Category Archives: Social Satire

Blu-ray Reissue: Britannia Hospital (**1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 11, 2020)

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Britannia Hospital – Indicator Limited Edition (Region “B” locked)

This 1982 satire (a wild mashup of The Hospital, The Rocky Horror Picture Show and The Magic Christian) was the final third of iconoclastic UK writer-director Lindsay Anderson’s loosely-linked “Mick Travis” trilogy. Malcolm McDowell reprises his role as Travis, the protagonist of If…. (1968) and O Lucky Man! (1973).

Anderson’s satirical targets are less defined than in the previous two films, resulting in a broad take-down of everything from the U.K.’s National Health system to corporate culture, royalty, classism and ineffectual politicos. Still, it succeeds as a two-fingered salute to Thatcherism (considering the year it came out). Huge cast; many returning from the previous films. Weirdest casting: Mark Hamill!

Indicator’s Blu-ray is a limited edition (3,000 copies) and Region “B” locked (requires a region-free player). The high-definition remastering is pristine. I have not had a chance to plow through all the extras yet, but they are plentiful. There are newly produced interviews with several participants in the production, as well as a 117-minute 1991 interview with the late director (audio only) produced as part of The British History Project.

Blu-ray reissue: All Night Long (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 11, 2020)

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All Night Long – Kino-Lorber

This quirky, underrated romantic comedy from Belgian director Jean-Claude Tramont has been a personal favorite of mine since I first stumbled across it on late-night TV back in the mid-80s (with a million commercials).

Reminiscent of Michael Winner’s 1967 social satire I’ll Never Forget What’s ‘is Name, the film opens with a disenchanted executive (Gene Hackman) telling his boss to shove it, which sets the tone for the mid-life crisis that ensues.

Along the way, Hackman accepts a demotion offered by upper management in lieu of termination (night manager at one of the company’s drug stores), has an affair with his neighbor’s eccentric wife (an uncharacteristically low-key Barbra Streisand) who has been fooling around with his teenage son (Dennis Quaid), says yes to a divorce from his wife (Dianne Ladd) and decides to become an inventor (I told you it was quirky).

Marred slightly by some incongruous slapstick, but well-salvaged by W.D. Richter’s drolly amusing screenplay. Hackman is wonderful as always, and I think the scene where Streisand sings a song horrendously off-key (while accompanying herself on the organ) is the funniest thing she’s ever done in a film. Despite Hackman and Streisand’s star power, the movie was curiously ignored when it was initially released. Maybe this reissue will help it find new fans.

Even though the film does not necessarily appear to have been restored, the 1080p presentation is sharp, with decent color saturation. The sole extra is a new interview with screenwriter Richter, who (to my surprise) is cantankerous about how the film turned out!

The Fierce Urgency of Now (more than ever)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 6, 2020)

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(June 6, 2020)“We have to do with the past only as we can make it useful to the present and to the future.” Frederick Douglass said that in 1852. In an infamous gaffe uttered while attending a breakfast with some African-American supporters in honor of Black History Month back in February 2017, President Donald J. Trump described the famed (and long-dead) 19th century abolitionist as “an example of somebody who’s done an amazing job and is being recognized more and more.” In recognition of the fact that even a stopped clock is is accurate twice a day, and in light of the extraordinary worldwide protest movement that unfolded this past week in the wake of George Floyd’s tragic, senseless death, I am re-posting my 2019 Martin Luther King tribute .

(January 19, 2019)

In honor of Martin Luther King Day, I’ve combed my review archives and curated 10 films that reflect on race relations in America; some that look back at where we’ve been, some that give us a reality check on where we’re at now and maybe even one or two that offer hope for the future. We still may not have quite reached that “promised land” of colorblind equality, but each of us doing whatever we can in our own small way to help keep Dr. King’s legacy alive will surely help light the way-especially in these dark times.

