Blu-ray reissue: Five Graves to Cairo (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 12, 2020)

https://i2.wp.com/i.cdn.turner.com/v5cache/TCM/Images/Dynamic/i173/fivegravestocairo1943_1024x768_10052012100322.jpg?ssl=1

Five Graves to Cairo – Kino Classics

Billy Wilder’s 1943 war drama tends to get short shrift from film scholars (understandable if held up next to Double Indemnity, Ace in the Hole, Sunset Boulevard, Some Like it Hot, The Apartment and other heralded entries in the director’s impressive canon), but it’s solid, slam-bang “popcorn” fare for movie night.

Five Graves to Cairo was the second Hollywood feature from the Austrian-born film maker. Adapted by Wilder and Charles Brackett from the Lajos Biro play “Hotel Imperial”, it is essentially a chamber piece set in a remote hotel in the North African desert. Like Casablanca (released a year earlier), it is a contemporaneously produced WW2 adventure brimming with intrigue, selfless heroics and of course-evil Nazis.

In this case the chief villain is a real-life WW2 luminary, Field Marshal Erwin Rommel, played with larger-than-life aplomb by veteran scene-stealer Erich von Stroheim (who would give his most memorable performance 7 years later in Wilder’s Sunset Boulevard).

Leading man Franchot Tone portrays a wounded British tank crewman who stumbles into the hotel half-alive a few days before Rommel and his entourage arrive for a rest from the desert campaign. Anne Baxter and Akim Tamiroff round off the excellent principal cast.

Kino’s Blu-ray features a 4K remaster that highlights John F. Seitz’s cinematography and an enlightening commentary track by film historian Joseph McBride.

Phones of the dead: 76 Days (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 5, 2020)

https://i1.wp.com/www.indiewire.com/wp-content/uploads/2020/10/76-days-key-still.jpg?ssl=1

Alas, poor Yorick! I knew him, Horatio, a fellow of infinite jest, of most excellent fancy.

— Hamlet, as he ponders the skull of a deceased friend (from Act 1, Scene 5 of Hamlet)

Good or bad, handsome or ugly, rich or poor they are all equal now.

— From the Epilogue title card of Stanley Kubrick’s film adaptation of Barry Lyndon.

Alas. It’s so sad, their grandma died. Oh dear, he was only 60…what a pity. Rich or poor, revered or despised-Fate befalls all. What a tragedy. Nobody can escape.

— ICU nurse in 76 Days, as she disinfects personal effects of deceased COVID patients.

You know what “they” say about death and taxes. Well…what Christopher Bullock said:

’Tis impossible to be sure of anything but Death and Taxes.

Speaking for myself (although I suspect I speak for many here), one thing I surely did not see coming was the possibility of death by plague, especially as I careen toward my 65th birthday in the 2nd decade of the 21st Century. With apologies to Douglas Adams, the mere thought hadn’t even begun to speculate about the merest possibility of crossing my mind.

Yet here we are, 10 months into a global pandemic. “Wallet, keys, mask” is now my mantra before leaving the house. It’s been some time since I reached the final stage of the Kübler-Ross model (“Acceptance”). For all I know, COVID-19 was, is, and will always be here.

But it had to start somewhere, right? According to an unpublicized report from the Chinese government, the first traceable case was in November 2019; a 55-year old citizen in Hubei province. 4 men and 5 women were reported to be infected in November; none were “patient zero”. However, the eyes of the world would soon focus on the city of Wuhan. From a New York Times piece by Donald G. McNeil, Jr. published February 28th this year:

There are two ways to fight epidemics: the medieval and the modern.

The modern way is to surrender to the power of the pathogens: Acknowledge that they are unstoppable and to try to soften the blow with 20th-century inventions, including new vaccines, antibiotics, hospital ventilators and thermal cameras searching for people with fevers.

The medieval way, inherited from the era of the Black Death, is brutal: Close the borders, quarantine the ships, pen terrified citizens up inside their poisoned cities.

For the first time in more than a century, the world has chosen to confront a new and terrifying virus with the iron fist instead of the latex glove.

At least for a while, it worked, and it might still serve a purpose.

The Chinese leader, Xi Jinping, was able to seal off the city of Wuhan, where the Covid-19 outbreak began, because China is a place where a leader can ask himself, “What would Mao do?” and just do it. The bureaucracy will comply, right down to the neighborhood committees that bar anyone from returning from Wuhan from entering their own homes, even if it means sleeping in the streets.

So, putting aside for a moment any finger-wagging regarding totalitarian vs democratic societies, or the ethics of “medieval vs modern” methods in dealing with dire public health emergencies…how did Wuhan do? Here’s an recap from CNN, published in April 2020:

Wuhan, the epicenter of the coronavirus outbreak, reopened this month after a 76-day lockdown.

“People are visiting parks, markets, malls. On the roads there are many cars,” said Hector Retamal, a photojournalist with Agence France-Presse. “I have seen people who go swimming in the Yangtze River, other people dancing in a park. No big crowds yet, but step by step the life is returning to the city.”

The tough measures that were put in place — most people couldn’t even go grocery shopping or bury their dead — seem to have worked. New coronavirus cases, which used to number in the thousands each day, have slowed to a trickle.

Wuhan didn’t do too badly, considering they got the virus under control within 3 months, whereas here in the U.S. some 7 months later, COVID continues to rage…with impunity.

But that transition from initial mandatory lockdown to a virtually COVID-free city didn’t occur in a vacuum, nor was it facilitated by the wave of a magic wand. What exactly went down during those 76 days? What was it like to be a citizen of Wuhan during this period?

A remarkable documentary called 76 Days fills in some of the blanks. Released by MTV Films, it was co-directed by New York filmmaker Hao Wu (People’s Republic of Desire) in association with China-based journalists Weixi Chen and “Anonymous” (the choice of anonymity by one of the trio indicates this project was likely not sanctioned by Chinese authorities).

Filmed during the early days of the epidemic and focusing on the day-to-day travails of Wuhan’s front-line health workers as they attend to the crush of first-wave COVID patients, the film was shot at great personal risk by the two journalists (Weixi Chen and Anonymous) and their small camera crews.

While the film is slickly edited in such a way to suggest everything occurs at one medical facility, it was actually filmed at four different Wuhan hospitals over a period of several months. Eschewing polemics or social commentary, the filmmakers opt for the purely observational “direct cinema” approach (there’s no narration).

