L'année dernière à Marienbad (Last Year at Marienbad)

Here is a film that has divided cineasts since it came out.

Some hate it. It has been included in Harry Medved's 1978 book The Fifty Worst Films of all Time (and How They Got that Way), but that book also lists the likes of The Omen, Bring Me the Head of Alfredo Garcia or Valley of the Dolls (so it needs to be taken with a grain of salt).

Some love it. Those who do (this includes me), do so passionately, it seems. Roger Ebert gave it a coveted four star review. And while I'm linking to other pages and many an article has been written about Marienbad, here is another one. You're welcome.

The story is quickly told. At a luxurious hotel in Marienbad, a man approaches a woman and tells her that they have met and fell in love the previous year at the hotel and he wants her to run away with him now. The woman, however, does not seem to recall the meeting of the year before. What complicates matters is that she is there with her husband. In the end, we don't know if the first meeting ever happened.

That is really all of the story. There are several theories of what it all means. The most common one is that the narrative is based on the myth of Orpheus and Eurydice, in which the man has to convince the woman to come with him (out of the underwold) and to do so on her own account.

What we are shown is a series of breathtaking images. In wide shots the shadows do not match. The people are decked out in Chanel clothing. The pose like mannequins for a long while before they start moving. Heard words do not match moving lips.

Seeing this, to me, was utterly fascinating. And I am not usually a fan of French cinema of the 1960's and 1970's like so many others, unexplicaply, appear to be.

Love it or hate it, the film is unique and you have never seen anything like it.

10/10

Angst essen Seele auf (Ali: Fear Eats Soul)

This is the story of the relationship between Emmi and Ali.

Everyone around them disapproves of their love and subsequent marriage - her family and friends because Ali is an immigrant. As for Ali's friends, they appear to be pretty ambivalent about it, even though Emmi is considerably older than Ali.

Emmi's children give her hell, her work mates shun her at their lunch breaks and her grocer won't sell to her anymore. Nevertheless, the two try to stick it out.

But of course the two live in different worlds and they never really stood a chance.

Bleak and probably as true as it gets without getting overly violent.

7/10

Dog Day Afternoon

This is brilliant!

Sonny and two cohorts try to rob a bank. Everything that can possibly go wrong does. First, one of the accomplices chickens out. Money has just been picked up the day before so the vaults are empty. To top it all off, the police swarm the place.

Whenever Sonny comes out, waving a white flag, to negotiate an escape for him and his friend Sal, he gets cheered by the crowd. And he loves it. He yells out paroles, throws money into the crowd and screams "Attica! Attica!" referring to a riot at Attica prison facility some time earlier.

He is more concerned about keeping his hostages safe (bathroom breaks and pizza) and leaving money in his will to both his wife. The second wife is actually a man named Leon and is sort of the reason Sonny got himself into this mess, he was going to steal the money to pay for Leon's sex change.

The film is based on true events (according to the actual culprit, only loosely so) and is one of Al Pacino's finest performances.

9/10

One Million Years B.C.

This film takes us, well, One Million Years B.C. Do not look for historical accuracy, however. Here men coexists with dinosaurs (maybe this is where Sarah Palin got the idea?) and is endangered by any number of oversized creatures.

The population is divided into the Rock tribe (dark haired, rough edged) and the Shell tribe (blond and Eloi-esque), both groups unaware of the other's existence until one day Tumak fall out of the Rock tribe nest after a fight with his brother. He spends the next 15 minutes stumbling through scenery, narrowly escaping some of the creatures. He barely makes it to the sea, dehydrated and collapses. It is there that he encounters the Shell tribe. They take him in and almost immediately, he clashes with his Shell equivalent.

Eventually he runs off with Luana, the bikini clad beauty that initially rallied up her fellow fisherwomen to save him. They return to the Rock tribe, where animosity reigns because Tumak's brother tried to kill his father (and chief) while out hunting.

Luana has been picked up and flown off by one of the evil creatures and is presumed dead. When father and son go head to head in battle, the group supporting the ousted father are joined by the Shell tribe, brought by Luana,who has returned to them injured and weak.

They prevail, but then a volcano erupts and the survivors (including Tumark and Luana, of course) are molded now into one tribe, destined to brave the new world together.

Hilariously ridiculous.

4/10

In the Company of Men

Chad (Aaron Eckhart) and Howard (Matt Malloy) are assigned to a different location within their company for six weeks. Chad is a classic asshole (at one point he has a male intern drop his pants to see if he has the 'balls' for this job) and Howard wants to pretend to be a douchebag of similar size so they agree to wine and dine a girl simultaneously and then breaking up with her at the same time - all within those six weeks.

