one. Despite numerous minor subplots and two main narrative threads, the film never loses its focus as the action slowly builds towards a beautifully moving climax reminiscent of the 1988 Italian classic, Cinema Paradiso.

With assistance from cinematographer Robert Richardson and production designer Dante Ferretti (both Scorsese regulars), Hugo is a lush and whimsical creation -- an ode to the wonder of the world of cinema that is just as wonderful itself. Arguably the most visually beautiful film of the year, Hugo wraps you in a blanket of movie passion and nostalgia.

Asa Butterfield (left) and Ben Kingsley

In the lead role, Asa Butterfield is fully capable of carrying an entire film on his small shoulders. With his expressive blue eyes and elfin features it's hard to imagine another child more suited for the role of a young orphan desperate for love and companionship. It's the rare child actor that can have both a commanding screen presence and manage to hold his own against veteran actors.

The supporting cast is equally compelling, specifically Ben Kingsley as the emotionally broken Georges Melies. His chemistry with the young Butterfield is the heart at the centre of the film. The scenes that these two lonely, broken souls share carry the emotional weight of the film. Kingsley, with his sad eyes and soft voice, gives one of his loveliest performances in years. As Isabelle, Chloe Grace Moretz is charming, despite a wavering English accent. In smaller roles, Sacha Baron Cohen, Christopher Lee and Jude Law round out a solid cast with superb performances that manage to jump off the screen despite limited screen time.

Hugo is a vibrantly beautiful film, both charming and tragic. Howard Shore's score only adds to the haunting, yet whimsical, atmosphere.

Scorsese reminds that, like Rome, cinema wasn't built in a day -- there were many pioneering faces, some unfortunately long forgotten, that brought the medium to what it is today.

FINAL GRADE: A

Movie Rant: Why I love the 1951 version of A Christmas Carol

While doing some holiday movie research for an article and slideshow I was putting together for work awhile back I came to the realization that Charles Dickens' classic short story, A Christmas Carol has been adapted at least 50 times since the invention of moving pictures. I think anyone would be hard-pressed to find another story that has been adapted more often into film and television specials than that!

I know plenty of people who love a wide range of adaptations, most notably A Muppet Christmas Carol and Bill Murray's Scrooged. While both films are fun holiday flicks in their own right, I prefer my Scrooge straight up mean and nasty -- all the better to make his conversion at the end have more of a meaningful impact.

Which brings me to the 1951 Brian Desmond Hurst adaptation starring Alastair Sim in the title role. Arguably the finest version of how the miserly Ebenezer Scrooge re-discovered his Christmas spirit and restored his reputation, a lot of credit is due to the performance of Sim. The man was born to play Scrooge -- the craggy-faced Scottish native perfectly captures all of the characters' multitude of emotions, from hardened and world weary to childlike wonder. Regardless of how many times I've seen this film, his jubilant Christmas morning jig towards the end always makes me smile.

When I was about eight years old, my mom introduced this classic adaptation to my sister and I. It was in black and white. It made cracking and popping sounds because of a poor VHS transfer. It had long lines down the screen from where the original film was scratched. And, from that young age of eight, I still managed to become hooked, despite everything going against it. It soon became a Christmas Eve tradition -- the night before Christmas, we'd sit around the TV and watch Scrooge transform into a caring and compassionate human being who learned "how to keep Christmas well." 

Alastair Sim as Ebenezer Scrooge

I can't think of another version (and I've seen many) that so accurately captures the true holiday spirit of Dickens' story. It's dark, it's sad, it's charming and it's ultimately what Christmas is all about -- putting differences aside and spending time with loved ones.

There's something to be said for a story that has endured for so many generations -- it's clear that Dickens hit a nerve when he first published his novella. I even wrote about the phenomenon for last years holiday issue of History Magazine ("How Charles Dickens Saved Christmas"). Every great piece of fiction deserves a worthy film adaptation should people decide to translate it onto the silver screen and the 1951 version of A Christmas Carol is just that.

So, later on tonight, once my family and I have returned from our Christmas Eve dinner with one side of our extended family, we'll curl up on the couch and watch A Christmas Carol once again. Twenty years after watching it for the first time, it's still my favourite way to unwind on Christmas Eve before the hustle and bustle of the big day.

Merry Christmas! 

Film Noir Series: Crossfire (1947)

I'm continuing my ongoing Film Noir series on Next Projection. You can check out my post HERE. The fourth film on my list is Crossfire (1947).

With its tightly coiled narrative and top-notch cast, Crossfire is a slow-burning crime drama and unlikely “social message film” with a noir twist.

Based on the controversial Richard Brooks novel The Brick Foxhole, screenwriter John Paxton re-teamed with director Edward Dymtryk after the success of their 1944 noir classic, Murder, My Sweet. This time around religious bigotry takes centre stage, as intolerance is unearthed among a group of soldiers recently returned from the Second World War.