One thing that gets lost in the politicization and finger-pointing surrounding the COVID-19 pandemic is the ongoing human cost; and nothing hammers it home like the film’s powerful and affecting opening scene, where a distraught woman (a hospital worker in full PPE) has to be restrained by fellow medical personnel as her deceased father is wheeled out of the ICU, zipped up in a body bag.

“I’ll never see my Papa again! I want to listen to my Papa sing!” she keens as her father is whisked off to the morgue.Her compatriots are sympathetic, but remind her that she must stay strong for the sake of fellow hospital staff and all of the patients in their care. The 3-minute sequence is heartbreaking and sobering.

A harrowing scene in the ER admittance area could be from a zombie apocalypse film. People are pounding on the door and wrenching on the handle. Hospital workers keep the door locked, straining against it to keep the pressing mob of anxious souls on the other side at bay as they attempt to let in only several patients at a time.

The filmmakers follow the progress of a number of patients, from their admittance to their release (or fate). One particularly truculent elderly fisherman is so reticent to be hospitalized he keeps his cap and coat on even as he is tucked into bed by the orderly.

Afflicted by the early stages of dementia, he wanders the halls at night like a Flying Dutchman, delivering soliloquies. “How could it have come to this? This place is not bad. Free medication and hot meals,” he muses aloud to no one in particular as he shuffles along. When he reaches the end of the hall, he tugs at the doors. “It’s locked? I need to get out, to go home. Can someone please just let me go? Who doesn’t have a home? Why can’t I go home?

A pregnant woman undergoes a C-section, but has a negative antibody test prior to the birth, so she and her husband must quarantine for 2 weeks before she can hold her newborn for the first time. Following the progress of the baby girl (affectionately nicknamed “Little Penguin” by the attending ward staff) becomes a much-needed beacon of hope in the film.

The compassion and dedication of the attending staff shines throughout. “Your family is not here. So we are your family now,” a nurse assures one elderly patient in a touching moment. “You are all fearless soldiers,” marvels one tearful patient to a hospital worker.

If there is a “philosopher” of the film, it’s the nurse who spends a portion of each day notifying next of kin (you wonder how she absorbs all that grief from the other end of the call). She is determined to return personal items to families of the deceased.

“Perhaps when the epidemic is over, we’ll find ways to return them to families. To keep them…perhaps…as mementos,” she offers, as she disinfects cell phones, watches, and such. One basket is labeled “ID CARDS AND PHONES OF THE DEAD”. One cell phone beeps and reads “31 UNREAD MESSAGES”.

So what is the takeaway? Granted, the question could be “Why buy a movie ticket to wallow in more COVID misery when all I need do is turn on the news to get it for free?” For me, it gets back to that “medieval vs. modern” conundrum.

It’s wonderful that we have dedicated front-line health workers all over the world to treat the symptoms, but their number is finite. More often than not they are over-worked, and hospital capacities are maxed out with existing COVID patients. What will it take to finally eradicate the cause?

Would it kill our democracy to get just a little “medieval” on COVID’s ass, just this once?

Since 9-11 it’s become reflexive for travelers to dutifully remove shoes and belts and unpack and repack carry-on luggage before boarding a plane, but being asked to wear a mask on a long crowded flight in the midst of a pandemic crosses the line of “oppression” for some? Can all Americans be convinced to make this temporary sacrifice of personal comfort for the common good?

*Sigh* Probably not. Donald G. McNeil, Jr. from the same New York Times piece above:

China has had imperial rule since 221 B.C. The United States, born of rebellion, prizes individual rights.

There will be no national lockdown. No threats to have anyone “forever nailed to history’s pillar of shame,” as one of Mr. Xi’s underlings warned those who hid cases of infection.

But local control — and the political factionalism that is endemic to democracy — can carry grave risks in the face of a crisis, [medical historian Dr. Howard Markel] noted.

In 1918 and 1919, as the Spanish influenza swept across the country in waves, various cities reacted in their own ways.

Cities like St. Louis that reacted quickly — canceling parades and ballgames, shutting schools, transit systems and government offices, ordering the sick to stay home — ultimately had fewer deaths.

In cities like Philadelphia and Pittsburgh, which were paralyzed by political feuds or pressure from local businesses to avoid shutdowns, many more ultimately died.

To overcome the divisiveness that would imperil a cohesive national response, Dr. Markel said, “you need leadership from the top — and there has to be trust. In an epidemic, the idea that ‘everyone is entitled to their own facts’ is really dangerous.”

More prophetic words have rarely been written. One thing lacking since the pandemic blew up in March is “leadership from the top”. (To paraphrase General Buck Turgidson in Dr. Strangelove: “Perhaps it might be better, Mr. President, if you were more concerned with the American People than with your image in the history books.”)

It’s great news that major pharmaceutical companies could begin distributing vaccines in a few weeks, but it will still be months before enough of the population is inoculated to flatten the curve (hopefully) for good. That means there has to be trust in what epidemiological experts are advising us to do in the meantime to keep everyone safe.

And hopefully the incoming administration, which is already demonstrating a desire and willingness to coordinate a better-late-than-never “cohesive national response” to the pandemic can hit the ground running and send COVID-19 packing once and for all.

(“76 Days” is currently playing in virtual cinemas nationwide)

Blu-ray reissue: The Grey Fox (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28,2020)

https://i0.wp.com/bamlive.s3.amazonaws.com/styles/program_slide/s3/Borsos_Grey-Fox_004_1200.jpg?ssl=1

The Grey Fox – Kino Classics

I was overjoyed to finally retire my dog-eared VHS copy of Philip Borso’s underappreciated 1982 gem. Filmed on location in Washington State and British Columbia, Borso’s biopic is a naturalistic “Northwestern” in the vein of Robert Altman’s McCabe and Mrs. Miller; an elegiac portrait of a turn-of-the century “west” that is making an uneasy transition into modernity (which puts it in a sub-genre that includes Peckinpah’s Ride the High Country or Richard Brooks’ Bite the Bullet).

The film is based on the real-life exploits of “gentleman robber” Bill Miner (who may or may not have been the progenitor of the venerable felonious command: “Hands up!”). The Kentucky native was a career criminal who spent about half his life as a guest of the State of California. First incarcerated in his early 20s, he was released in 1880 and resumed his former activities (robbing stagecoaches). The law caught up with him and he did a long stretch in San Quentin. When he got out of stir in 1901, he was in his mid-50s.

