O.C. and Stiggs.

Review #2243: O.C. and Stiggs.

Cast: 

Daniel H. Jenkins (O.C.), Neill Barry (Mark Stiggs), Paul Dooley (Randall Schwab), Jane Curtin (Elinore Schwab), Jon Cryer (Randall Schwab, Jr), Laura Urstein (Lenore Schwab), Victor Ho (Frankie Tang), Ray Walston (Gramps), Donald May (Jack Stiggs), Carla Borelli (Stella Stiggs), Stephanie Elfrink (Missie Stiggs), Amanda Hull (Debbie Stiggs), James Gilsenan (Barney Beaugereaux), Tina Louise (Florence Beaugereaux), Cynthia Nixon (Michelle), Greg Wangler (Jefferson Washington), with Dennis Hopper (Sponson), Martin Mull (Pat Coletti), Melvin van Peebles (Wino Bob), Tiffany Helm (Charlotte), Dana Andersen (Robin), and Bob Uecker (himself) Directed by Robert Altman (#900 - Nashville, #1433 - M*A*S*H, #1890 - The Delinquents, #2061 - Health)

Review: 

"[O.C. and Stiggs] was about how two teenage boys spend their summer, and it was also about cultural anarchy. Teenage exploitation films were all the rage at the time… I agreed to do it because I hated teenage movies so much. I thought I could do it as a satire of a teenage movie. But of course, it was sold as a teenage movie. It was a suspect project from the beginning."

It is strange, I'm not actually that much of an expert on the filmmaking of Robert Altman and yet here we are with something a bit on the odd side for a filmmaker with such a long and winding road over the span of multiple decades. This strange time would come around particularly after the double-edged sword of 1980's Health and Popeye, neither, where the former barely had a release and the latter wasn't as successful with audiences or critics as one hoped. Afterwards, he did a handful of plays and TV productions to go with smaller-scale films, such as Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982) and Streamers (1983). But O.C. and Stiggs would be an attempt to get back in Hollywood. ...which went a certain type of way. For context, O.C. and Stiggs were originally characters in stories written for National Lampoon magazine by Ted Mann and Tod Carroll, most notably with the 1982 story ""The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs". One of the producers of this film was Peter Newman (who had been the production executive of the Jimmy Dean play that Altman had made into a film), who was interested in what he saw of the Stiggs stories. Newman had made an agreement to help produce the film, which would have had Mike Nichols eventually make the film after he finished his other commitments...and then one day Newman, in a conversation with Altman, found someone willing to do the film right then and there, complete with fast tracking for MGM because of their desperation for a teen-movie hit. It was shot in Arizona for MGM away from executives and screenwriters in 1983 that saw a party atmosphere (gambling, smoking pot, here is an informative article about that). While Mann and Carroll were given credit for the story, Carroll elected to take his name off the screenplay (which was credited to Mann and Donald Cantrell) for a film that Mann wasn't particularly big on anyway, calling it "of little interest and believe that the chatter of an ordinary street corner schizo is of equal weight and consequence." MGM hated the film in screenings done for the film in 1984 before limited screenings were eventually one in 1987. Of course, by 1987, Altman was already on the next thing, receiving some notice with Secret Honor (1984) to go along with subsequent notice with his TV production Tanner '88 alongside Vincent & Theo (1990) before his "comeback" with The Player (1992).