Set in Washington, D.C., this band of brothers bond over hard liquor and poker games at various bars while swapping war stories. After one particular night of heavy drinking, three of the men wind up at the apartment of Joseph Samuels (Sam Levene), a Jewish man they met in a bar. Samuels openly shares his thoughts on what he perceives to be the true hidden enemy to a soldier recently returned from battle – pent up and unfocused negative energy that comes when there is no longer a clear enemy to kill. When Samuels winds up dead, the three soldiers become prime suspects in the homicide investigation led by Detective Finlay (Robert Young) and Army Sergeant Keeley (Robert Mitchum).

Postwar angst is often an underlying theme in the majority of noir films. However, few have dealt with it as directly as the Oscar-nominated Crossfire. Its chock full of aimless soldiers suffering from misguided anger. Despite Dymtryk and Paxton’s decision to change the victim from a homosexual in Brooks’ novel to a middle-aged Jewish man in the film, the theme of intolerance still resonates.

Gloria Grahame as Ginny.

Crossfire opens with a violent exchange between two men – one the gracious Samuels, the other one of the soldiers. However, all that is seen are shadows on a wall. Enter Detective Finlay with his soft drawl, ever-present pipe and immaculate suit. Finlay, in his hunt for a motive, is one of the calmest screen incarnations of a homicide detective to ever grace the silver screen. Whether he’s lounging in a high-backed chair or slowly walking the perimeter a crime scene, Young instills Finlay with an ice-cold demeanor, all the better to interrogate with.

Along for the ride in this compelling ‘whodunit’ is a brash soldier named Montgomery (Robert Ryan) and a sultry, exotically beautiful nightclub singer named Ginny (Gloria Grahame). Ryan is captivating as the blustering bully Montgomery, nearly stealing the show from both Young and Mitchum. As the jaded Ginny, Grahame more than earns her Best Supporting Actress nomination in her two brief scenes. Strong-willed and fiery, Ginny is the standard femme – albeit with much less fatale than is common in the genre. You can tell that, beneath her cool indifference, she’s a kind woman at heart.

The uncharacteristically slow narrative carefully unfurls character motivations, wading through each character’s conflicting flashback accounts in order to crack the case. When the truth is finally revealed to Finlay it sets off a three-minute speech addressing anti-Semitism and anti-Irish Catholic stances in America. The scene hammers home the overall message, coming off a little too preachy, almost as though it thought the audience wouldn’t be able to comprehend the notion of religious intolerance without its being sermonized. The one thing that pulls this scene back from outright melodrama is Young’s strong performance.

Despite this heavy-handed conclusion and its eventual exoneration of the military’s role in the murder,Crossfire is a surprisingly bold noir, tackling an issue that touched a raw nerve with audiences.

FINAL GRADE: A-

Movie Rant: The (Perfect) Trailer for The Hobbit

Martin Freeman as Bilbo Baggins

It's finally here! Peter Jackson and co. have finally unveiled the first official trailer for The Hobbit: An Unexpected Journey. Sure, it isn't released until December 14th, 2012, but I pretty much consider myself in line already. ...Don't you?

As much as I liked the idea of Guillermo Del Toro taking over for the prequel (he's one hell of a fantastic visual storyteller), I was relieved when a scheduling conflict kept him away. With Jackson back at the helm The Hobbit will look and feel similar to The Lord of the Rings trilogy -- which makes more sense, if only for the sake of consistency.

So, how is the trailer? Well, it's pretty perfect in my opinion. I love the casting choice of Martin Freeman as Bilbo. I'm not overly familiar with his work but he definitely has the perfect look and feel for the role. And, after seeing the trailer, I'm convinced he'll make a wonderful Bilbo (especially since filling the shoes of Ian Holm won't be easy). In fact, in the brief glimpse we get of all the new characters, all the casting choices were right on the money. Not that I had any doubt, seeing as Jackson has a knack for unearthing unknown talent and turning them into household names. The trailer also includes some familiar faces, most notably returning actors Ian McKellan, Cate Blanchett and Andy Serkis.

I won't ramble on about all the things I loved about the trailer because it would take up more than one post. But, basically, I think this film will live up to all the hype and all the hopes of J.R.R. Tolkien fans. Thankfully, Hollywood has people like Jackson making quality blockbusters or we'd all be doomed to endless remakes of dull action franchises. I'm not even bothered by the fact that The Hobbit was filmed in 3D (a cash-grab gimmick I usually loathe) simply because I know that Jackson made every one of those images count -- and it'll look fantastic.

Seeing trailers like The Hobbit are necessary if only to remind us that the things we loved as a child still have enduring popularity -- our childhood isn't dead so long as dedicated directors like Jackson are loyally adapting our favourite books into epic films.

What do you think of the trailer?