The Grey Fox picks up Miner’s story at this point, just as he is being “released into the 20th-Century” from San Quentin. Miner is wonderfully portrayed by then 60-year-old Richard Farnsworth. Jackie Burroughs is excellent as well, playing a feminist photographer who has a relationship with Miner. John Hunter’s screenplay weaves an episodic narrative as spare and understated as its laconic and soft-spoken protagonist.

Kino’s Blu-ray features a new 4K restoration, highlighting DP Frank Tidy’s fabulous cinematography (he also shot Ridley Scott’s debut 1977 feature film The Duellists, one of the most beautiful-looking films this side of Kubrick’s Barry Lyndon). This is a film well-worth your time, whether this is your first time viewing or you are up for a revisit. (Full review)

Blu-ray reissue: Leave Her to Heaven ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28,2020)

https://i0.wp.com/www.alternateending.com/wp-content/uploads/2019/11/yctQYbmF9ZyRTqdbvkDoL09H7jX.jpg?ssl=1

Leave Her to Heaven – Criterion Collection

There have been a lot of movies about possessive lovers, but the character of “Ellen Berent” (played by achingly beautiful Gene Tierny) takes the cake. Shot in eye-popping Technicolor, John M. Stahl’s 1945 drama (adapted by Jo Swerling from a novel by Ben Ames Williams) is equal parts film noir and twisted soaper.

Cornel Wilde co-stars as Richard Harland, a novelist who has a chance meeting with Ellen on a train. Before he knows what hit him, the slightly off-kilter but undeniably alluring socialite has introduced Richard to her well-to-do family, and in the blink of an eye, Ellen is dragging him down the aisle. Not that he resists (I mean, my god…look at Gene Tierny…look at her!) but as tends to occur in  quickie betrothals, any poisons that may lurk in the mud don’t hatch out until after the honeymoon’s over.

As pointed out by film critic Imogen Sara Smith in an enlightening video essay produced exclusively for Criterion’s Blu-ray release, Tierny was perennially underrated as an actor due to her striking looks. I heartily agree-Tierney delivers a subtly chilling performance in this film. While you could call Leave Her to Heaven the original Fatal Attraction, by comparison Glenn Close’s clingy psycho is more like a cartoon villain and far less compelling. Excellent support from Jeanne Crain, Vincent Price, Mary Phillips and Ray Collins.

Leon Shamroy’s cinematography has never looked this luminous on home video. Criterion’s edition features a new 2K restoration by Twentieth Century Fox, the Academy Film Archive, and The Film Foundation. A must-have for the noir fan on your gift list.

Blu-ray reissue: Essential Fellini (Box set)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

https://ca-times.brightspotcdn.com/dims4/default/efa0515/2147483647/strip/true/crop/2048x1229+0+0/resize/840x504!/quality/90/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F32%2F37%2F1b32c9e3a22ae426c4ee2b9af454%2Fla-la-ca-mn-classic-hollywood-felleni-book05-jpg-20151111

Essential Fellini – Criterion Collection box set

With such a rich oeuvre to cull from, it’s a bit of a head-scratcher that it’s taken this long for someone to curate a decent Federico Fellini collection. That said, Criterion’s 2020 box set proves worth the wait. Predicated on the 100th  anniversary of Fellini’s birth, the collection cherry picks 14 of the “essentials” from his catalog, from obvious choices like La Strada, Nights of Cabiria, La Dolce Vita, , Amarcord and Juliet of the Spirits to previously harder to find early works like Variety Lights and The White Sheik. All the films have been newly restored.

As the set was released only several days ago, I haven’t had a chance to make a huge dent but the two films I have watched are impeccably restored (I started with 1950’s Variety Lights because I’d never seen it, and decided to feast on my favorite Fellini Amarcord on Thanksgiving…wow. Now that is one film the 4K restoration process was made for!).

Extras. Where do I start? Two feature documentaries…Fellini: I’m a Born Liar (great doc) and I’m looking forward to Marcello Mastroianni: I Remember (3 hours!). Also included is a restored version of the curio Toby Dammit. Starring Terrance Stamp, the 40-minute film was Fellini’s contribution to the 1968 horror omnibus/Edgar Allan Poe triptych Spirits of the Dead (Roger Vadim and Louis Malle directed the other two segments). There are numerous commentary tracks, TV interview segments, and more.

There are two books, one is a guide to the films and the other contains essays. It’s all housed in a sturdy album-sized box, with the discs secured in “coin collector” style pockets (similar to Criterion’s lovely Bergman box set released back in 2018).

Blu-ray reissue: The Elephant Man (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

https://i0.wp.com/www.telegraph.co.uk/content/dam/film/british_classics/elephant-man-film-still-john-merrick-xlarge.jpg?ssl=1

The Elephant Man – Criterion Collection

This 1980 David Lynch film (nominated for 8 Academy Awards, including Best Picture) dramatizes the bizarre life of Joseph Merrick (John Hurt), a 19th Century Englishman afflicted by a physical condition so hideously deforming that when he entered adulthood, his sole option for survival was to “work” as a sideshow freak. However, when a compassionate surgeon named Frederick Treaves (Anthony Hopkins) entered his life, a whole new world opened to him.

While there is an inherent grotesqueness to much of the imagery, Lynch treats his subject as respectfully and humanely as Dr. Treaves. Beautifully shot in black and white (by DP Freddie Francis), Lynch’s film has a “steampunk” vibe. Hurt deservedly earned an Oscar nod for his performance, more impressive when you consider how he conveys the intelligence and gentle soul of this man while encumbered by all that prosthetic. Great work by the entire cast, which includes Anne Bancroft, Freddie Jones and John Gielgud.

Criterion’s Blu-ray features a gorgeous 4K restoration, archival interviews with the director, Hurt, co-producers Mel Brooks and Jonathan Sangar (and others associated with the production), a 2005 program about the real “elephant man” John Merrick, and more.

Blu-ray reissue: Diva (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

https://i0.wp.com/fashionschooldaily.com/wp-content/uploads/2013/11/DivaCover.jpg?ssl=1

Diva – Kino Classics

Jean-Jacques Beineix’s 1981 cult fave kicked off a sub-genre that hoity toity critics have labelled Cinéma du look…or as I like to call ‘em: “really cool French thrillers of the 80s and 90s” (e.g. Beineix’s Betty Blue, and Luc Besson’s Subway, La Femme Nikita, and Leon the Professional). Diva not only reigns as my favorite of the bunch but would easily place as one of my top 10 films of the 80s.