The girl Chad (of course it's Chad) picks is Christine (Stacy Edwards), who is deaf (added bonus!). They take her out and send her flowers. Howard is not as good at this as Chad and actually falls in love. Christine falls for the charm of Chad.

When Chad and Christine go to lunch in week four, with him being all sweet and charming (you want to punch him in the face for playing that lovely girl like that) they run into Howard and Christine realizes for the first time that the two know each other.

When Howard confesses his love, Christine tearfully breaks up with him and apologizes for not having been honest from the start. This prompts Howard to spill the beans of what they were doing, which leads to a fight ("You, you are fucking handicapped! You think you can chose?"). A few days later, Christine confronts Chad, who goes back to asshole mode, saying that he wanted to let her down easy, but "fuck it".

In the last chapter of the film, we realize just how big an asshole Chad actually is.

from Roger Ebert's review:
We find a level beneath the other levels. The game was more Machiavellian than we imagined. We thought we were witnessing evil, but now we look on its true face.

8/10

Performance

Sadistic thug Chas (James Fox) has to lie low for a while after an unplanned hit. He hides in the guest house run by the eccentric Turner (Mick Jagger), who is initially all but happy about the new house guest.

Chas finds his new surroundings rather laughable and doesn't approve of the bohemian life style he considers degenerate. While waiting for his new passport so he can leave the country, he gets caught up in Turner's strange world. Turner himself is a performer that has 'lost his demon' and now lives as a reclusive.

The film also includes a quasi Rolling Stones music video for the song "Memo from Turner" which is really kind of cool and actually fits right into the film.

Mick Jagger basically playing himself (I imagine) and James Fox puts in one of his best performances (IMO).

Awesomely weird.

Weirdly awesome.

9/10

The Spy Who Loved Me

In the year of 1977 the James Bond Travel Agency suggests a journey to Egypt, to experience the grandness of the pyramids and adjoining monuments.

While among the aforementioned monuments, Bond and his rival/associate KGB agent triple X (Barbara Bach) spend a while chasing after Jaw (yes, yes, the guy with the metal teeth) among the vast monuments - before getting chased by him in return. The objective is to retrieve a microfilm. Jaw and his assistant henchman Sandor (a rather short role) were sent by Karl Stromberg (the great Curd Jürgens) to search after said microfilm and kill everyone that comes in contact with it.

What does the villain want this time? Trigger a global nuclear war, of course. Don't they always? There is yet another train trip (a recurring Bond theme), during which Bond and triple X get attacked by Jaw again (What? You thought dumping an entire scaffolding including stones on him would get rid of him? Or even throwing him out the window of a moving train?).

The big showdown takes place in a much more elaborate venue. No, not an island. That is getting rather old and we'll get around to it again in later Bond films (Skyfall anyone?). On a big-ass ship, that captures submarines in its belly. Oh, and don't worry. There's a car chase, too.

Despite all the ridiculousness and repetitiveness, the showdown is awesome.

6/10

Those Magnificent Men in Their Flying Machines or, How I Flew from London to Paris in 25 Hours and 11 Minutes

A comedy about the early years of aviation.

Pioneers of flight from all over the world come together in England to participate in an air race from London to Paris. Like any classic 1960s comedy, it exploits ever single country cliche imaginable but - also like any classic 1960s comedy - does this in the most charming manner.

The main players are a dashingly handsome - if slightly dorky - Englishman, a daredevil American (the two also vying for the same lady as well as the prize money), a group of German military men (doing everything by the book, of course), a happy-go-lucky Frenchman, a conniving Englishman (manipulating everything and everyone whenever possible), a mysterious Japanese, an Italian with his entire overly emotional family as well as some bit players.

Have seen this forever ago and it still makes me chuckle throughout. Gert Fröbe in a bathing costume is quite the sight.

7/10

The Servant

A claustrophobic film about an upper-class English twit named Tony and his manservant Barrett. Tony's fiance, Susan, immediately dislikes Barrett, but Tony is content and ambivalent. After having worked for Tony a while, Barrett brings his 'sister' into service, who starts an affair with the master of the house.

When he realizes that Vera is not actually Barrett's sister and he starts to doubt the servants' loyalty, Tony throws them out. Some time later, however, he meets Barrett in a pub. He decides to take him on again. The two engage in foolish games (like hide and seek) and the tables turn with Barrett gradually wining the upper hand while Tony turns to drink.

