Bringing Up Baby (1938)

I have a very clear memory of watching this as a child. I absolutely loved it, and not just because I had a giant crush on Cary Grant. "Bringing Up Baby" made me laugh until I cried. There's something about being a child and letting such silliness take over your whole body, fully embracing the hilarity to where your belly aches. In many ways, screwball comedies such as this one are best viewed by a younger audience, an audience who isn't yet jaded by reality and responsibility - and even more importantly an audience not yet aware of what they should and shouldn't like.

Cary Grant plays David Huxley, a young paleontologist soon to be wed. He has painstakingly been preparing a full brontosaurus skeleton and is awaiting the final bone to make it complete. The day before his wedding, he meets Susan Vance (Katharine Hepburn), a free-spirited troublemaker who manages to entangle David into series of embarrassing incidents many of which involve a leopard named Baby. The slapstick comedy combines the perfect mix of hilarious elements as the eccentric characters seek a large sum of money, fumble over dangerous animals, steal cars, get in car accidents, gain and lose precious dinosaur bones, and all on the eve and day of a wedding.

Despite the hilarity of the situations the two leads find themselves in, it is a little painful to watch. There's a large amount of deliberate miscommunication and sabotage that leads to fully grown men coming out of the shower to don a frilly bath robe ("because I just went GAY all of a sudden!") - or worse, throwing rocks at important people. However, unlike other films of the same era, director Howard Hawks manages to make this succinct and cohesive. It doesn't have a dull moment or misstep. I find that many movies in the '30s and '40s tend to belabor plot points and spend too long in slow, uneventful conversation. "Bringing Up Baby" does no such thing.

Cary Grant exudes youth and age all at once with a dashingly handsome demeanor, school-boy giddiness, but an almost geriatric anxiety. His frantic shouts of "I'll be with you in a minute Mr. Peabody!" while whisked away on the sides of a car, or while escorting Susan Vance and her ripped dress out of the ballroom are delivered with comical exasperation. He commits with his entire body to his comedy with hilarious acrobatics in bursts of mania as well as blundering dialogue. He seems born for this role.

“Now it isn't that I don't like you, Susan, because, after all, in moments of quiet, I'm strangely drawn toward you, but—well, there haven't been any quiet moments.”

I have never been a big fan of Katharine Hepburn (I'm still not), and yet she and Cary Grant play off each other very well. The comedic timing and snappy dialogue is timeless. Katharine Hepburn has a voice that I famously despise, but still hearing her psycho-analyze David for "following her around and fighting with her" makes me crack a small smile. And, you know, annoying voice aside, Katharine Hepburn's wardrobe is killer.

"Bringing Up Baby" has spawned many grandchildren over the last 80 years of film-making. "What's Up Doc?" is an almost direct remake starring Barbra Streisand, Ryan O'Neal, and Madeline Kahn. It might be a stretch to call it a superior film (though I personally enjoy it more). But Baby's influence reaches far beyond to other silly comedies such as 1991's "The Freshman" (featuring a komodo dragon) or 2009's "The Hangover" (featuring 4 men and a tiger). Its influence on comedy is palpable - though none can quite compare to Hawks' masterful frantic, overlapping dialogue and sense of frantic hysteria. It's hard to believe that it wasn't a hit upon its release. Hawks, of course, went on to win an honorary Academy Award in 1974 for his creative efforts in the American film industry.

There are many hilarious moments, but maybe none more than Susan and David harmonizing "I Can't Give You Anything But Love" to a whining Baby stuck on a rooftop with confused onlooking homeowners. This is a small moment that captures the loud and vivacious hilarity of a pioneer comedy. 8/10

Other Notes:

Directed by Howard Hawks

Ranked #97 in AFI's Top 100 Years... 100 Films in 1998 and #88 in 2007

The Imitation Game (2014)

Morten Tyldum's "The Imitation Game" is based on the biography "Alan Turing: The Enigma" by Andrew Hodges. The movie title, of course, refers to Alan Turing's occupation during World War II working undercover "to break an unbreakable Nazi code and win the war." This British pioneering computer scientist must hide his incredible contribution to the war to protect the integrity of the project. Now we know their efforts to break the Enigma code were successful and we know who was responsible. But as this well-kept British secret remained classified for many years, it's taken some time for people to appreciate the extent of Turing's hand in significantly shortening the war. This is made even more significant when we think of Turing playing not one, but two imitation games. Not only does Turing pretend to have a different job than he does, but Turing pretends he is not a homosexual.