Our unlikely antihero is mild-mannered postman Jules (Frédéric Andréi), a 20-something opera fan obsessed with a Garbo-like diva (American soprano Wilhelmenia Wiggins Fernandez). The diva has never recorded a studio album and strictly stipulates that her live performances are never to be taped and/or reproduced in any medium.

A clearly enraptured Jules attends one of her concerts and makes a high-quality bootleg recording, purely for his own edification. By chance, a pair of nefarious underworld characters sitting nearby witness Jules making the surreptitious recording and see nothing but a potential goldmine in the tape, sparking a chain of events that turns his life upside down.

Slick, stylish and cheeky with a wonderful international cast, Diva is a marvelously entertaining pop-art mélange of neo-noir, action-thriller, and comic-book fantasy. Chockablock with quirky characters, from a pair of hipster hit men (Gérard Darmon and Dominique Pinon) who hound Jules to his savior, a Zen-like international man of mystery named Gorodish (scene-stealer Richard Bohringer) who is currently “going through his cool period” as his precocious teenage girlfriend (Thuy Ann Luu) patiently explains to Jules.

I have owned 2 DVD versions of the film over the years, the transfers were passable but less-than-ideal. Kino’s Blu-ray, while still not the diamond quality I’d been hoping for (it is obviously not restored) it is by far the best-looking print I’ve seen of the film. Extras include interviews with members of the cast and crew (which have already appeared on a previous DVD edition) and a brand new commentary track by film critic Simon Abrams. A real gem!

Blu-ray reissue: Day of the Dolphin (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 28, 2020)

https://i2.wp.com/www.metro.us/wp-content/uploads/2020/03/george-c-scott.jpeg?ssl=1

The Day of the Dolphin – Kino Classics

“Fa loves Pa!” This offbeat 1973 sci-fi film marked the third collaboration between Buck Henry and director Mike Nichols. Henry adapted the script from Robert Merle’s novel. George C. Scott is excellent in the lead role as a marine biologist who has developed a method for training dolphins to communicate in human language. Naturally, there is a shadowy cabal of government spooks who take keen interest in this breakthrough. I like to call this one a conspira‘sea’ thriller (sorry).

Kino’s 2020 Blu-ray reissue features a new 4k digital restoration, a new commentary track by film historians Howard S. Berger and Nathaniel Thompson, and interviews with screenwriter Buck Henry and cast members Leslie Charleson and Edward Herrmann.

Conspiracy a go-go (slight return)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 21, 2020)

https://i1.wp.com/3.bp.blogspot.com/-P5b3FKUIFMo/T5GEqQl2UII/AAAAAAAADyo/ibbMGuts9xQ/w1200-h630-p-k-no-nu/20.jpg?w=474&ssl=1

Note: This Sunday marks 57 years since the JFK assassination, so I am re-posting this piece (from November 23, 2019) with revisions and additional material.

“Strength takes many forms, and the most obvious forms are not always the most significant. The men who create power make an indispensable contribution to the Nation’s greatness, but the men who question power make a contribution just as indispensable, especially when that questioning is disinterested, for they determine whether we use power or power uses us. […]

If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. […]

We must never forget that art is not a form of propaganda; it is a form of truth […] But democratic society — in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation.”

President John F. Kennedy, from his Robert Frost tribute address (October 23, 1963)

“Where were you when Kennedy got shot?” has been a meme for anyone old enough to remember what happened that day in Dallas on November 22, 1963…56 years ago this past Friday. I was but a wee military brat, attending my second-grade class at a public school in Columbus, Ohio (my dad was stationed at nearby Fort Hayes). Our class was herded into the main gym for an impromptu all-school assembly. Someone (probably the principal) gave a brief address. It gets fuzzy from there; but I think that we either sang “My Country ‘Tis of Thee” or recited the Pledge of Allegiance, then got sent home early.

My 7-year-old mind could not grasp the profound sociopolitical impact of this tragedy; but I have come to understand it in the fullness of time. From my 2016 review of Jackie:

Understandably, the question of “why now?” could arise, to which I would reply (paraphrasing JFK) …why not? To be sure, Jacqueline Kennedy’s story has been well-covered in a myriad of documentaries and feature films; like The Beatles, there are very few (if any) mysteries about her life and legacy to uncover at this point. And not to mention that horrible, horrible day in Dallas…do we really need to pay $15 just to see the nightmare reenacted for the umpteenth time? (Spoiler alert: the President dies at the end).

I think that “we” do need to see this film, even if we know going in that there was no “happy ever-aftering” in this Camelot. It reminds us of a “brief, shining moment” when all seemed possible, opportunities were limitless, and everything was going to be all right, because Jack was our king and Jackie was our queen. So what if it was all kabuki, as the film implies; merely a dream, invented by “a great, tragic actress” to unite us in our sadness. Then it was a good dream, and I think we’ll find our Camelot again…someday.

Sadly, anyone who follows the current news cycle knows we’re still looking for Camelot.

https://i1.wp.com/i.ytimg.com/vi/s-cb5iDPjlw/maxresdefault.jpg?w=474&ssl=1

They will run you dizzy. They will pile falsehood on top of falsehood, until you can’t tell a lie from the truth – and you won’t even want to. That’s how the powerful keep their power. Don’t you read the papers?

From Winter Kills (screenplay by William Richert)

The Kennedy assassination ultimately precipitated a cottage industry of independent studies, papers, magazine articles, non-fiction books, novels, documentaries and feature films that riff on the plethora of conspiracy theories that continue to flourish to this day.

This is despite the fact few stones remain unturned…and there was that Warren Commission report released in 1964; an 888-page summation concluding JFK’s alleged murderer Lee Harvey Oswald acted alone. This “conclusive” statement, of course only fueled more speculation that our government was not being completely ah…forthcoming.

At any rate (and speaking of anniversaries) 2019 marks the 40th anniversary of one of the more oddball conspiracy thrillers based on the JFK assassination…Winter Kills, which has just been reissued on Blu-ray by Kino-Lorber. Director William Richert adapted his screenplay from Richard Condon’s book (it’s worth noting that Condon also wrote the conspiracy thriller The Manchurian Candidate, which was adapted for the screen twice).

