Author: thehorsesheadblog

#124) Network (1976)

OR “Howard’s End”

Directed by Sidney Lumet

Written by Paddy Chayefsky

Class of 2000

 

The Plot: Failing TV network UBS decides to lay off its longtime news anchor Howard Beale (Peter Finch). During a live broadcast, Beale announces he will commit suicide during his final show. He is taken off the air, but immediately put back on when his rant gives the show a significant ratings boost. Entertainment Division head Diana Christensen (Faye Dunaway) exploits Beale’s newfound fame and re-brands him as the “mad prophet of the airwaves”. Beale’s longtime colleague and News Division head Max Schumacher (William Holden) tries to stop all of this, but finds himself in a complicated emotional relationship with Diana. And all of this trouble for a 50 share.

Why It Matters: The NFR calls it “a piercing and vitriolic satire of television news” and praises Lumet, Chayefsky, and the cast. There’s also an essay by film professor and Lumet expert Joanna E. Rapf.

But Does It Really?: Full disclosure: “Network” is one of my favorite films, so you’re not getting an argument from me on its inclusion here. I have watched it many times over the years and still find something new to enjoy and appreciate. The script contains some amazing insight by Chayefsky that would not be out of place in today’s climate, primarily about the corruptive influence television has had on America. Add to the mix Sidney Lumet’s trademark straight-forward direction, and a full ensemble that relishes the opportunity to speak Paddy’s words, and you’ve got a classic. It’s no longer the satire it was initially hailed as, but “Network” continues to hold a mirror to what our world has become and how we choose (or not) to cope with it.

Shout Outs: A poster for “Singin’ in the Rain” can be seen hanging on the bathroom wall of Diana’s apartment for some reason.

Everybody Gets One: Peter Finch, as well as most of the bit players, most notably Beatrice Straight, Conchata “Berta” Ferrell, and the always dependable Lane Smith.

Wow, That’s Dated: Several references to 1976 television, my favorites being shout-outs to “Tony Orlando and Dawn”, “Phyllis”, and the Life cereal “Little Mikey” commercial.

Seriously, Oscars?: “Network” tied “Rocky” with 10 Oscar nominations, the most for the 1976 ceremony. The film walked away with four Oscars: Original Screenplay for Chayefsky, Actress for Dunaway, Supporting Actress for Beatrice Straight, and Actor for Peter Finch (Sadly, the first posthumous acting winner in Oscar history). Despite its front-runner status, “Network” lost Best Picture and Director to underdog “Rocky”, and Sidney Lumet never got over that.

Other notes

• First off, a shout-out to Dave Itzkoff’s book “Mad as Hell”. It’s essentially a Chayefsky biography that emphasizes “Network”, but its detailed account of the film’s production is indispensable.
• This whole post could be how much I love this cast. Dunaway and Holden are giving their career-best performances, and Robert Duvall is always great when you just let him yell at people.
• Paddy has a lot to say about television and he doesn’t waste a second. This film hits the ground running with not only its plot, but with its creatively colorful dialogue (it sounds like every character swallowed a thesaurus).
• This viewing made me realize how much Chayefsky loves subtle alliteration in his writing (“morbid middle-aged moods”, “a certain sinister silkiness”)
• The conflicted romance between Max and Diana has always been my favorite part of the film. And to think just two years earlier these two were in “The Towering Inferno”.
• As much as I love Peter Finch in this film, his English-by-way-of-Australian accent is noticeable. The main giveaway is his pronunciation of the word “homicide”.
• The “Mad as Hell” scene is still great, and that preceding monologue is surprisingly still applicable to our times.
• Boy, the FCC is really lax about the profanity on UBS. Beale says “shit” and “goddamn” during “The Howard Beale Show”.
• Diana calls her tryst with Max “a many-splendored thing”. Not the first time Max has had that.
• I have so much to say about Beatrice Straight’s performance that it warrants its own write-up.
• Speaking of bit parts, shout-out to Marlene Warfield as Laureen Hobbs. She is pitch-perfect in the role. If nothing else, her delivery of “that Bionic WOMAN” is flawless.
• One of the few things that always seemed out of place to me is that Diana has to specify that Channel 3 is UBS in L.A. to a room full of the network’s L.A. affiliates. Wouldn’t they know what channel they work for?
• We as a society need to bring back ruffled tuxedo shirts.
• Wow, protesting was a lot harder before the internet.
• And then we get Ned Beatty as CCA chairman Arthur Jensen. Yet another bit player who turns their moment into a meal (and, in Beatty’s case, an Oscar nomination).
• No, that’s not Tim Robbins at the end. But it sure does look like him, I’ll give you that.