Wonderfully acted by Dirk Bogarde and James Fox (both very handsome) with interesting symbolic shots aided by mirrors.

Great, great film.

9/10

Ace In the Hole

In June 2007, The Guardian published a list of 1,000 films one must see before dying. Although I do not agree with all of the films featured, the list differs from all the other such compilation, where you basically get the same 1000 films, give or take a few.

Here are some that I have never even heard of. I started watching them a while back and this is as good a time as any to share my thoughts. So, in the upcoming days, weeks and months I will review films that may not be fresh in my memory anymore but appear on the list. Look for the label 'guardian1000' to follow.

Some I simply refuse to watch (nobody can tell me that I simply must watch Ace Ventura before I die and keep a straight face), some I have watched and hated (I will tell you about them), some I have not been able to track down (yet).

The list is alphabetically and the very first must-see film is Billy Wilder's Ace in the Hole.

Here is the first I had never heard of before, not being the biggest Billy Wilder fan (or, not yet). I am actually grateful for the suggestion, because this is really good - and a hint of what was to come in journalism (*cough* *cough* Murdoch *cough*).

Kirk Douglas plays a journalist that recently fell from grace with the big newspapers in New York. While holed up in New Mexico, he stumbles upon a story that carries the promise of getting him back on top.

A young man is trapped and hurt inside a local mine and Douglas is the big-shot on location to milk the story for all it's worth. And we know that trapped miners make for good sob stories.

Somewhere amid the town fair-like atmosphere and the profit seekers, Douglas loses any kind of morals he had and delays a rescue mission for the good of the story. Too late he realizes that he has essentially contributed to the miner dying and that's no good because he really needed a happy ending for his orchestrated story.

Billy Wilder himself considered this the best film he'd ever made.

7/10

Rollerball

The year is 2018, the world is run by corporations and the preferred sport is Rollerball, which claims several victims in the name of entertainment. The superstar of the sport is Jonathan E. His career is singular in its longevity and brilliance. This poses a problem for the big bosses of the corporations, because singularity is frowned upon. Jonathan E is asked to retire from the sport, which he refuses.

Over the course of the season, he starts to question not only the way things are done but also the sport, that made him a hero to the masses, itself. The rules of the game get more and more lenient, in hopes that Jonathan will not make it out of an upcoming game, so as to solve the problem of his refusal to succumb to corporation's wishes.

In the end, it all boils down to the showdown between Jonathan's team Houston and New York. Fittingly, for any 1970s action film, the hero gets his revenge by surviving.

It's always adorable what filmmakers of the 1970s (and before) imagined the future to look like and the items and gadgets they thought would evolve and the ones that would not - like, you know, roller skates.

4/10 

Thunderball

Could this be the James Bond film with the most ridiculous opening ever?

007 fights with and kills a guy in drag, fresh from a funeral where he/she pretended to be his own widow. Afterwards, the agent flies off in a jetback and drives off in a car with an installed water cannon he and his female companion use on the bad guys. And all of this happens before Tom Jones even belts out the theme song.

Of course, it has nothing at all to do with the film to come. The über-villain is once again Blofeld, in the context of this operation referred to as "no. 1". While meeting with his other numbered associates he sits behind a garage door like barrier, lowered only to cover his face. Through the joints one can see him with - *gasp!* - hair. Also, he is stroking his ever present white cat.

"No. 2" aka Emilio Largo turns out to be the villian Bond needs to fight. Finally! A bad guy with an eye patch!

The plot is yet again straight forward - SPECTRE steals two atomic warheads from a NATO plane to use as a means of extortion. James Bond spends most of the film breaking into hotel rooms and running around in shorts - we are, after all, in the Bahamas. He is assisted in his trials to retrieve the warheads (operation "Thunderball") by an old chum working for the CIA, named Felix and sporting big hair. The resident Bond girl is nicknamed "Domino", continuing the string of rather laughably named females.

All in all, despite its obvious flaws, this film is rather enjoyable. Q has a lovely scene with 007, in which he can live out his adorable grumpiness.

4/10

Goldfinger

Goldfinger marks the first Bond film in which a renowned artist sings the so-called Bond theme. The wonderful Shirley Bassey eventually sang three Bond themes, this one probably being my favorite.