The irony behind this idea of imitation is that Turing's personality is completely unapologetic. With these two large secrets he must hide beneath, he refuses to let any other facade control him. His genius drives his creation of this code-breaking machine he fondly names after his childhood love, Christopher. Though he works with a team of other brilliant minds he compulsively does things his own way and doesn't do anything to suppress his abrasive personality. His coworkers struggle to decipher Turing just as much as they struggle deciphering the Enigma. Turing's sexual orientation, of course, plays a role in his socially awkward behavior, though I don't mean this in a derogatory way. Homosexuality was outlawed in Britain at that time, for Turing to acknowledge who he was would be illegal. Turing plays the game, but not without a breaking point.

Benedict Cumberbatch smartly and complexly plays the role of Alan Turing. Though I have been reluctant to join the Cumberbatch fan-girl bandwagon (which, to be frank, I still don't totally understand), I was impressed by his impeccable portrayal of the troubled mathematician. Turing's odd and disagreeable behavior could easily be dismissed as a dislikable character, but Cumberbatch brings out the endearing side. He allows us to see beyond the surface to triumph with his successes and feel sorrow over his pain.

Cumberbatch is perfectly balanced by Keira Knightley's supporting performance. She plays Joan Clarke, the bright female team member and Turing's close friend. She represents a much needed soft, lighthearted, joyful side to Turing's hard-nosed, serious presence. Knightley manages to capture Joan's struggle between her unfaltering loyalty to Alan with the subtle under-the-surface heartbreak of a love that could never be fully reciprocated. Other supporting performances are notable including Matthew Goode, Mark Strong, and Allen Leech.

The story itself develops like a suspenseful drama with pieces of a puzzle coming together in the manner of slow computers. The tone and pace are brilliantly fitting for a movie set in 1939 at the dawn of computer engineering. Of course the computing process is painstaking and Turing's discoveries take a while to make any real change because what we are witnessing is invention at its purest. Turing's story of technological breakthrough is told in classic flashback fashion, but it doesn't feel overwrought. Starting in 1951 with the intrigue of a police investigation and a defeated Turing suffering prosecution for indecency, to flashbacks of 1939 Bletchley Park (where the bulk of the narrative is focused), and integrating further flashbacks to young, bullied Turing in 1927. The jumbled patchwork of scenes slowly reveal different facets of our main character's life and being to help create this puzzle effect.

Though Turing's homosexuality was important to note in the plot, I was disappointed that the ending changed its focus so much to LGBT rights. Don't get me wrong, I support gay rights. I just thought the idea of homosexuals being subjected to such horrible treatment is, of course, cruel but was already represented implicitly. The explicit closing credits changed what the film was about. It's not a political movement. This is a film to celebrate intelligence.

In fact, this is where "The Imitation Game" succeeds best: in its inspiring depiction of brilliance. Though Alan Turing was a rather socially awkward specimen, he exhibited brilliance in more than just mathematics. Right after he and his team break the Enigma Code, his quick thinking to the responsibility they now held in the war is, in my mind, the time where he proves himself most as a genius worthy of respect. This is one of those movies where you walk away having learned more about a story worth hearing. 8/10

New York Doll (2005)

There is a misconception about documentaries. So many think that they must be boring, lacking a narrative, and only intended for a specific demographic. I must admit, I have shared this opinion as well and have not exposed myself to that many documentaries. But after watching “New York Doll” I can say that though they may be narrowly tailored and less focused on story – they are no less capable of reaching our heart than any fiction story.

Simply put, “New York Doll” is a delight. I mainly attribute its success to the emotionally driven depiction of our main character Arthur “Killer” Kane. Director Greg Whiteley effectively implements the talking head technique to let the audience get to know Arthur. The documentary starts with the camera following Arthur dressed in a white shirt and tie on his way to the Mormon temple. He mentions how his lifestyle has changed from the “instant sex wham bam thank you ma’am kind of stuff” of his rock star glory days to the devoted church-going days of today. The documentary includes a lot of screen time from Arthur and we get a chance to hear his story directly from him. As he describes his life it is endearing to watch him talk about his life changes. It is apparent how much his newfound purpose in religion means to him after his attempted suicide.

This being juxtaposed with footage of the history of the New York Dolls also supports our desire for Arthur to succeed. Many different band members from different rock groups of the same era were interviewed and provide the voice over narration describing the Dolls’ struggle with drugs, alcoholism, and the death of several members. Those interviews help deliver the voice of authority to convince us that Arthur was in need of a life change. One even mentions that the Dolls’ image was “disturbing to a lot of people.” To add to this, despite the good run that the Dolls went on as a band, it is clear in the footage that Arthur was a man hardened by drugs and a demanding lifestyle.