Legacy

• You mean besides the complete corruption of television and the sensationalism of news that has happened over the last 40 years? I feel like that’s enough of a legacy for any movie, thank you very much.
• “Network” is still cited by many as having one of the best screenplays ever. One of its main champions is Aaron Sorkin, who endlessly references the film in the pilot of “Studio 60”.

• A stage version by Lee Hall is opening in London very soon, with Bryan Cranston taking over the Howard Beale role.

• Louise Schumacher found a new life for herself studying the paranormal.

• And of course, everyone who shouts that they’re “mad as hell” and “not going to take this anymore”.

#123) Trance and Dance in Bali (1936-1939, 1952)

OR “Bali, Hi!”

Directed by Gregory Bateson and Margaret Mead

Written by Margaret Mead

Class of 1999

The Plot: Narrated by Margaret Mead, the film is a documentation of a traditional Balinese dance featuring Rangda the witch, Barong the dragon, and several natives in a trance-like state.

Why It Matters: The NFR calls the film “groundbreaking”, and includes a link to the Library of Congress’ digital gallery of Margaret Mead.

But Does It Really?: The film gets a pass for its introduction to Mead and Bateson (but mostly Mead) and its depiction of Balinese culture that, while not completely accurate, is a good starting point for further study.

Everybody Gets One: Both Bateson and Mead were already respected anthropologists by the time they traveled to Bali, their photography evolving into filmed documentation. Margaret Mead was best known for her somewhat controversial study of Samoan sexual orientation, and Gregory Bateson was one of the scientists responsible for the double-blind study.

Seriously, Oscars?: No Documentary Short nomination for “Trance and Dance”. Instead they gave the award that year to the super artsy Canadian film “Neighbours” (which really isn’t a documentary).

Other notes

• If nothing else, this film gives you the great SAT word “somnambulistic”.
• Wow, so much text before the actual film. This clip needs a lot of set-up.
• Why are the witch and the pregnant woman played by men? There are women involved in the rest of the dance, why not here?
• The Witch dresses like George Clinton.
• The dragon worshipers follow the same rules with the witch as Super Mario does with a ghost; you can only attack when their back is turned.
• I love that Margaret Mead always explains when the footage goes to slow-motion. As if no one would know just from watching.
• The dancers are great at trances. They must be the best audience for a hypnotist.
• This may be the only Registry entry that ends with suggested publications. I assume all of these titles are long out of print.

Legacy

• Thanks to the work of Mead and Bateson (among others), Bali became a tourist destination for Western culture. There goes the neighborhood.
• Though they were just married during filming, Margaret Mead and Gregory Bateson were divorced by the time “Trance and Dance in Bali” was finally released. The two continued their distinguished work in anthropology (among other fields) until their respective deaths in 1978 and 1980.
• Margaret Mead may be one of the few filmmakers on this list with her own trading card!

#122) The Phantom of the Opera (1925)

OR “Why the Lon Face?”

Directed by Rupert Julian

Written by…whoops, no credited writers. The only writing credit is “From the celebrated novel by Gaston Leroux”.

Class of 1998

Note: I’m still not quite sure which version I watched. It appears to be the original 1925 version, though the sequence of events seems closer to the 1930 re-release. Regardless, the version I watched seems to be the most common one available today.