It also marks a rather unfortunate beginning for 007 himself. First, he wears a onesie, then he shows off some back hair (ew!) and he gets his lover killed. She looks very pretty when dead, of course, covered all in gold. This also started the believe that a body covered in gold dies from 'epidermal suffocation' unless you leave a patch of skin on the neck uncovered. Whereas it is possible for toxins or bacteria could enter the body through the skin pores and can lead to injury and in the worst case death, it is highly unlikely to happen in the manner depicted. But it does look pretty.

We also have the first villain played by a respected character actor, making bond villain quite an interesting gig. The late Gert Fröbe plays Auric Goldfinger, aided by his henchman/bodyguard Oddjob (and his murderous hat!). The Bond girl in this has the to date most ridiculous name (and still the legendary one) - Pussy Galore.

And on top of it all, Goldfinger also features another well-remembered scene - Bond gets straped to a table and a laser threatens to cut him in half - you know the one I am talking about. Q also gave James Bond a pimped up car to play with (and ruin).

For all the above, this remains one of the highlights of the series and one of the best Bond films to date.

9/10

Unforgiven

Normally, I am not much of a fan of wild west films. The cowboy romantic doesn't do it for me. What I require for me to enjoy this type of film is one of two things - (1) humor, (2) a good story. Unforgiven, luckily, covers (2) nicely.

A prostitue in a small Wyoming town gets her face cut up by one of her costumers. When the sheriff Little Bill Daggett (Gene Hackman) doesn't punish the cutter and his friend to the other prostitutes liking, they throw their money together and offer a $ 1,000,-- reward to have them killed. One of the groups gunning for the money are one young wannabe killer ("Schoffield Kid"), and two retired ones, played by Clint Eastwood (William Munny) and Morgan Freeman (Ned Logan).

The main problem anyone trying for the reward money face is the no-nonsense sheriff, who takes anyone's gun in his town and beats them up - sometimes for no reason other than them not having noticed the sign specifying that no guns are allowed in town. A real asshole, that one.

After the trio kill the first of their targets, Ned Logan gets captured by the sheriff's men and eventually tortured to death. The Schoffield Kid finishes off the second target (his first ever kill), the climax sees William Munny facing (and killing) Little Bill Daggett.

A sometimes brutal, sometimes sad film, that won the best picture award at the Oscars and established Clint Eastwood as a great director.

from Roger Ebert's review:A lot of the shots are from the inside looking out, so that the figures seem dark and obscure and the brightness that pours through the window is almost blinding. The effect is to diminish the stature of the characters; these aren't heroes, but simply the occupants of a simple, rude society in which death is an everyday fact.

6/10

Peeping Tom

Messed up kids turn into messed up adults. Documented in: Peeping Tom.

Mark was raised a test subject for his father, a psychologist studying fear in his child growing up. There was always a camera on the boy to record his fearful reaction to different situations and scares put upon him.

As an adult now he studies fear in others - young women he kills and films at the moment they realize that they are about to die. Basically, he was making snuff before the genre was widely known. And he is desperately trying to get caught, barely taking any precaution when killing and returning to the scene of the crime to film police at work and people's reaction when the bodies are discovered.

Ironically the one person that 'sees' right through him and realizes how troubled he is, is the blind woman living downstairs.

The film received harsh reviews when it was released, practically ending director Michael Powell's career. In the 1970s, however, it received reappraisal and has since become a cult film, prompting Mr. Powell's comment in his autobiography, "I make a film that nobody wants to see and then, thirty years later, everybody has either seen it or wants to see it."

6/10

The Innocents

The 1961 film The Innocents is based on the novel The Turn of the Screw by Henry James. Originally, this was adapted for the stage and there is a theatrical feel to it. The setting is as ghostly and gothic as it gets in black-and-white British horror films - a country estate, way too big for its few inhabitants.

The focus of the story is on the new governess Miss Giddens (Deborah Kerr) and the two children she is hired to care for, Flora and Miles. The previous governess has died about a year before. Later we learn that she took her own life after the accidental death of her abusive boyfriend, who also worked on the estate as a valet.

Both, the former governess and the valet, appear to Miss Giddens as ghosts and she concludes that the children are possessed by the spirits of the lovers.

She takes it upon herself to get to the bottom of it all and - ultimately - save the children from the peril they are in. The two youngsters do appear to be rather mean spirited, especially the little boy. Miss Giddens' solution is to send off the staff and Flora and stay behind with just the boy, to help him freeing himself from his demon by facing him. It ends in tragedy.

Wonderful, classic film. The feel and setting was much later imitated in The Others, which I also recomend wholeheartedly.

8/10