Author: Brian J. Noggle

Well, after watching Don Juan DeMarco, I thought watching this film (bought in my massive haul in September) would fit in thematically. Well, sorta, but not really.

This is an independent comedy, which means it has a large number of name actors working in what turned out to be an overlooked film. Maximo, a Mexican whose father was a hard worker but who died comically in the intro flashback, decides he wants to be a trophy husband as a career. So he charms and seduces an older widow who visits a resort where he’s working. The bulk of the film takes place twenty-five years later where Maximo, played by Eugenio Derbez (not a recognized name actor here in the U.S.), checks every morning to see if his elderly wife has died. He leads a pampered, spoiled life, but he finds that he has been cuckholded and supplanted by a McLaren dealer (played by Michael Cera). He’s thrown out without a penny. He turns to his fellow trophy husband Rick (played by Rob Lowe), but Rick does not have room to help as he has to satisfy his wife Millicent (Linda Lavin) who likes a lot of role-play sex. So Maximo goes to his estranged sister Sara (Salma Hayek) and moves in with her. When he finds that his niece nephew attends an expensive school on a scholarship, he vows to help the boy win his crush whose grandmother (played by Raquel Welch) is loaded and single. It all goes awry, of course, comically.

So I laughed a couple of times–the Weird Al cameo was unexpected and very welcome.

Did I say Salma Hayek? I did, and not Salma Hayek Paz Vega.
Continue reading “Movie Report: How To Be A Latin Lover (2017)” →

I was vaguely aware of this film when it came out. I was just about a year out of college, and either my friend Mike mentioned it, or perhaps the premise reminded me of Mike. But I did not see it in the cinema, nor had I seen it any time before now.

Johnny Depp, fairly fresh from 21 Jump Street, plays Don Juan DeMarco, a man who dresses in black and wears a mask like Zorro. He is a great seducer, but he has decided to end his life. So after one last conquest, he scales a billboard and plans to end it all in a duel with his greatest adversary. However, the responding police send up a psychiatrist played by Marlon Brando who plays along with Don Juan to get him into the bucket of a bucket truck and from thence to a mental hospital on a ten-day hold for evaluation.

Dr. Mickler, Brando’s psychiatrist, goes against the wishes of his colleagues and does not drug DeMarco but instead listens to his fanciful story of his life. The child of an American and a Mexican property owner who falls in love with his tutor but the affair leads to his father’s death in a duel and DeMarco’s running away and his mother’s entering a convent. He then has a variety of adventures told in flashback, including being in the harem of a shiek and then meeting a beautiful woman on a beach after a shipwreck who would go on, after their parting, a centerfold.

The authorities locate his grandmother, who tells a different story. The father died in an automobile accident, which might have been a suicide based on his wife’s affairs, and the mother did enter a convent. The fanciful stories that DeMarco tells have enough touchpoints with the grandmother’s story to introduce some ambiguity as to whether his stories, although fantastic, have some truth to them, or if he is really deluded.

Meanwhile, Mickler is learning from the stories to alter his outlook on life to be more romantic and legendary even in the everyday. This helps him to rekindle his marriage with his wife, played by Faye Dunaway.

So I liked the film more than I expected. Thematically, it questions our every day epistemology and outlook. How do the stories we make of our everyday life make our lives better? How did I save the planet today by defeating the invading mildew in my bathrooms? I guess the movie did not cover the last case explicitly, but it’s implied.

I’m surprised that this film is not more fondly remembered today. Perhaps its fanciful nature limits its Seriousness, so it is not thought of as meaningful as, say, Girl, Interrupted. Which I am not inclined to watch twenty-five years after its release because it was so serious and probably more a product of its time.

Well, gentle reader, I suppose since I just watched a couple episodes of You Bet Your Life on DVD, it was inevitable that I would watch this videocassette shortly thereafter. It’s been almost exactly two years since I watched Horse Feathers and Duck Soup which I liked so much that I bought this film the next spring. And it’s likely I will buy all three of them again when I find them for fifty cents or a quarter just to make sure I have them. And backup copies thereof.

But enough about the reification of my related watching and purchase activity. This is a movie report, ainna?