Jeff Bridges stars as the (non-political) half-brother of an assassinated president. After witnessing the deathbed confession of a man claiming to be a “second gunman”, he reluctantly gets drawn into a new investigation of his brother’s murder nearly 20 years after the matter was allegedly put to rest by the findings of the “Pickering Commission”.

John Huston chews the scenery as Bridges’ father (a larger-than-life character said to be loosely based on Joseph Kennedy Sr.). The cast includes Anthony Perkins, Eli Wallach, Sterling Hayden, Ralph Meeker, Toshiro Mifune, Richard Boone, and Elizabeth Taylor.

The film vacillates between genuine conspiracy thriller and a broad satire of other byzantine conspiracy thrillersbut is eminently watchable, thanks to an interesting cast and a screenplay that, despite ominous undercurrents, delivers a great deal of dark humor.

I own the 2003 Anchor Bay DVD, so I can attest that Kino’s 4K transfer is a definite upgrade; accentuating cinematographer Vilmos Zsigmond’s exemplary lens work. Unfortunately, there are no new extras; but all bonus materials from Anchor Bay’s DVD have been ported over, including an entertaining commentary track by director Richert (the story behind the film’s production is nearly as over-the-top as the finished product).

Is Winter Kills essential viewing? It depends. If you like quirky 60s and 70s cinema, it’s one of the last hurrahs in a film cycle of arch, lightly political and broadly satirical all-star psychedelic train wrecks like The Loved One, The President’s Analyst, Skidoo, Candy and The Magic Christian. For “conspiracy-a-go-go” completists, it is a must-see.

Here are 9 more films that either deal directly with or have a notable link with the JFK conspiracy cult. And while you’re watching, keep President Kennedy’s observation in the back of your mind: “In serving his vision of the truth, the artist best serves his nation.”

https://i2.wp.com/i.pinimg.com/originals/c0/c8/b1/c0c8b1d48149687b70248be7ee877748.jpg?resize=452%2C626&ssl=1

Suddenly – Lewis Allen’s taut 1954 crime thriller/film noir stars a surprisingly effective Frank Sinatra as the cold-blooded leader of a three-man hit team who are hired to assassinate the (unnamed) President during a scheduled whistle-stop at a sleepy California town. They commandeer a family’s home that affords the hit team a clear shot.

The film is primarily played as a hostage drama. It should be noted that in this case, the shooter’s motives are financial, not political (“Don’t hand me that politics jazz-that’s not my bag!” Sinatra snarls after he’s accused of being “an enemy agent” by one of his hostages). Richard Sale’s script also drops in a perfunctory nod or two to the then-contemporaneous McCarthy era (one hostage speculates that the hit men are “commies”).

That said, some aspects of the story are quite eerily prescient of President Kennedy’s assassination 9 years later; Sinatra’s character is an ex-military sharpshooter, zeroes down on his target from a high window, and utilizes a rifle of a European make. Most significantly, there have been more than a few claims over the years in JFK conspiracy circles suggesting that Lee Harvey Oswald had watched this film with a keen interest.

https://i0.wp.com/unaffiliatedcritic.com/wp-content/uploads/2018/07/THE-MANCHURIAN-CANDIDATE-1962.png?ssl=1

The Manchurian Candidate – There’s certainly more than just a perfunctory nod to Red hysteria in John Frankenheimer’s 1962 cold war paranoia fest, which was the last assassination thriller of note released prior to the zeitgeist-shattering horror of President Kennedy’s murder. Oddly enough, Frank Sinatra was involved in this project as well.

Sinatra plays a Korean War vet who reaches out to help a buddy he served with (Laurence Harvey). Harvey is on the verge of a meltdown, triggered by recurring war nightmares. Sinatra has been suffering the same malady (both men had been held as POWs by the North Koreans). Once it dawns on Sinatra that they both may have been brainwashed during their captivity for very sinister purposes, all hell breaks loose.

In this narrative (based on Richard Condon’s novel) the assassin is posited as an unwitting dupe of a decidedly “un-American” political ideology; a domestic terrorist programmed by his Communist puppet masters to kill on command. While many of the Cold War references have dated, the film remains a solid and suspenseful political thriller (Jonathan Demme’s 2004 version was an interesting take, but I much prefer the original).

https://i1.wp.com/www.sitemason.com/files/qzHqSs/SevenDaysInMay_lgweb.jpg/main.jpg?ssl=1

Seven Days in May – This 1964 “conspiracy a-go go” thriller was director John Frankenheimer’s follow-up to The Manchurian Candidate. Picture if you will: a screenplay by Rod Serling, adapted from a novel by Fletcher Knebel and Charles W. Bailey II.

Kirk Douglas plays a Marine colonel who is the adjutant to a hawkish, hard right-leaning general (Burt Lancaster) who heads the Joint Chiefs of Staff.  The general is at loggerheads with the dovish President (Fredric March), who is perceived by the general and some of the other joint chiefs as a “weak sister” for his strident support of nuclear disarmament.

When Douglas begins to suspect that an imminent, unusually secretive military “exercise” may in fact portend more sinister intentions, he is torn between his loyalty to the general and his loyalty to the country as to whether he should raise the alarm. Or is he just being paranoid?

An intelligently scripted and well-acted nail-biter, right to the end. Also with Ava Gardner, Edmund O’Brien, and Martin Balsam.

https://wolfmanscultfilmclub.files.wordpress.com/2017/01/executive-action-1973-target-pactice.jpg?w=474

Executive Action – After the events of November 22, 1963, Hollywood took a decade-long hiatus from the genre; it seemed nobody wanted to “go there”. But after Americans had mulled a few years in the sociopolitical turbulence of the mid-to-late 1960s (including the double whammy of losing Robert F. Kennedy and Martin Luther King to bullets in 1968), a new cycle of more cynical and byzantine conspiracy thrillers began to crop up (surely exacerbated even further by Watergate).

The most significant shift in the meme was to move away from the concept of the assassin as a dupe or an operative of a “foreign” (i.e., “anti-American”) ideology; some films postulated that shadowy cabals of businessmen and/or members of the government were capable of such machinations. The rise of the JFK conspiracy cult (and the cottage industry it created) was probably a factor as well.