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Black KkKlansman (2018)So what do you get if you cross Cyrano de Bergerac with Blazing Saddles? You might get Spike Lee’s Black KkKlansman. That is not to say that Lee’s film is a knee-slapping comedy; far from it. Lee takes the true story of Ron Stallworth (John David Washington), an African-American undercover cop who managed to infiltrate the KKK in Colorado in the early 70s and runs with it, in his inimitable fashion.

I think this is Lee’s most affecting and hard-hitting film since Do the Right Thing (1989). The screenplay (adapted by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Lee from Stallworth’s eponymous memoir) is equal parts biopic, docudrama, police procedural and social commentary, finding a nice balance of drama, humor and suspense. (Full review)

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The Black Power Mixtape (2011)–The Black Power movement of the mid-60s to mid-70s has historically been somewhat misrepresented, due to an emphasis on its more sensationalist elements. The time is ripe to re-examine the movement, which despite its failures and flaws, still emerges as one of the last truly progressive grass roots political awakenings that we’ve had in this country (if you’re expecting bandolier-wearing, pistol-waving interviewees spouting fiery Marxist-tinged rhetoric-dispense with that hoary stereotype now).

Director Goran Olsson was given access to a treasure trove of pristine, unedited 16mm footage from the era. The footage, recently discovered tucked away in the basement of Swedish Television, represents nearly a decade of candid interviews with key movement leaders, as well as meticulous documentation of Black Panther Party activities and African-American inner city life. Olsson presents the clips in a historically chronological timeline, with minimal present-day commentary. While not perfect, it is an important historical document, and one of the more eye-opening films I have seen on this subject. (Full review)

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The Boys of Baraka (2005) – Co-directors Heidi Ewing and Rachel Grady have fashioned a fresh and inspiring take on a well-worn cause celebre: the sad, shameful state of America’s inner-city school system. Eschewing the usual hand-wringing about the underfunded, over-crowded, glorified daycare centers that many of these institutions have become for poor, disenfranchised urban youth, the filmmakers chose to showcase one program that strove to make a real difference.

The story follows a group of 12-year-old boys from Baltimore who attended a boarding school in Kenya, staffed by American teachers and social workers. In addition to more personalized tutoring, there was emphasis on conflict resolution through communication, tempered by a “tough love” approach. The events that unfold from this bold social experiment (filmed over a three year period) are alternately inspiring and heartbreaking. (Full review)

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The Force (2017) – Peter Nicks’ documentary examines the rocky relationship between Oakland’s police department and its communities of color. The force has been under federal oversight since 2002, due to myriad misconduct cases. Nicks utilizes the same cinema verite techniques that made his film The Waiting Room so compelling. It’s like a real-life Joseph Wambaugh novel (The Choirboys comes to mind). The film offers no easy answers-but delivers an intimate, insightful glimpse at both sides. (Full review)

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The Girls in the Band (2011)– Contextual to a curiously overlooked component within the annals of American jazz music, it’s tempting to extrapolate on Dr. King’s dream. Wouldn’t it be great to live in a nation where one is not only primarily judged by content of character, but can also be judged on the merits of creativity, or the pure aesthetics of artistic expression, as opposed to being judged solely by the color of one’s skin…or perhaps gender? At the end of the day, what is a “black”, or a “female” jazz musician? Why is it that a Dave Brubeck is never referred to as a “white” or “male” jazz musician?

In her film, director Judy Chaikin chronicles the largely unsung contributions that female jazz musicians (a large portion of them African-American) have made (and continue to make) to this highly influential American art form. Utilizing rare archival footage and interviews with veteran and contemporary players, Chaikin has assembled an absorbing, poignant, and celebratory piece. (Full review)

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I Am Not Your Negro (2016)– The late writer and social observer James Baldwin once said that “Whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.” Sadly, thanks to the emboldening of certain elements within American society that have been drawn from the shadows by the openly racist rhetoric spouting from our nation’s current leader, truer words have never been spoken. Indeed, anyone who watches Raoul Peck’s documentary will recognize not only the beauty of Baldwin’s prose, but the prescience of such observations.