The bulk of the documentary, however, focuses on Arthur’s subsequent conversion to Mormonism and the reunion tour in London. Arthur is a man we want to root for and it is really neat to watch him stand up to his former band-mates and discuss his standards. The documentary depicts him as a man who has found new strength and a new purpose. I think this is an example of exalting the everyday –not because we have been in a rock band, but because we have had struggles to overcome. We root for Arthur because we want him to be happy and we know what it’s like to hit rock bottom – even if our rock bottom is different.

“New York Doll” is a documentary after our hearts. It’s the lovely depiction of a man we can connect with and helps us to chase after our own needed life changes. 8/10

The Hunger Games: Mockingjay - Part 1 (2014)

"Are you, are you coming to the tree? Wear a necklace of hope, side by side with me. Strange things did happen here, no stranger would it be if we met at midnight in the hanging tree."

The next installment of the Hunger Games series takes place shortly after "Catching Fire" and a rebellion against the Capitol is in full swing. Our hero, Katniss Everdeen (Jennifer Lawrence), is finally given a chance to catch her breath after the exhilarating events surrounding the Quarter Quell. She is reunited with her mother (Paula Malcomson), her sister Prim (Willow Shields) and best friend Gale (Liam Hemsworth) in District 13 - the secret, underground territory and headquarters for the rebellion. Now, however reluctant and emotionally broken she may feel, Katniss is poised to be the face for the rebellion. Their "Mockingjay." 

Without a Hunger Games, "Mockingjay" is a step outside of the usual formula for this dystopian series. But that doesn't mean that the games are finished for Katniss. As the symbol for the rebellion she must play her role to satisfaction for the new "game makers": Plutarch Heavensby (the late Philip Seymour Hoffman) and Alma Coin (Julianne Moore). It's almost a throwback to the first games where we got to watch Seneca Crane make all the moves to stage the perfect Hunger Games. Now we watch these two masterminds behind the rebellion stage (and film) the perfect scene of Katniss at the battlefront for the perfect propaganda. 

Like all games, there are two sides. Everything on the opposing side is strategized and orchestrated by the nefarious President Snow (Donald Sutherland). His strategy, though, is much more personal. His reactions to the rebellion's blows are concentrated on more specific targets. He knows that if he can demoralize the Mockingjay then the rebellion will be defenseless against his final check mate. Just as Plutarch and Coin are using Katniss, Snow has his own weapon: Katniss' Hunger Games counterpart Peeta Mellark (Josh Hutcherson). Katniss might have been confused about her feelings for Peeta before, but those feelings seem to be much more apparent as she watches Peeta's bruised face on the TV denounce the rebellion. The games go on, and the games affect Katniss more. The PTSD is real and through terrible shocks of a destroyed home, a tortured Peeta and hellish nightmares Katniss becomes more broken.

"Mockingjay" is the deepest of the three movies. I believe most people would agree that the third book is the weakest of the trilogy, but director Francis Lawrence manages to faithfully stick to the source material while enhancing on the emotion. It's an adaptation that everyone can be happy with. One scene particularly stood out to me as one of the most feels-inducing, if you will. While Katniss is visiting District 8 with Gale and her film crew, hoping to deliver some hope to the hopeless, the Capitol retaliates to the Mockingjay sighting by blowing up a hospital full of innocent, wounded people. PTSD or not, Katniss can still perform under pressure and she won't go down before whipping out her bow and arrow and shooting down a PLANE. Action aside, what is emotionally stirring about this scene is Katniss' subsequent powerful punch to Snow on camera. "If we burn, you burn with us."

Let's be honest. This would be nothing without Jennifer Lawrence. Katniss is portrayed so genuinely and honestly. You watch her work in these films and it's no question how Lawrence has shot to the top so quickly in movie stardom. She is the girl on fire, but she brings something bigger to the table in this film. Even the subtle scenes - like thumbing Peeta's pearl to calm her anxiety - show her emotional depth. She is never over the top (a drawback in the source material, which was written in first person), her outbursts in anger are natural for the broken hero. I believe the scene featuring her singing of "The Hanging Tree" perfectly culminates Lawrence's ability to emotionally reach out to an audience, I certainly know I was moved. Just as the rebellion was nothing without the Mockingjay, the movies are nothing without her either.