One of the earliest examples was this 1973 film, directed by David Miller, and starring Burt Lancaster and Robert Ryan. Dalton Trumbo (famously blacklisted back in the 50s) adapted the screenplay from a story by Donald Freed and Mark Lane.

A speculative thriller about the JFK assassination, it offers a scenario that a consortium comprised of hard right pols, powerful businessmen and disgruntled members of the clandestine community were responsible.  Frankly, the premise is ultimately more intriguing than the film itself (which is flat and talky), but the filmmakers at least deserve credit for being the first ones to “go there”. The film was a flop at the time, but has become a cult item; as such, it is more of a curio than a classic. Still, it’s worth a watch.

https://i0.wp.com/www.sitemason.com/files/rAo8qk/ParallaxViewweb.jpg/main.jpg?ssl=1

The Parallax View – Alan J. Pakula’s 1974 thriller takes the concept of the dark corporate cabal one step further, positing political assassination as a sustainable capitalist venture, if you can perfect a discreet and reliable algorithm for screening and recruiting the right “employees”.

Warren Beatty gives an excellent performance as a maverick print journalist investigating a suspicious string of untimely demises that befall witnesses to a U.S. senator’s assassination in a restaurant atop Seattle’s Space Needle. The trail leads him to a clandestine recruiting agency called the Parallax Corporation.

The screenplay by David Giler and Lorenzo Semple Jr. (based on the 1970 novel by Loren Singer, with an uncredited rewrite by Robert Towne) contains obvious allusions to the JFK assassination; e.g. it has the “assassin as patsy” scenario, and features a closing scene with a slow, ominous zoom out on a panel of men bearing a striking resemblance to the Warren Commission, sitting in a dark chamber solemnly reciting their “conclusive” findings on what has transpired (although we know better).

The supporting cast includes Hume Cronyn, William Daniels and Paula Prentiss. Nice work by cinematographer Gordon Willis (aka “the prince of darkness”), who sustains the foreboding, claustrophobic mood of the piece with his masterful use of light and shadow.

(BTW Criterion has announced a Blu-ray edition for 02/09/21-available to pre-order!)

https://i1.wp.com/images.squarespace-cdn.com/content/v1/50a8e2dde4b089e056eebec7/1476084542625-M2X1HGW6NXBO58IRD182/ke17ZwdGBToddI8pDm48kO3agmuenxEiKUqx4vWgN1B7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0sofvP-RiTb638-KOMjny0vZqo_CDvLrpom-mRi8pK5ovAmGk7wYwPyNIiMMUIKApg/image-asset.jpeg?ssl=1

The Conversation – Written and directed by Francis Ford Coppola, this 1974 thriller does not involve a “political” assassination, but does share crucial themes with other films here. It was also an obvious influence on Brian De Palma’s 1981 thriller, Blow Out (see my review below).

Gene Hackman leads a fine cast as a free-lance surveillance expert who begins to obsess that a conversation he captured between a man and a woman in San Francisco’s Union Square for one of his clients is going to directly lead to the untimely deaths of his subjects.

Although the story is essentially an intimate character study, set against a backdrop of corporate intrigue, the dark atmosphere of paranoia, mistrust and betrayal that permeates the film mirrors the political climate of the era (particularly in regards to its timely proximity to the breaking of the Watergate scandal).

24 years later Hackman played a similar character in Tony Scott’s 1998 political thriller Enemy of the State. Some have postulated “he” is the same character (you’ve gotta love the fact that there’s a conspiracy theory about a fictional character). I don’t see that myself; although there is obvious homage with a brief shot of a photograph of Hackman’s character in his younger days that is actually a production still from …The Conversation!

https://i1.wp.com/lwlies.com/wp-content/uploads/2016/07/blow-out-john-travolta-1981-1108x0-c-default.jpg?ssl=1

Blowout -This 1981 thriller is one of Brian de Palma’s finest efforts. John Travolta stars as a sound man who works on schlocky horror films. While making a field recording of ambient nature sounds, he unexpectedly captures audio of a fatal car crash involving a political candidate, which may not have been an “accident”. The proof lies buried somewhere in his recording-which naturally becomes a coveted item by some dubious characters. His life begins to unravel synchronously with the secrets on his tape. The director employs an arsenal of influences (from Antonioni to Hitchcock), but succeeds in making this one of his most “de Palma-esque” with some of the deftest set-pieces he’s ever done (particularly in the climax).

https://stanleyrogouski.files.wordpress.com/2020/01/condor.jpg?w=474

Three Days of the Condor – One of seven collaborations between star Robert Redford and director Sydney Pollack, and one of the seminal “conspiracy-a-go-go” films. With a screenplay adapted by Lorenzo Semple, Jr. and David Rayfiel from James Grady’s novel “Six Days of the Condor”, this 1975 film offers a twist on the idea of a government-sanctioned assassination. Here, you have members of the U.S. clandestine community burning up your tax dollars to scheme against other members of the U.S. clandestine community (no honor among conspirators, apparently). Also with Faye Dunaway, Cliff Robertson and Max von Sydow.

Pollack’s film conveys the same atmosphere of dread and paranoia that infuses The Conversation and The Parallax View. The final scene plays like an eerily prescient prologue for All the President’s Men, which wasn’t released until the following year. An absolutely first-rate political thriller with more twists and turns than you can shake a dossier at.

https://i2.wp.com/static.hollywoodreporter.com/sites/default/files/2016/12/jfk_-_h_-_2016-928x523.jpg?resize=928%2C523&ssl=1

JFK – The obvious bookend to this cycle is Oliver Stone’s controversial 1991 film, in which Gary Oldman gives a suitably twitchy performance as Lee Harvey Oswald. However, within the context of Stone’s film, to say that we have a definitive portrait of JFK’s assassin (or “assassins”, plural) is difficult, because, not unlike Agatha Christie’s fictional detective Hercule Poirot, Stone suspects no one…and everyone.

The most misunderstood aspect of the film, I think, is that Stone is not favoring any prevalent narrative; and that it is by the director’s definition a “speculative” political thriller. Those who have criticized the approach seem to have missed that Stone himself has stated from the get-go that his goal was to provide a “counter myth” to the “official” conclusion of the Warren Commission (usually referred to as the “lone gunman theory”).