Both are on full display throughout Peck’s timely treatise on race relations in America, in which he mixes archival news footage, movie clips, and excerpts from Baldwin’s TV appearances with narration by an uncharacteristically subdued Samuel L. Jackson, reading excerpts from Baldwin’s unfinished book, Remember This House. An excellent and enlightening film. (Full review)

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In the Heat of the Night (1967)– “They call me Mister Tibbs!” In this classic (which won 1967’s Best Picture Oscar) Sidney Poitier plays a cosmopolitan police detective from Philly who gets waylaid in a torpid Mississippi backwater, where he is reluctantly recruited into helping the bigoted sheriff (Rod Steiger) solve a local murder. Poitier nails his performance; you can feel Virgil Tibb’s pain as he tries to maintain his professional cool amidst a brace of surly rednecks, who throw up roadblocks at every turn.

While Steiger is outstanding as well, I find it ironic that he was the one who won “Best Actor in a leading role”, when Poitier was the star of the film (it seems Hollywood didn’t get the film’s message). Sterling Silliphant’s brilliant screenplay (another Oscar) works as a crime thriller and a “fish out of water” story. Director Norman Jewison was nominated but didn’t score a win. Future director Hal Ashby won for Best Editing. Quincy Jones composed the soundtrack, and Ray Charles sings the sultry theme. (Full review)

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The Landlord (1970)– The late great Hal Ashby only directed a relative handful of films, but most, especially his 70’s output, were built to last (Harold and Maude, The Last Detail, Bound for Glory, Shampoo, Being There). In The Landlord, Beau Bridges is a spoiled rich kid who worries his parents with his “liberal views”, especially when he buys a run-down inner-city tenement, with intentions to renovate. His subsequent involvement with the various black tenants is played sometimes for laughs, other times for intense drama, but always for real. The social satire and observations about race relations are dead-on, but never preachy or condescending.

Top-notch ensemble work, featuring a young Lou Gossett (with hair!) giving a memorable turn. The lovely Susan Anspach is hilarious as Bridge’s perpetually stoned and bemused sister. A scene featuring Pearl Bailey and Lee Grant getting drunk and bonding over a bottle of “sparkling” wine is a minor classic all on its own. They don’t make ‘em like this anymore-honest, bold, uncompromising, socially and politically meaningful, yet (lest we forget) entertaining. (Full review)

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Let the Fire Burn (2013)– While obscured in public memory by the (relatively) more “recent” 1993 Branch Davidian siege in Waco, the eerily similar demise of the Philadelphia-based MOVE organization 8 years earlier was no less tragic on a human level, nor any less disconcerting in its ominous sociopolitical implications.

In this compelling documentary, director Jason Osder has parsed a trove of archival “live-at-the-scene” TV reports, deposition videos, law enforcement surveillance footage, and other sundry “found” footage (much of it previously unseen by the general public) and created a tight narrative that plays like an edge-of-your-seat political thriller.

Let the Fire Burn is not only an essential document of an American tragedy, but a cautionary tale and vital reminder of how far we have yet to go to completely purge the vestiges of institutional racism in this country. (Full review)

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The Trials of Muhammad Ali (2013)– There have been a number of films documenting and dramatizing the extraordinary life of Muhammad Ali, but they all share a curious anomaly. Most have tended to gloss over Ali’s politically volatile “exile years” (1967-1970), during which the American sports icon was officially stripped of his heavyweight crown and essentially “banned” from professional boxing after his very public refusal to be inducted into the Army on the grounds of conscientious objection to the Vietnam War.