The supporting performances are equally as impressive. I must admit, it was a little heartbreaking to watch Hoffman and realize that we will never be surprised by him again. Woody Harrelson as Haymitch and Elizabeth Banks as Effie Trinket also deliver in their small but key roles. Donald Sutherland portrays Snow with such subtle cruelty and, man, are we excited for his comeuppance. Stanley Tucci, though no more than a cameo, is still a pleasant face in a dark world. Julianne Moore, however, is the greatest addition to his already stellar cast. With her Cruella de Ville-like locks and her calculating but sympathetic eyes she is the perfect face for the rebellion's leader. Lawrence may be the star, but this isn't all her show.

The ending is rather abrupt as Hollywood once again exploits a franchise' success by splitting a 390 page novel into two movies. Like, seriously. It was ridiculous with "Twilight" and even more ridiculous with "The Hobbit." However, despite the abrupt ending (and rather cruel tease), I actually agreed with this decision for the first time. The novel is a confusing mix of an emotionally driven first half to an action packed second act. It would have been a rushed, confusing mix as a movie, too. Splitting it into two movies allows for the audience to compartmentalize those emotions and no doubt "Mockingjay: Part 2" will bring this series to a satisfying conclusion next year.

It may be nothing more than a set up, but Mockingjay: Part 1 still delivers an emotionally stirring transition to the conclusion of The Hunger Games series. 8/10

Yankee Doodle Dandy (1942)

"My mother thanks you. My father thanks you. My sister thanks you. And I thank you."

I first saw Yankee Doodle Dandy when I was 10 years old. The older I get, the more impressed I become with how extensive my film repertoire was at that age. I have no idea how I was able to sit through some of those super old movies, (Birth of a Nation, anyone?) but whatever, I'm awesome. It's fine.

This is the George M. Cohan biopic. As his fame had died by the end of the film, so it has in American pop culture today - though most Americans would probably recognize his more famous tunes. Born on the fourth of July to two vaudeville performers Jerry (Walter Huston) and Nellie (Rosemary DeCamp) George (James Cagney) and his younger sister Josie (played by Cagney's real-life sister Jeanne Cagney) grew up performing and could dance and sing quicker than they could walk and talk. Collectively their act was known as "The Four Cohans" but it is made clear that young George was the star. He went on to be one of the most successful entertainers, playwrights, and composers in America's history. So, naturally, Yankee Doodle is the cookie cutter childhood-to-old age/rags-to-riches life sketch film told through flashbacks/voice overs. Aren't all showbiz stories told this way? One obligatory scene follows another: birth, childhood, humility period, success, failure, love, marriage, parents' death, retirement. Each scene is, of course, encased with a different grand, upbeat musical number. I guess you could say that this movie set the trend for other future '40s musicals but that's neither here nor there.

Of course, everything is also coated in shameless patriotism. Just after the attack on Pearl Harbor in 1941 the morale boosting "Over There" and "You're a Grand Old Flag" - though originally released years earlier for WWI - were brought back to the surface in this movie to capitalize on the war-time propaganda of the '40s. However, its propaganda threat is minimal and in no way forceful. Though unplanned, I happened to watch this around our beloved country's birthday. Talk about patriotism in Independence Day and all dem Tom Cruise movies and Yankee Doodle Dandy fits the bill for one of the most American movies out there. Sure a few choice songs and well-placed flags have got audiences feeling nostalgic for the land they love but the obvious American themes and the timeliness of its release being considered, this is still just a sing and dance movie. The agenda is not pushed. You just might be able to see a little red, white, and blue poking out through all that black and white.

(This film was, incidentally, the first ever computer-colorized film released in 1986... but we don't need to talk about that).

(And again, I compare to Birth of a Nation which is one of the most propaganda-filled, racially-charged films ever and this is nowhere near that level. Don't worry, I'll get to that movie soon).

This review and re-watch of Yankee Doodle Dandy is just the beginning of a rather large project to watch all of the AFI Top 100 movies. With every movie that I review, I'm trying to look for the elements that set these films apart from others. Why were they chosen? Why should we like them? As I thought about this in regards to Yankee Doodle Dandy, I came to the conclusion that the single element that makes this movie just one cut above the rest is the star himself: James Cagney. Because honestly, besides notable historical implications and patriotic themes that obviously have influenced America this movie is nothing spectacular - besides the absolutely spectacular performance of Cagney.