Sure, one could see the truth that Carroll and Mann had tried to seek out in their characters in "middle-class America" in a coming of age. Of course, I had a feeling that somehow, this film would remind me of Health (1980) in that "oh it seems kinda funny, but you just know only five people would like it in theaters". To see O.C. and Stiggs is to see a movie wrapped with plenty of seething amusement for the time and place it exists in. Imagine a film set in suburban Arizona of all godforsaken places and think that this would be a normal teen movie, although you do get a song courtesy of King Sunny Adé and His African Beats. Screw it, I kind of enjoyed this movie, which just manages to hit the sweet-spot when it comes to chaotic hellraisers. The few people that actually saw the movie upon release basically took the movie seriously without thinking of all the caricatures that are present in a world of self-absorbed weirdos (just get a look at the bomb shelter near the end). These folks really believe they are living the American Dream (consider one quote involving "Arkansas is one of the United States. All America is the same" coming from one of the parental figures to go alongside the other one that, well, is a bigot) that happens to have smug self-satisfied avengers for leads. It is a contorted and twisted film that happens to have a bevy of riches for its supporting cast (speaking of people in little-seen Altman films, Paul Dooley...) to support our two leads. It may seem mean, but the madcap bitterness is the point, and I think you could really interpret Mann's statement about the film as being bitter at being outclassed by a director who made a prank film at the expense of both writers and studio executives. Jenkins and Barry (each first-timer film stars) may not have ended up being a duo that had multiple films to engage in madcap stuff together, but I think they do pretty well together here. They smirk and engage with the world as if they were a trickster God, which actually seems pretty in line with what teenagers really seem to be to the ones around them: silly jerks with every-changing fashion sense (others probably had at least one person they treated like crap as a friend growing up anyway). The object of their bullying is Dooley, who is delightfully smarmy and amusing in the ways one would expect from a portrayal of a 1980s conservative in his suburban element, one that sees past the strangeness of his family in the known alcoholic to all but herself with Curtain and the stunted weirdo in Cryer to go along with a son-in-law who has the most decisive moment to finally speak after so many casual snipes at his Asian heritage. It is probably apt of something that Hopper appeared in this film the same year that he did a daredevil stunt in front of college students involving a chair and sticks of dynamite. Altman having Hopper doing a riff on the role he did in Apocalypse Now (1979) is crispy in its amusement, actually, one who gets to casually say lines such as calling guns a "disease" with worthwhile conviction, particularly when he gets to go loose for the climax. One sees plenty of presences of once and future presences in film/TV (such as a young bemused Nixon to go with a typically "on" Mull to go with a goofy codger in Walston), which probably takes the cake when one sees Bob Uecker ramble to essentially nobody for his cameo sequence. The 109-minute experience gives plenty of anarchy to see among the odd suburbanites (take one look at the places) that lands more often than not in Altman's practical joke among those looking for a typical teenage comedy in the 1980s without some sort of abject shot at society as one knows it.  I found this movie by the stupidest of ways, googling random films to maybe transfer over to USB (after finding a copy on the Internet) for later use (this goes along with "amusing" perspectives on obscure stuff). I can't say the film is for everyone, but if one manages to find this film (Internet or otherwise), I recommend seeing the film in all of its zany idiocy as an Altman movie wrapped in the underbelly of artificiality for delightful hit-or-miss entertainment.

Overall, I give it 8 out of 10 stars.

Next up: Time enough at last with Nothing But Trouble.

The Sting.

Review #1445: The Sting.

Cast: 
Paul Newman (Henry "Shaw" Gondorff), Robert Redford (Johnny "Kelly" Hooker), Robert Shaw (Doyle Lonnegan), Charles Durning (Lt. William Snyder, Joliet P.D.), Ray Walston (J.J. Singleton), Eileen Brennan (Billie), Harold Gould (Kid Twist), John Heffernan (Eddie Niles), Dana Elcar (FBI Agent Polk), Dimitra Arliss (Loretta), Robert Earl Jones (Luther Coleman), and Jack Kehoe (Erie Kid) Directed by George Roy Hill (#962 - A Little Romance, #1178 - Slap Shot, and #1289 - Butch Cassidy and the Sundance Kid)

Review: 
"I find publicity is distasteful and I don't think it does the picture any good to focus on the director. I think it's only a very small group of the public that really pays attention to the director. Lately it's come around to that the director is more of a star than he was, but I've never wanted that."