Director Bill Siegel (The Weather Underground) fills in those blanks in his documentary. As you watch the film, you begin to understand how Ali the sports icon transmogrified into an influential sociopolitical figure, even if he didn’t set out to become the latter. It was more an accident of history; Ali’s affiliation with the Nation of Islam and stance against the Vietnam War put him at the confluence of both the burgeoning Black Power and anti-war movements. How it all transpired makes an absorbing watch. (Full review)

Previous posts with related themes:

When They See Us

Rampart

Blood at the Root: An MLK Mixtape

The Chant of Jimmy Blacksmith

Chicago 10

William Kunstler: Disturbing the Universe

Medium Cool

Secret Honor

— Dennis Hartley

Just drifting: R.I.P. Buck Henry

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 11, 2020)

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Mr. Braddock: Ben, what are you doing?

Benjamin: Well, I would say that I’m just drifting. Here in the pool.

Mr. Braddock: Why?

Benjamin: Well, it’s very comfortable just to drift here.

Mr. Braddock: Have you thought about graduate school?

Benjamin: No.

Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work?

Benjamin: You got me.

– from The Graduate, screenplay by Buck Henry and Caldar Willingham

I was saddened to hear about the passing of Buck Henry a few days ago; screenwriter extraordinaire, droll character actor, occasional director and samurai deli enthusiast.  He co-created the classic “Get Smart” TV series with Mel Brooks, and co-directed the well-received 1978 comedy-fantasy Heaven Can Wait (a remake of Here Comes Mr. Jordan) with the film’s producer/star/co-writer Warren Beatty (Henry also had an acting part).

Depending on your age, you may be thinking “Buck who?” or “Oh yeah…the bespectacled guy in all those SNL “Samurai Deli” sketches with Belushi back in the day.” Regardless of your Buck Henry touchstone, know that he brought a lot of laughter to a lot of people…and that’s a good thing.

For me, I’ll always remember him for his acting work in films like The Man Who Fell to Earth, Gloria, Eating Raoul, Taking Off, Short Cuts, the Real Blonde, Defending Your Life, and The Player…even if a lot of them were bit parts, he had a knack for understated hilarity. And of course, I’ll remember him for his writing. Here are the Henry-penned films you need to see (alphabetical order).

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Candy As far as barely decipherable yet weirdly entertaining films go, you could do worse than Christian Marquand’s 1968 curio. Henry adapted the script from the novel by Terry Southern and Mason Hoffenberg.

What I can say with certainty is that there is a protagonist, and her name is Candy Christian. (Ewa Aulin). However, disseminating what this film is “about” remains in the eye of the beholder. Semi-catatonic Candy whoopsie-daisies her way through vaguely connected vignettes awash in patchouli, bongs, beads and Nehru jackets, as a number of men philosophize, pontificate, and (mostly) paw at her.

Oddly compelling, largely thanks to the cast: Marlon Brando, Richard Burton, James Coburn, John Huston, Walter Matthau, Ringo Starr, John Astin, Anita Pallenberg, Sugar Ray Robinson (don’t ask), and a host of others. Henry has a cameo as a mental patient.

Interesting sidebar: Director Marquand (also an actor) appeared in Francis Ford Coppola’s Apocalypse Now. His lengthy monologue in the “French plantation” scene originally ended up on the cutting room floor but was resurrected for the “Redux” and “Final Cut” versions that Coppola has assembled in recent years. He died in 2000.

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Catch-22

Yossarian: OK, let me see if I’ve got this straight. In order to be grounded, I’ve got to be crazy. And I must be crazy to keep flying. But if I ask to be grounded, that means I’m not crazy anymore, and I have to keep flying.

Dr. ‘Doc’ Daneeka: You got it, that’s Catch-22.

Yossarian: Whoo… That’s some catch, that Catch-22.

Dr. ‘Doc’ Daneeka: It’s the best there is.

Anyone who has read and appreciated the beautifully precise absurdity of Joseph Heller’s eponymous 1961 novel about the ugly and imprecise madness of war knows it is virtually “un-filmable”. And yet…Buck Henry did a pretty good job of condensing it into a two-hour screenplay (although arguably some of the best exchanges in the film are those left virtually unchanged from the book).