It is a testament to Stone’s skills as a consummate filmmaker that the narrative he presents appears so seamless and dynamic, when in fact he is simultaneously mashing up at least a dozen possible scenarios. The message is right there in the script, when Donald Sutherland’s “Mr. X” advises Kevin Costner (as New Orleans D.A. Jim Garrison) “Oh, don’t take my word for it. Don’t believe me. Do your own work…your own thinking.”

 

Bringing the war back home: A Top 10 list

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 14, 2020)

https://i1.wp.com/www.nationalparks.org/sites/default/files/Korean%20War%20Veterans%20National%20Memorial%20-%20iStock_50856976_LARGE%20%281%29.jpg?ssl=1

Dress me up for battle
When all I want is peace
Those of us who pay the price
Come home with the least

–from “Harvest for the World”, by the Isley Brothers

Veteran’s Day was November 11th; but every day is Veteran’s Day for those who have been there and back. Here are my top picks for films dealing with the aftermath of war.

https://i2.wp.com/m.media-amazon.com/images/M/MV5BZDhkMjc5NTYtNjU1MC00M2I3LThjYTktZTllMWU1ZjFmNmFjXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg?ssl=1

Americana – David Carradine and Barabara Hershey star in this unique, no-budget 1973 character study (released in 1981). Carradine, who also directed and co-produced, plays a Vietnam vet who drifts into a small Kansas town, and for his own enigmatic reasons, decides to restore an abandoned merry-go-round. The reaction from the clannish townsfolk ranges from bemused to spiteful.

It’s part Rambo, part Billy Jack (although nowhere near as violent), and a genre curio in the sense that none of the violence depicted is perpetrated by its war-damaged protagonist. Carradine also composed and performed the song that plays in the closing credits. It’s worth noting that Americana predates Deer Hunter and Coming Home, which are generally considered the “first” narrative films to deal with Vietnam vets.

https://i1.wp.com/static01.nyt.com/images/2016/11/29/watching/the-best-years-of-our-lives-watching-recommendation/the-best-years-of-our-lives-watching-recommendation-videoSixteenByNineJumbo1600.jpg?ssl=1

The Best Years of Our Lives – William Wyler’s 1946 drama pretty much set the standard for the “coming home” genre. Robert E. Sherwood adapted the screenplay from a novella by former war correspondent MacKinlay Kantor.

The story centers on three WW2 vets (Fredric March, Dana Andrews, and Harold Russell), each from a different branch of military service who meet while returning home to the same small Midwestern town. While they all came from different social stratum in civilian life, the film demonstrates how war is the great equalizer, as we observe how the three men face similar difficulties in returning to normalcy.

Well-written and directed, and wonderfully acted. Real-life WW 2 vet Russell (the only non-actor in the cast) picked up a Best Supporting Actor Oscar; one of 7 the film earned that year. Also starring Myrna Loy, Teresa Wright, and Virginia Mayo.

https://i2.wp.com/cals.org/wp-content/uploads/2020/10/cals-cominghome.jpg?ssl=1

Coming Home – Hal Ashby’s 1978 drama was one of the first major studio films to tackle the plight of Vietnam vets. Jane Fonda stars as a Marine wife whose husband (Bruce Dern) has deployed to Vietnam. She volunteers at a VA hospital, where she is surprised to recognize a former high-school acquaintance (Jon Voight) who is now an embittered, paraplegic war vet.

While they have opposing political views on the war, Fonda and Voight form a friendship, which blossoms into a romantic relationship once the wheelchair-bound vet is released from assisted care and begins the laborious transition to becoming self-reliant.

The film’s penultimate scene, involving a confrontation between Dern (who has returned from his tour of duty with severe PTSD), Fonda and Voight is one of the most affecting and emotionally shattering pieces of ensemble acting I have seen in any film; Voight’s moving monologue in the denouement is on an equal par. Voight and Fonda each won an Oscar (Dern was nominated in the Best Supporting Actor category), as did co-writers Waldo Salt, Robert C. Jones and Nancy Dowd for their screenplay.

https://i2.wp.com/miro.medium.com/max/3740/1*jBeC1huAsiaTaQjQr0KLkQ.png?ssl=1

The Deer Hunter – “If anything happens…don’t leave me over there. You gotta promise me that, Mike.” 1978 was a pivotal year for American films dealing head on with the country’s deep scars (social, political and emotional) from the nightmare of the war in Vietnam; that one year alone saw the release of The Boys in Company C, Go Tell the Spartans, Coming Home, and writer-director Michael Cimino’s shattering drama.

Cimino’s sprawling 3 hour film is a character study about three blue collar buddies (Robert De Niro, Christopher Walken and Jon Savage) hailing from a Pennsylvania steel town who enlist in the military, share a harrowing POW experience in Vietnam, and suffer through PTSD (each in their own fashion).

Uniformly excellent performances from the entire cast, which includes Meryl Streep, John Cazale, Chuck Aspegren and George Dzundza. I remember the first time I saw this film in a theater. I sat all the way through the end credits, and continued sitting for at least five minutes, absolutely stunned. I literally had to “collect myself”.  No film has ever affected me like that, before or since.

https://i0.wp.com/a.ltrbxd.com/resized/sm/upload/u2/8l/nf/6w/manchurian-candidate-1200-1200-675-675-crop-000000.jpg?ssl=1

The Manchurian Candidate (1962) – John Frankenheimer’s 1962 Cold War thriller (with a screenplay adapted from Richard Condon’s novel by George Axelrod) stars Frank Sinatra as Korean War veteran and former POW Major Bennett Marco. Marco and his platoon were captured by the Soviets and transported to Manchuria for a period, then released. Consequently, Marco suffers PTSD, in the form of recurring nightmares.

Marco’s memories of the captivity are hazy; but he suspects his dreams hold the key. His suspicions are confirmed when he hears from several fellow POWs, who all share very specific and disconcerting details in their dreams involving the platoon’s sergeant, Raymond Shaw (Laurence Harvey, in a great performance). As the mystery unfolds, a byzantine conspiracy is uncovered, involving brainwashing, subterfuge and assassination.