Groucho Marx plays Groucho Marx Otis Driftwood, a grifter working as a… manager? for a rich woman (played by Margaret Dumont) who wants him to introduce her to the heights of New York society. They open in Italy, where Driftwood introduces her to the leader of a New York Opera company director who is in Italy to bring Italy’s greatest tenor to New York. The tenor, Lassparri, insists that the New York Opera company also sign his female co-star whom he’s trying to woo. She agrees, parting with her lover, Ricardo Baroni, who is also a tenor. When Driftwood discovers how much opera singers make, he signs Baroni to a dubious contract to serve as his manager as well. Instead of waiting for his lover, though, Baroni and two Marx brothers stow away on the ship to New York and hijinks ensue, including what was apparently an iconic stateroom scene and a near-destruction of the opera house.

It’s an amusing film, probably moreso for me because I was an old soul even before I got old, and I lived in the Before times and even then had a bit of a predilection for old movies and whatnot. But perhaps the Marx brothers’ slapstick is more universal than that, especially as the film relies on a thin base plot and archetypes.

I’ve mentioned before that Marx’s impact carried on into the 21st century, in so far as you can still (or could still as of six years ago) find Marx glasses in the party store to put into elementary school birthday party gift bags. When I was watching You Bet Your Life, the following Facebook memory came up:

I told him I loved his work and asked for his autograph. Which he spelled like the plural of mark because he had not yet gone to a public school or university.

Six years? But my youngest is still that boy. He’s all of the boys he was and the young man he is now. Simultaneously. I am not sure how that works.

This weekend, gentle reader, I spent a moment to take the DVDs that in September at the Friends of the Library Book Sale (fifty or more) out of the box in which I brought them home. I fit some of them into the to-watch cabinet, a repurposed old stereo cabinet, and others into the ones atop the video game cabinet (including fitting some into the box atop the cabinet that I brought home my purchases from the April Friends of the Library Book Sale). I have been watching television DVDs of late, so I had a little space to condense the cubic feet of media. But something occurred to me. I have kind of made peace with the fact that I have more books than I will ever read (and, to be honest, some are just reference works and not readers, like books on trees of North America or weeds of the Midwest). But with these films piling up, for decades in some cases, I might be getting to having more movies than I will ever watch. Unless I make a concerted effort. Which I have here recently. I bought this film in September amidst the aforementioned fifty-some films because my oldest picked it up. And then I watched it without him.

Being a 2019 film, this is one of the more recent films that I have seen–Spider-Man: No Way Home and Top Gun: Maverick might be the only others I’ve seen as recent. And if you’re looking for a 2001-like film where at the end of the day it’s not an artificial intelligence that the hero must destroy but his own father, his hero, and perhaps his past (although I guess thematically, I am taking it one step too far there).

Brad Pitt, whom I saw recently in Mr. and Mrs. Smith from fourteen years earlier, shows some lines on him. He plays Roy McBride, an astronaut/space worker. When mysterious pulses devastate the electronics on Earth and in space, including sending him falling from–a space elevator?–he is tasked with going to Mars to send messages to a space station in orbit around Neptune which looks to be the origin. The Lima project, which was supposed to look for extra-terrestrial intelligence, went that far out to escape interference from the sun, and Roy’s father headed it up, but the project has not been heard from in 30 years.

A couple of side quests ensue on the moon and on Mars, from which Roy is supposed to send pre-written radio messages to the Lima project, but he breaks protocol and sends a personal message instead which causes Space Com to keep him from joining the mission heading to Neptune. He learns from Reina the station director the truth about the project: how McBride the father went mad in his obsession to find other intelligences out there–and that he killed her parents when they tried to leave the Lima Project. So Roy tries to stow away on the mission to Neptune–not a rescue mission, but a search and destroy mission with a nuclear weapon designed to destroy the Lima Project. The other astronauts discover him as he comes aboard, and Space Com orders them to dispatch him, so he kills them instead. He travels to Neptune (currently the furthest known planet from the sun even when you count Pluto) and finds his father, and the unfortunate truths.

As I said, it tracks kind of closely with 2001 in spots but without alien intelligence to guide or to provide the deus ex maquina. Roy returns with a lot of knowledge of Space Com’s wrong doings and cover-ups, which it seems to me would end the film on a bit of a sour note, but instead the film wraps up with McBride returning the data collected by the Lima Project over the decades, which includes exoplanets to explore and colonize, and he reconciles with his estranged wife, whom we see in numerous flashbacks as Roy has pushed her away in his drive to be autonomous.

A slower paced movie, but not a waste of time. Its depictions of life in space and space travel are very detailed and nicely filmed.