Of course, it didn’t hurt to have a great director (Mike Nichols) and such a fabulous cast: Alan Arkin, Martin Balsalm, Richard Benjamin, Art Gafunkel, Jack Gilford, Bob Newhart, Anthony Perkins, Paula Prentiss, Martin Sheen, Jon Voight, Orson Welles, Charles Grodin, Bob Balaban, et. al., with Henry playing the part of “Colonel Korn”. I think this 50-year-old film has improved with age.

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Day of the Dolphin – “Fa loves Pa!” This offbeat 1973 sci-fi film marked the third collaboration between Henry and director Mike Nichols. Henry adapted 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 scientific breakthrough. Unique and involving. I like to call this one a conspira‘sea’ thriller (sorry).

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The Graduate – “Aw gee, Mrs. Robinson.” It could be argued that those were the four words in this 1967 Mike Nichols film that made Dustin Hoffman a star. With hindsight being 20/20, it’s impossible to imagine any other actor in the role of hapless college grad Benjamin Braddock…even if Hoffman (30 at the time) was a bit long in the tooth to be playing a 21-year-old character.

Poor Benjamin just wants to take a nice summer breather before facing adult responsibilities, but his pushy parents would rather he focus on career advancement immediately, if not sooner. Little do his parents realize that in their enthusiasm, they’ve inadvertently pushed their son right into the sack with randy Mrs. Robinson (Anne Bancroft), wife of his Dad’s business partner (the original cougar?). Things get complicated after Benjamin meets his lover’s daughter (Katharine Ross).

This is one of those “perfect storm” creative collaborations: Nichols’ skilled direction, Calder Willingham and Buck Henry’s witty screenplay, fantastic performances from the cast, and one of the best soundtracks ever (by Simon and Garfunkel). Some of the 60s trappings haven’t dated well, but the incisive social satire has retained all its sharp teeth. Look for Henry in a cameo as a room clerk.

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The Owl and the Pussycat – George Segal plays a reclusive, egghead NYC writer and Barbra Streisand is a perfect foil in one of her best comedic turns as a profane, boisterous hooker in this classic “oil and water” farce, directed by Herbert Ross. Serendipity throws the two odd bedfellows together one fateful evening, and the resulting mayhem is crude, lewd, and funny as hell. Buck Henry adapted his screenplay from Bill Manhoff’s original stage version. Robert Klein is wonderfully droll in a small but memorable role. My favorite line: “Doris…you’re a sexual Disneyland!”

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To Die For – Gus van Sant’s 1995 mockumentary centers on an ambitious young woman (Nicole Kidman, in one of her best performances) who aspires to elevate herself from “weather girl” at a small market TV station in New England to star news anchor, posthaste. A calculating sociopath from the word go, she marries into a wealthy family, but decides to discard her husband (Matt Dillon) the nanosecond he asks her to consider putting her career on hold so they can start a family (discard…with extreme prejudice).

Buck Henry based his script on Joyce Maynard’s true crime book about the Pamela Smart case (the most obvious difference being that Smart was a teacher and not an aspiring media star, although it could be argued that during the course of her highly publicized trial, she did become one). A barbed and darkly funny meditation on the cult of celebrity.

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What’s Up, Doc? – Peter Bogdanovich’s 1972 film is an entertaining love letter to classic screwball comedies of the 30s and 40s (the most obvious influence is Bringing Up Baby), with great use of San Francisco locations. Ryan O’Neal and Barbara Streisand have wonderful chemistry as the romantic leads, who meet cute and become involved in a hotel mix-up of four identical suitcases that rapidly snowballs into a series of increasingly preposterous situations for all concerned (as occurs in your typical screwball comedy). Henry gets top billing on the script, co-written with David Newman and Robert Benton. The cast includes Madeline Kahn, Kenneth Mars, Austin Pendleton and Michael Murphy.