I’ve watched this film maybe 15 or 20 times over the years, and I must say that it has held up remarkably well, despite a few dated trappings. It works on a number of levels; as a conspiracy thriller, political satire, and a perverse family melodrama. Interestingly, each time I revisit, it strikes me more and more as a black comedy; which could be attributable to its prescient nature (perhaps the political reality has finally caught up with its more far-fetched elements…which now makes it a closer cousin to Dr. Strangelove and Network). (Full review)

https://i2.wp.com/static.rogerebert.com/uploads/review/primary_image/reviews/sir-no-sir-2006/EB20060608REVIEWS606080304AR.jpg?ssl=1

Sir! No Sir! – Most people who have seen Oliver Stone’s Born On The Fourth Of July were likely left with the impression that paralyzed Vietnam vet and activist Ron Kovic was the main impetus and focus of the G.I. veterans and active-duty anti-war movement, but Kovic’s story was in fact only one of thousands. Director David Zeigler combines present-day interviews with archival footage to good effect in this well-paced documentary about members of the armed forces who openly opposed the Vietnam war.

While the aforementioned Kovic received a certain amount of media attention at the time, the full extent and history of the involvement by military personnel has been suppressed from public knowledge for a number of years, and that is the focus of Zeigler’s 2006 film.

All the present-day interviewees (military vets) have interesting (and at times emotionally wrenching) stories to share. Jane Fonda speaks candidly about her infamous “FTA” (“Fuck the Army”) shows that she organized for troops as an alternative to the more traditionally gung-ho Bob Hope U.S.O. tours. Eye-opening and well worth your time.

https://i1.wp.com/s3.amazonaws.com/loa-production-23ffs35gui41a/article_images/images/000/000/778/big/170531_Slaughterhouse_Five_banner.jpg?ssl=1

Slaughterhouse-Five – Film adaptations of Kurt Vonnegut stories have a checkered history; from downright awful (Slapstick of Another Kind) or campy misfires (Breakfast of Champions) to passable time killers (Happy Birthday, Wanda June and Mother Night). For my money, your best bets are Jonathan Demme’s 1982 PBS American Playhouse short Who Am I This Time? and this 1974 feature film  by director George Roy Hill.

Michael Sacks stars as milquetoast daydreamer Billy Pilgrim, a WW2 vet who weathers the devastating Allied firebombing of Dresden as a POW. After the war, he marries his sweetheart, fathers a son and daughter and settles into a comfortable middle-class life, making a living as an optometrist.

So far, that’s a standard all-American postwar scenario, nu? Except for the part where a UFO lands on his nice manicured lawn one night and spirits him off to the planet Tralfamadore, after which he becomes permanently “unstuck” in time; i.e., begins living (and re-living) his life in random order. Great performances from Valerie Perrine and Ron Leibman. Stephen Geller adapted the script.

https://fergalcasey.files.wordpress.com/2018/05/iymll7d.png?resize=474%2C267

Stop-Loss – This powerful and heartfelt 2008 drama is from Boys Don’t Cry director Kimberly Peirce. Co-written by the director along with Mark Richard, it was one of the first substantive films to address the plight of Iraq war vets.

As the film opens, we meet Sgt. Brandon King (Ryan Phillippe), an infantry squad leader leading his men in hot pursuit of a carload of heavily armed insurgents through the streets of Tikrit. The chase ends in a harrowing ambush, with the squad suffering heavy casualties.

Brandon is wounded in the skirmish, as are two of his lifelong buddies, Steve (Channing Tatum) and Tommy (Joseph Gordon-Levitt). They return to their small Texas hometown to receive Purple Hearts and a hero’s welcome, infusing the battle-weary vets with a brief euphoria that inevitably gives way to varying degrees of PTSD for the trio. A road trip that drives the film’s third act becomes a metaphorical journey through the zeitgeist of the modern-day American veteran.

Peirce and her co-writer (largely) avoid clichés and remain low-key on political subtext; this is ultimately a soldier’s story. Regardless of your political stance on the Iraq War(s), anyone with an ounce of compassion will find this film both heart wrenching and moving. (Full review)

https://i1.wp.com/i.pinimg.com/originals/82/65/5c/82655c5de0186bee508aadc73c2ba2d2.jpg?resize=474%2C267&ssl=1

Waltz With Bashir – In this animated film, writer-director Ari Forman mixes the hallucinatory expressionism of Apocalypse Now with personal sense memories of his own experiences as an Israeli soldier serving in the 1982 conflict in Lebanon to paint a searing portrait of the horrors of war and its devastating psychic aftermath. A true visual wonder, the film is comprised of equal parts documentary, war diary and bad acid trip.

The director generally steers clear of heavy-handed polemics; this is more of a “soldier’s story”, a universal grunt’s-eye view of the confusion and madness of war, in which none are really to blame, yet all remain complicit. This eternal dichotomy, I think, lies at the heart of the matter in trying to understand what it is that snaps inside the mind of the walking wounded who carry their war experiences home with them.

The film begs a question or two that knows no borders: How do we help them? How do we help them help themselves? I think these questions are more important than ever, for a whole new generation of psychically damaged men and women all over the world.  (Full review)

https://i2.wp.com/static.hollywoodreporter.com/sites/default/files/2015/08/A_War_Still.jpg?ssl=1

A War – This powerful 2015 Oscar-nominated drama is from writer-director Tobias Lindholm. Pilou Aesbaek stars as a Danish military company commander serving in the Afghanistan War. After one of his units is demoralized by the loss of a man to a Taliban sniper while on recon, the commander bolsters morale by personally leading a patrol, which becomes hopelessly pinned down during an intense firefight. Faced with a split-second decision, the commander requests air support, resulting in a “fog of war” misstep. The commander is ordered back home, facing charges of murdering civilians.

For the first two-thirds of the film Lindholm intersperses the commander’s front line travails with those of his family back home, as his wife (Yuva Novotny) struggles to keep life and soul together while maintaining as much of a sense of “normalcy” as she can muster for the sake their three kids. The home front and the war front are both played “for real” (aside from the obvious fact that it’s a Danish production, this is a refreshingly “un-Hollywoodized” war movie).

Some may be dismayed by the moral and ethical ambivalence of the denouement. Then again, there are few tidy endings in life…particularly in war, which (to quote Bertrand Russell) never determines who is “right”, but who is left. Is that a tired trope? Perhaps; but it’s one that bears repeating…until that very last bullet on Earth gets fired in anger. (Full review)

Learn how you can help vets at the Department of Veteran’s Affairs site.

https://i2.wp.com/digbysblog.net/wp-content/uploads/2020/11/image-6.png?w=507&ssl=1

For my father: Robert A. Hartley 1933-2018 (Served in Vietnam 1969-1970)