The Plot: Around the turn of the century, the Paris Opera House is said to be haunted by The Phantom (Lon Chaney). He is obsessed with their new singer Christine (Mary Philbin) and insists that she perform instead of the lead soprano. After creating chaos with a falling chandelier, the Phantom brings Christine to his underground lair and makes her promise to be his love, forgoing her relationship with handsome viscount Raoul (Norman Kerry). The classic story you love, but in a Webber-free zone.

Why It Matters: The NFR calls it “a classic horror film” and praises Lon Chaney’s work, particularly his makeup.

But Does It Really?: There are other Phantoms out there, but there’s only one Lon Chaney. His performance still holds up and makes the film worth a watch. The film’s public domain status means there are several cuts out there, but any version you can find is worth your time thanks to Mr. Chaney. This isn’t the definitive film version of the novel, but it’s probably as close as we’ll ever get.

Everybody Gets One: Almost everyone, but the main takeaway is Lon Chaney, the famous “Man of a Thousand Faces”**. Born to deaf parents, Lon learned to communicate physically at a young age, which lent itself perfectly to silent films. A lifetime in the theater made him very adept at makeup, which led to the outstanding creations he applied in his films. Chaney designed the makeup for The Phantom in total secrecy, not revealing it until filming. His version of The Phantom is the most faithful to its description in the original novel.

Wow, That’s Dated: As always, any passing knowledge of opera.

Title Track: Someone actually calls him “The Phantom of the Opera” (as opposed to simply “The Phantom”) just once in the entire film.

Other notes

• With the exception of director Rupert Julian and the cast, no one else is credited for their work in this film. Is it any wonder Hollywood would unionize within a decade?
• This version begins with a two-minute shot of someone holding a lantern. We get it. Move on, please.
• How come the previous theater owners don’t disclose the fact that there’s a phantom until after the new owners have signed? This is stigmatized property, after all.
• Beautiful women running in fear because a strange man is wandering around backstage? It might just be our President.
• Is Christine playing the Swiss Miss in this opera?
• We get the chandelier drop early in the version I saw; about 20 minutes in.

• The great thing about a silent film set in an opera is that you don’t have to cast anyone who can actually sing.
• I always forget that the Phantom’s real name is Erik. Kinda takes away from the whole mystique. It’s like finding out that Pennywise the Clown’s real name is Bob Gray (which is legitimately canon, by the way).
• Every time the Phantom plays the organ all I can hear is “A Fifth of Beethoven”. I blame “The Simpsons”.
• That mask removal scene is still terrifying. Shout-out to Chaney, as well as the cinematographer and editor, whoever they are.

• Cool, the masquerade scene is in color! Apparently more scenes were filmed in early Technicolor, but the ball is all that survives.

• Ledoux kind of looks like Martin Landau.
• Now the Phantom’s referring to himself in the third person? What a loser.
• At one point the Phantom declares, “I will not be cheated of my happiness.” Typical millennial.
• Good lord, how far down is the Phantom’s room? Say hi to The Mole People while you’re down there.
• It took a while, but I think this is my first film on this blog with a classic angry mob scene.
• Wow, after all of that, the ending’s a bit of a let down. It’s a total departure from the novel with no real character payoff.

Legacy

• Hmmm, I wonder if there are any other adaptations of this novel out there…

• This film launched the Universal Monster Golden Age of the ‘20s and ‘30s. Thanks to this film we get “Dracula”, “Frankenstein”, and “Dracustein” (the latter considered such an embarrassment that in 1996 the NFR voted to have all copies burned).
• Lon Chaney died of a throat hemorrhage only five years after the release of “Phantom”. His son Creighton changed his name to Lon Chaney Jr., and continued his father’s makeup work in the original “Wolf Man”.

• Universal remade “The Phantom of the Opera” in 1943 with Claude Rains in the title role. They reused the original set, and pretty much threw out the original story.