In addition to recognizing Ruth Negga (who played Reina in Agents of S.H.I.E.L.D.), I thought I recognized Liv Tyler as the wife even though her face is obscured, out-of-focus, or blurred in the flashbacks.
Continue reading “Movie Report: Ad Astra (2019)” →

Wait a minute. Somehow, I got it in my head that this was a Mel Brooks movie, and it is. Sort of. This version of The Producers is the film version of the Broadway show, starring Matthew Broderick and Nathan Lane. The Broadway show, of course, was the Broadway show version of a Mel Brooks film from the late 1960s (The Producers starring Gene Wilder). Sweet Christmas, the only way this could peg the things Brian J. reads/watches meter would be if it were the novelization of a video game based on a novelization of a film of a Broadway show based on a film. Based on a Shakespearean play in the original Klingon or something.

So: Nathan Lane plays a Broadway producer, Max Bialystock, who was something sometime in the past, but whose latest shows have flopped. Broderick plays a timid accountant, Leo Bloom, who comes to do his books and mentions that a flop could make more money for the producers than a hit if dealt with the right way. So Max presses Leo to join him, and Leo eventually does, and they look for the worst possible play to produce. They settle on Springtime for Hitler, written by a former Nazi (played in the film by Will Ferrell). A Swedish actress (played in the movie by Uma Thurman) wants to audition, and she captures Max and Leo’s, erm, lower heart, and she gets to act as their receptionist until the show comes off. They hunt up the worst director they can think of, a flamboyantly gay man, who wants to make the show gay (along with his Village People staff). The Nazi comes to the audition and impresses everyone to take the part of Hitler, but on opening night, he actually breaks a leg and cannot go on. So the flamboyant director, who knows the role, takes the part. Although the audience gets restive and offended during the opening number, when the director hits the stage and vamps it up, they think it’s satire. And the show is a smash, which puts Max and Leo in a bind.

As a movie based on a Broadway show, there’s more singing and dancing than I generally prefer in films, but I could tolerate it since it was a Mel Brooks musical. It ends with the putting-on-a-show-in-prison trope which has become fairly common–was the original The Producers the source of this? The Blues Brothers came along later.

At any rate, an enjoyable bit. But I am still not generally a fan of musicals or Broadway shows. Not that there’s anything wrong with that (he said, making allusion to a 30-year-old television program, old man). Of course, one wonders how a younger viewer not raised on Mel Brooks would do with this job given that a lot of the humor is based on homosexuality and even some cross-dressing.

When I mentioned that I was watching this film to my beautiful wife, she associated the title with the 1988 Dennis Quaid film of the same name (which is now almost as old as the original was in 1988). But, no, I was watching the original, which is (does math) 74 years old now. But it doesn’t seem dated to old people who remember life before computers and cell phones. Of course, the Quaid film also comes from the before time, but shots probably included office environments with PCs, so it would look slightly less alien to kids.

Also, I have seen this film listed as 1949 and 1950 in various sources, so I am not sure whether the film was released in 1949 or 1950. I guess I could watch it again and convert the Roman numerals, gentle reader, for proper accuracy in this movie report, but I am far too lazy for that.

In it, Edmond O’Brien plays Bigelow, a California accountant who decides to have a holiday away from his town and his receptionist/flame Paula in San Francisco. He joins a group of convention attendees on a night out and is unknowingly given poison by a figure in a suspicious looking get-up. When he falls ill, the doctors tell him he has only a short time to live. So he investigates and learns that someone from San Francisco named Philipos has been trying to reach him–and said fellow has committed suicide. It looks to be tied into a bill of sale that Bigelow notarized for Philips, almost forgotten because it was a while back and a routine transaction for someone passing through Bigelow’s home town, and that leads Bigelow to encounter some organized crime types who might have stolen the sold good–iridium–and whose theft put Philips into a legal jam.

There’s a twist ending, but the twist is not that Bigelow survives. The film has a frame story which seems to have been popular at the time (Double Indemnity had a similar one) where the main character tells someone the story in flashback–in this case, Bigelow is telling it to homicide detectives.

So if you’re a fan of original noir films, this one will please you. If you’re a damn kid, you’ll probably be bored through it.

I mentioned the main actor, Edmond O’Brien. You know, he won an Academy Award (for his supporting role in The Barefoot Contessa) and was nominated for another (for Seven Days in May), and he appeared in films I’ve seen like The Man Who Shot Liberty Valence and a bunch of other notable films. But he’s not a common name now. He was that guy for a long time, but the world has moved onto its insipid streaming series instead.

Still, it has made me curious to watch the Quaid version. Which I think I will have to find on videocassette. Online sources indicate there are three other iterations of this film, although it counts the Jason Statham film Crank among them, so the connection to this film as the source looks to be more inspired by than remake.