There are just some movies that are destined to become great works to endure, whether for their style, or for their execution in writing, directing, or the actors. This is a film that has all of those attributes to make for one of the most well-crafted experiences for the 1970s. It should only figure that a well-crafted film would come from a craftsman like George Roy Hill. He had served as a pilot in both World War II and the Korean War as a Marine while having studied at Yale and Trinity College (studying music and literature, respectively). He made his debut in the stage of Ireland before moving to Broadway, where he would later shift his attention to directing. After nearly a decade of writing/directing for anthology television and Broadway (on and off), he made his debut in motion pictures with Period of Adjustment (1962, an adaptation of the Tennessee Williams play that Hill directed). Although Hill did not garner as much respect as other directors of his time (perhaps in part because of his reluctance for self-promotion), he would direct fourteen films in 26 years (retiring to teach at Yale) through his firm style of directing that made him a favorite for actors in films with varying success such as Thoroughly Modern Millie (1967), Butch Cassidy and the Sundance Kid (1969), and Slap Shot (1977, now considered a cult classic). The script came from David S. Ward, graduate of both UCLA and USC film schools, whose only writing credit at the time was Steelyard Blues (1973). He was inspired to make a film about confidence men because he had never saw one about them before, having researched pickpockets (despite this, David Maurer, writer of The Big Con - a 1940 book that detailed real life grifters such as Fred and Charley Gondoroff, sued for plagiarism, which was settled after the film's release to the disappointment of Ward).

One doesn't need to say how much power Newman and Redford have in chemistry together, both having come from Broadway to film to become icons by the time of this film, their second of two films together. They are quality stars that bask into a quality script that gives them room to engage in some amusement alongside setting up the audience in confidence for the big con that resonates as a wonderful emulation of 1930s films with great style. It is escapism of the highest order for all to see and hear. Redford proves as capable as ever in exuding confidence and care for a role worth having so much self assurance and timing to go with it, a set-up man with plenty of charm to go around. Newman proves just as alluring in traditional confidence that can be just as amusing as Redford with plenty of ways of building people up, such as when he engages in a poker game with Shaw while pretending to be drunk and getting the better of him through a few jokes and careful handling. Shaw (who also was a novelist and playwright when not in the theater or films) proves resilient as the heavy for the film, having a striking quality to him that makes him a perfect mark and contrast to the others in the film that lurks in our attention without turning into a caricature. Durning (a prolific character actor of stage, television, and film) proves the perfect foil authority, one with brute convictions that makes a perfect mark. Walston and Gould (both prolific character actors) make for quality acts to help set up the background of making the con go with class, while Brennan rounds out the focus points with care, whereas others get brief but meaningful moments (such as an allusive Arlisss or a warm Jones for the first con of the film). One never finds anything they see or hear to be a distraction, playing a long game in delivering entertainment for its audience with a mix of humor and caper style to tremendous effect, where the 129 minutes slip away with no trouble in following it all the way with details. It is interesting that the film works so well as a film attempting to look like the 1930s with its cinematography by Robert Surtees, editing from William Reynolds and costuming by Edith Head that goes with a music score (done by Marvin Hamlisch) that adapts early 20th century ragtime music from Scott Joplin (ragtime, although outdated by the 1930s actually experienced a revival in the 1970s, with "The Entertainer" being a great tune to listen to) to make for such an involving experience. Perhaps it isn't surprising that this film received numerous accolades as a tremendous hit for the time, with Hill, Ward, Reynolds, Head, Hamlisch each winning Academy Awards for their work (along with wins for Best Production Design and Best Picture). In the long run, this is one of the most entertaining films of its time, one that serves as a gem for Hill, Redford, and Newman in captivating a sharp winner that holds true in great craftsmanship and planning after over four decades to make for a grand legacy worth checking out.

Overall, I give it 10 out of 10 stars.

Fast Times at Ridgemont High.

Review #982: Fast Times at Ridgemont High.