• The Phantom will be included in the upcoming Universal Dark Universe with a remake that….what’s that? “The Mummy”? Oh. Never mind.
• I saw Lon Chaney walking with the Queen.

 

**2017 Update: Lon Chaney now has “HE Who Gets Slapped” on the list. And with a title like that, my interest is piqued.

#121) The Bridge on the River Kwai (1957)

OR “A Passage to Bangkok”

Directed by David Lean

Written by Pierre Boulle Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle.

Class of 1997

The Plot: A group of British WWII soldiers led by the militant Col. Nicholson (Alec Guinness) is captured and sent to a Japanese prison camp. The camp’s leader, Col. Saito (Sessue Hayakawa) instructs the new prisoners to help build a bridge from Rangoon to Bangkok. Nicholson refuses to help, and his steely resolve creates tension in the camp. Meanwhile, jaded American prisoner Com. Shears (William Holden) escapes the camp, only to be recruited by British Major Warden (Jack Hawkins) to lead a team back to the camp to blow up the bridge.

Why It Matters: The NFR praises many aspects of the film, though notes it was that film that saw “a shift in Lean’s directorial style from simpler storytelling toward the more bloated epics”. Pretty backhanded if you ask me.

But Does It Really?: It may be a little too epic for its own good, but “Bridge on the River Kwai” is still quite a thrilling experience 60 years later. While I disagree that the film is “bloated”, it definitely could have been, well, leaner. Lean sets the stage for a fascinating character study set against some impressive manpower (after all, they had to actually build the bridge). The film is an excellent study of the rules we cling to in times of chaos, as well as the madness that comes with power.

Everybody Gets One: Despite collaborating with David Lean throughout the ‘50s, this was the final Lean picture (and only NFR entry) for editor Peter Taylor, cinematographer Jack Hildyard, and composer Malcolm Arnold.

Wow, That’s Dated: All of the night scenes are shot “day for night”. It is incredibly obvious during the lengthy scene where they sneak the explosives under the bridge.

Title Track: No one says the title, but Saito does say they will build “a bridge across the river Kwai”. Very close, but the judges are looking for an exact match.

Seriously, Oscars?: In a not-so-competitive year, the Oscars went with the most epic choice, and “The Bridge on the River Kwai” won seven Oscars, including Best Picture. Lean won his first Best Director prize and Alec Guinness won Best Actor. The film also won Best Score, despite the fact that there’s not a lot of actual score and the only part anyone remembers is the preexisting “Colonel Bogey March”. While most of the film’s big wins were justified, it did screw over fellow NFR entry “12 Angry Men”.

Other notes

• We’ve come to another film with a nationality dispute. This is really a British film, but because it was financed by an American film company (Columbia under the legendary Sam Spiegel), it qualifies for inclusion on this list.
• One of the many ripple effects of the Hollywood Blacklist was original writers Foreman and Wilson going uncredited in favor of the novel’s author Pierre Boulle, who did not speak or write English. The two writers were not properly credited (or awarded their Best Adapted Screenplay Oscar) until the mid-80s.
• Kudos to the cinematography in this film. So much storytelling is happening in every shot.
• William Holden does jaded American so well. Also, what’s with Holden and his POW films?
• How would you like to be in charge of all the extras in this film?
• Nope, just ignore the obvious dummy of William Holden falling into the river.
• During Nicholson’s speech as they travel across the river (aka the “Jaws” shot), part of his dialogue is obscured by a splash. He originally referred to the Japanese as “barbarians”, but the line was later censored after objections from Japanese communities. Of course, if you went and censored everything offensive about how the Japanese are portrayed here there’d be no movie left.
• Also incredibly dated: the rampant sexism in this or any war film. At least this film has a woman in it; “Lawrence of Arabia” has zero.
• Jack Hawkins gets the one funny line in the entire film.
• Of course, if you only know Alec Guinness from “Star Wars”, be sure to watch his wonderfully restrained work here. Turns out Obi-Wan Kenobi is just a fraction of this guy’s talents.
• It takes forever to get there, but that is one hell of an ending. The tension throughout is just great.