Blu-ray reissue: Local Hero ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 14, 2019)

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Local Hero – Spirit Entertainment (Region “B” Blu-ray)

This magical, wonderfully droll and observant 1983 social satire from Scottish writer-director Bill Forsyth has been on my Blu-ray wish list for many years. I was beginning to despair that I was waiting in vain for “someone” to do a restoration/HD upgrade…and bam! Two studios simultaneously release 2K digital restorations on Blu-ray in 2019 (more on my dilemma in a moment).

Peter Reigert is perfectly cast as Macintyre, a Texas-based executive who is assigned by the head of “Knox Oil & Gas” (Burt Lancaster) to scope out a sleepy Scottish hamlet that sits on the edge of an oil-rich bay. He is to negotiate with all the local property owners and essentially buy out the entire town so that the company can build a huge refinery.

While he considers himself “more of a Telex man”, who would prefer to knock out such an assignment “in an afternoon”, Mac sees the overseas trip as a possible fast track for a promotion within the corporation. As this quintessential 80s Yuppie works to ingratiate himself with the unhurried locals (quite impatiently at first), a classic “fish out of water” transformation ensues. It’s the kindest and gentlest Ugly American tale you’ve ever seen.

Full disclosure: I can only base my assessment of image quality on the disc that I own, which is from the UK outfit Spirit Entertainment (please note it is Region “B” locked). As mentioned earlier, this is a new 2K restoration, and it’s breathtaking (it’s a beautiful looking film to begin with).

Now, the “other” studio who has put out an edition of the film is The Criterion Collection. I have not viewed their edition, but based on their product description, I can safely assume that their 2K transfer is from the same recently struck restoration. Both editions have good extra features (several of them duplicate), but what swayed me to the Spirit Entertainment version was a new 2019 interview with Mark Knopfler (which the Criterion edition does not contain) discussing his classic soundtrack.

Blu-ray reissue: The Landlord (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 13, 2019)

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The Landlord – Kino-Lorber

Hal Ashby’s 1970 social satire follows the travails of a trustafarian (Beau Bridges) who buys a run-down Brooklyn tenement, with initial intentions to evict current residents and renovate (much to the chagrin of his blue-blood parents, who scoff at his “liberal views”). The landlord’s sincere but awkward attempts to “relate” to his black tenants is sometimes milked for laughs, other times for dramatic tension-but always rings true-to-life.

Top-notch ensemble work, featuring Lou Gossett (with hair!), Susan Anspach (hilarious as Bridge’s perpetually stoned and bemused sister) and Diana Sands. The scene where Pearl Bailey and Lee Grant get drunk and bond over a bottle of “sparkling” wine is a classic. Ashby and screenwriter Bill Gunn’s observations about race relations in America are dead-on (and still timely).

Image transfer is sharp. Extras include interviews with Beau Bridges, Lee Grant, and producer Norman Jewison.

Blu-ray reissue: True Stories ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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True Stories – Criterion Collection Blu-ray

Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part social satire, part long-form music video, part mockumentary. The episodic vignettes about the quirky but generally likable inhabitants of sleepy Virgil, Texas should hold your fascination once you buy into “tour-guide” Byrne’s bemused anthropological detachment.

Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray. The outstanding cinematography is by Edward Lachman. Byrne’s fellow Heads have cameos performing “Wild Wild Life”. Not everyone’s cup of tea, perhaps- but for some reason, I have an emotional attachment to this film that I can’t even explain.

Finally, “Someone” (in this case, Criterion) has done justice to Lachman’s lovely cinematography by giving this film a properly matted 1:85:1 transfer (for years, the only version available on home video was a dismal “pan and scan” DVD). The newly restored 4K transfer was supervised by Byrne and Lachman, and it’s gorgeous.

The 5.1 surround DTS-HD Master Audio also lends a crucial upgrade to the soundtrack quality (all those great Talking Heads songs really pop now!). Extras include a CD of the complete music soundtrack, deleted scenes, written essays, and documentary shorts (new and archival).