Cast: 
Sean Penn (Jeff Spicoli), Judge Reinhold (Brad Hamilton), Jennifer Jason Leigh (Stacy Hamilton), Robert Romanus (Mike Damone), Phoebe Cates (Linda Barrett), Brian Backer (Mark "Rat" Ratner), Amanda Wyss (Lisa), Ray Walston (Mr. Hand), Forest Whitaker (Charles Jefferson), Scott Thomson (Arnold), Vincent Schiavelli (Mr. Vargas), and Lana Clarkson (Mrs. Vargas) Directed by Amy Heckerling.

Review: 
By sheer coincidence, the 35th anniversary of the release of this film was yesterday, and it only makes sense for me to get around to doing this movie, seeing how I am so clearly the type for coming of age high school comedy films. But in any case, this is a fine movie, encased in a time capsule of its own doing that will serve as decent entertainment, mostly because of how the cast pulls itself together. This was adapted from the book Fast Times at Ridgemont High: A True Story by Cameron Crowe (a future film director), who posed as a high school student at Clairemont High School in San Diego, with the book having been published one year earlier. The movie does have raunchy elements to it (hence why it was rated R), but it isn't merely just a romp through a high school year, although the plot admittedly does not have much depth to it. It tells a story much like how one would look back at a high school yearbook, with varying success depending on the investment one has in the story told. For me, it does have enough charm and moments to push it to the finish line capably. Obviously the highlight of the film is Penn and his relatively charming stoner character that serves for some decent laugh inducing moments, complete with Vans shoes. Reinhold clearly seems like he is having fun with his role; Leigh does a fine job as well, having a charm that makes her character worth watching. Romanus and Backer have a fine chemistry with each other, being a fairly capable duo. Cates is also pretty decent, mature along with fun. Walston is enjoyable to watch in how he contrasts with all of the other characters, with him being the only adult among all of the teenagers (except for Schiavelli, though Walston has more screen-time), with his scenes opposite Penn being especially amusing. It is interesting to note that the film also features Forest Whitaker (in his second film role) along with small appearances by Eric Stoltz and even Nicholas Cage (credited under his real name of Nicholas Coppola). The soundtrack is pretty good, with "We Got the Beat" from The Go-Go's being a fine opening song (along with being catchy). It isn't a great comedy nor even an exceptional coming of age high school flick, but it is certainly an entertaining experience that stands along with other films of its ilk that soon followed in the decade, all with their own kind of flair.

Overall, I give it 7 out of 10 stars.

Movie Night: The Apartment.

Review #641: The Apartment.

Cast
Jack Lemmon (C. C. Baxter), Shirley MacLaine (Fran Kubelik), Fred MacMurray (Jeff Sheldrake), Ray Walston (Joe Dobisch), Jack Kruschen (Dr. Dreyfuss), David Lewis (Al Kirkeby), Hope Holiday (Margie MacDougall), Joan Shawlee (Sylvia), Naomi Stevens (Mildred Dreyfuss), Johnny Seven (Karl Matuschka), and Edie Adams (Miss Olsen) Directed by Billy Wilder (#106 - Some Like It Hot, #194 - Ace in the Hole, and #422 - The Fortune Cookie)

Review

Billy Wilder was a fantastic director who always managed to showcase a theme he wanted to get across with memorable characters being the most notable highlight. And in this movie, there is no real exception, the movie is up to par with Wilder's other work reviewed here. Jack Lemmon is enjoyable to watch, especially when he shares scenes with Shirley MacLaine, the two just connect well with each other, they just have a certain spring to them, especially when they play gin rummy with each other, it's a refreshing scene given the preceding scene before it. The movie has a mix of warm and cold moments, essentially having some sadness mixed with layers of hope, it's good to have some sentimentality. The movie is great to look at, black and white film has many possibilities for looking stylish, and the cinematography by Joseph LaShelle looks wonderful. The movie is a good comedy-drama, it has its moments of both, I especially like the scene where Lemmon keeps switching the channels of the TV during a sponsor commercial, only for there to be an "alternate sponsor". The movie is enjoyable along with being clever, and Wilder is the reason for it, and the perfect person to make a movie like this.

Overall, I give it 10 out of 10 stars.