Legacy

• As previously mentioned, David Lean started his string of epics with this picture. He followed this film up with “Lawrence of Arabia”, like you do.

• After the film’s release, tourists flocked to the real Khawe Yai River to see the bridge. Just one problem: there was no bridge on the Khawe Yai River. The real-life inspiration was on the Mae Klong River, which was subsequently renamed Khawe Yai.
• Sessue Hayakawa spoofed his own performance in the Jerry Lewis film “The Geisha Boy”.

• The Goon Show did their own parody with “The Bride on the River Wye”. Come for Peter Sellers’ spot-on Alec Guinness, leave for the Japanese stereotyping.

• The 1989 film “Return From The River Kwai”, which, after some legal dispute, had to add a disclaimer that it is NOT a sequel to this film. Subsequently, it never got released in America.

• And of course, this film is the reason I will have the “Colonel Bogey March” stuck in my head for the next several weeks.

#120) Pull My Daisy (1959)

OR “That’s Not Filming, It’s Typing”

Directed by Robert Frank & Alfred Leslie

Written by Jack Kerouac

Class of 1996

The Plot: The closest this film gets to a plot is a story involving Milo (Larry Rivers), a railroad brakeman who hangs out with his Beat writer friends (Allen Ginsberg, Gregory Corso, & Peter Orlovsky). When Milo’s wife (Delphine Seyrig, aka Beltaine) invites a Bishop (Richard Bellamy, aka Mooney Pebbles) over for dinner, the Beat writers invite themselves over and provide an interesting night for everyone. Jack Kerouac improvises narration alongside the film.

Why It Matters: The NFR calls it an “adroit parody of the beat generation” and reveals that despite it initially being hailed as a piece of cinéma vérité, the whole thing was staged.

But Does It Really?: I freely admit that I don’t get this Beat stuff, but it’s a piece of American culture that should be preserved, and I’m glad someone had a camera handy to capture this group in action.

Everybody Gets One: Robert Frank and Alfred Leslie were, respectively, a filmmaker/photographer and painter who were hanging out with the Beat writers at the time. I am not hip enough to summarize the life and careers of Jack Kerouac and Allen Ginsberg.

Wow, That’s Dated: When your film focuses solely on the beat generation, it could only be 1959.

Title Track: No one says “pull my daisy”, but we do get a title song!

Seriously, Oscars?: Oh, if only this had gotten an Oscar nomination. The Academy would have been scratching their heads so much during those screenings.

Other notes

• “A G-String Enterprise”? I like this film already!
• Directors Robert Frank and Alfred Leslie don’t have a single last name between them.
• We get the word “hipster” thrown out here in its original ‘40s context. Though could you imagine Ginsberg or Corso eating brunch or ironically listening to vinyl?
• Are we sure it’s just cigarettes they’re smoking?
• Kudos as always to “I’m Not There.” casting director Laura Rosenthal, because David Cross really does look like Allen Ginsberg.
• And of course, that’s a young unknown Dustin Hoffman as the bishop. (It’s not really, but at least one of you will read this and think it’s true.)
• Why the mini American flag? But then again, why anything in this film?
• I want Jack Kerouac to do commentary on every film. Especially the silent ones.

Legacy

• Robert Frank did a handful of documentaries, most notably The Rolling Stones’ “Cocksucker Blues”, before returning to photography.

• Alfred Leslie returned to painting and charcoal drawing, though sadly most of his work was destroyed in a fire in 1966.
• There is no way I can summarize the post-“Daisy” work of Kerouac and Ginsberg in a short blog post. Keoruac alone published more writing posthumously than I will in my entire lifetime.

Listen to This: Perhaps the most famous poem of the Beat Generation, Allen Ginsberg recorded “Howl” in 1959 for posterity, and started one of the great obscenity legal cases of all time. Read more about Howl in this informative essay by Library of Congress employee Cary O’Dell.