Blu-ray reissue: Shampoo ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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Shampoo– Criterion Collection Blu-ray

Sex, politics, and the shallow SoCal lifestyle are mercilessly skewered in Hal Ashby’s classic 1975 satire. Warren Beatty (who co-scripted with Robert Towne) plays a restless, over-sexed hairdresser with commitment issues regarding the three major women in his life (excellent performances from Lee Grant, Goldie Hawn and Julie Christie).

Beatty allegedly based his character of “George” on his close friend, celebrity hairdresser Jay Sebring (one of the victims of the infamous 1969 Tate-LaBianca slayings).

This was one of the first films to satirize the 1960s zeitgeist with some degree of historical detachment. The late great cinematographer Laszlo Kovacs infuses the L.A. backdrop with a gauziness that appropriately mirrors the protagonist’s fuzzy way of dealing with adult responsibilities.

Criterion’s Blu-ray features a 4K restoration (previous DVDs have been less than stellar in picture and sound quality). Extras include a conversation between critics Mark Harris and Frank Rich and a 1998 TV interview with Warren Beatty from The South Bank Show.

Blu-ray reissue: Little Murders ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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Little Murders – Indicator Blu-ray (Region “B”)

This dark, dark comedy from 1971 is one of my all-time favorite films. It was directed by Alan Arkin and adapted by Jules Feiffer from his own self-described “post-assassination play” (referring to the then-relatively recent murders of Martin Luther King and Robert F. Kennedy). That said, it is not wholly political; but it is sociopolitical (I see it as the pre-cursor to Paddy Chayefsky’s Network).

Elliot Gould is at the peak of his Elliot Gould-ness as a nihilistic (and seemingly brain-dead) free-lance photographer who is essentially browbeaten into a love affair with an effervescent sunny side-up young woman (Marcia Rodd) who is bound and determined to snap him out of his torpor. The story follows the travails of this oil and water couple as they slog through a dystopian New York City chock full o’ nuts, urban blight, indifference and random shocking acts of senseless violence (you know…New York City in the 70s).

There are so many memorable vignettes, and nearly every cast member gets a Howard Beale-worthy monologue on how fucked-up American society is (and remember…this was 1971). Disturbingly, it remains relevant as ever. But it is very funny. No, seriously. The cast includes Vincent Gardenia, Elizabeth Wilson, Doris Roberts, Lou Jacobi (who has the best monolog) and Donald Sutherland. Arkin is a riot as a homicide investigator.

Indicator’s limited-edition Blu-ray features a gorgeous high-definition remaster (please note that it is a Region ‘B’ locked disc that requires a multi-region player). A plethora of extras includes a 2004 audio commentary with Gould and Feiffer, an alternate commentary track from 2018 by film journalist Samm Deighan, new and archival featurettes, interviews, and critical re-appraisals, a 40-page booklet of essays, and more.

Blu-ray reissue: King of Hearts ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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King of Hearts – Cohen Film Collection/Sony Blu-ray

The utter madness of war has rarely been conveyed in such a succinct (or oddly endearing) manner as in Philippe de Broca’s absurdist adult fable. Alan Bates stars as a WW1 Scottish army private sent ahead of his advancing company to a rural French village, where he is to locate and disarm a bomb that has been set by retreating Germans.

His mission is interrupted when he is suddenly set upon by a coterie of loopy and highly theatrical residents who (literally) sweep him off his feet and jovially inform him he is now their “king”. These happy-go-lucky folks are, in fact, inmates of the local asylum, who have occupied the town since the residents fled. The battle-weary private decides to humor them, in the meantime brainstorming how he can coax them out of harm’s way before the war inevitably intrudes once again.

It’s wonderful to have a newly-restored 4K scan of this cult favorite, which has been previously difficult to track down on home video. Extras include a feature-length commentary track by film critic Wade Major, a new conversation with the film’s leading lady Genevieve Bujold, and a new conversation with cinematographer Pierre Lhomme.