In the last few weeks I have now seen three other James Cagney movies. His notable performances in White Heat (1949), Angels with Dirty Faces (1938*), and Love Me or Leave Me (1955*)  really contributed to a deeper appreciation of his talent and an increased perspective on his performance as George Cohan. I mean, it's like how I kind of think it's strange that Marlon Brando (THE GODFATHER) was ever in Guys in Dolls, so it is that Cagney - known at that time mostly for gangster roles - was a fish out of water as the singing and dancing entertainer. Though not his debut in a musical, he was still dancing in unfamiliar territory before audiences, but man is he not shy. He gives this performance his all with a unique dancing style (how do his legs even move like that?) and superbly steals every scene. I noticed this in his other films, but I especially noticed in Yankee Doodle Dandy how he demands attention every time he's on screen. You cannot help but stare at him - and nothing else. Everything about his singing, his mannerisms, his dancing, his facial expressions is grandiose and a spectacle you can't take your eyes off of.

To back this up, two particular scenes stood out to me. First, the scene early on when 20-something George meets his future wife Mary (Joan Leslie). He's made-up as an old man, but Mary is led to believe his beard, long white hair and cain are authentic and she's speaking with a respected performer of 86. Slowly George - in character as this old man - starts to move. He first stands with difficulty, but within just a few minutes he's kicking his legs higher than a ballerina and spinning around faster than a merry-go-round while Mary just gawks at him like WUTT.

Second, Cohan exits with a bang as he wraps up his life-story to Franklin D. Roosevelt of all people in the White House of all places. (As an additional historical side note, this is the first time any movie has featured an actor playing the current US President). As he exits the building, he walks down the steps. And he starts to dance. Completely improvised, done in one take, only 20 seconds long and impeccably timed to the building background music culminating the end of a story, James Cagney wasn't about to let the White House staircase best him in a scene.

You can't take your eyes off him.

Other notes:
Directed by Michael Curtiz
Won Academy Awards for Best Actor (James Cagney), Best Music, Scoring of a Musical Picture, Best Sound and was nominated for Best Picture, Best Supporting Actor (Walter Huston), Best Director (Michael Curtiz), Best Film Editing, and Best Writing Original Story.
It was ranked #100 in AFI's Top 100 Years... 100 Films list in 1998 and #98 in 2007.
*Cagney was nominated for an Oscar in these two films as well.

And as for my opinion, though irrelevant, I would rank it an 8/10.

Up in the Air (2009)

It's funny. 2009 really doesn't feel like that long ago. In 2009, I was living in Tahiti. I was 18 and gratefully less affected by the terrible economic recession that blew away America. I remember hearing about my friends and my friend's parents losing jobs. It felt like a distant reality, but strangely close to home since it was hurting people I loved.

This might have affected me more had I seen it in the moment, but I think watching it now - five years later - allowed for an interesting reflection on my adult life. Where I'm headed, where I've been, what I haven't experienced, and what I'm sure glad I didn't experience in 2009.

Ryan Bingham (George Clooney) is a corporate downsizing expert. In other words, he fires people for a living. He spends 75% of the year flying across the country doing other boss's dirty work. Him being a dick sort of comes with the territory, but he isn't disagreeable by any means. He's simply a man that's good at what he does: suavely helping these eliminated excess employees "transition." He gives them an opportunity, not the end of the line.

He's a proud loner. The airport, the airplane, the air itself is his home, and he's perfectly fine that way. He's in the zone when in transit, when going for drink at terminal 2, when renting vehicles. No wife, no kids, he relishes his frequent flyers position and his life pursuit is to reach 10 million miles. The films hinges on the development of his character and Clooney majestically makes Ryan relatable to all of us. This is George Clooney just getting better with age, and he delivers an absolutely masterful performance. I don't think we really realize how great he actually is in this movie. He does everything so effortlessly! He laughs the laugh of a sad man who doesn't know he's sad. He speaks purposefully but with an undertone of uncertainty. He develops but it isn't an instantaneous, forced change by any means.

This change is initially instigated when Ryan meets Alex (Vera Farmiga). Alex is, in essence, the female version of Ryan. They meet in his zone. In transit. For a drink. For a one night stand. Ryan learns a lot about himself in his fleeting relationship with Alex. He is terrified yet entranced by this mirror image of himself. Farmiga is fabulous as this smart and sexy commitment-free frequent flyer. She's good in anything.

Ryan develops further in his travels with Natalie (Anna Kendrick). Natalie is the newbie assigned to Ryan. He shows her the ropes of execution. Natalie is 23, ambitious, dismisses Ryan as "old", and a bit hot-headed. Ryan's career is threatened when Natalie introduces a cyber-firing method that will make his up in the air position obsolete. They travel together for a spell, ruining people's lives and discussing their views on life (which vastly differ from each other). Anna Kendrick fantastically contributes to this acting trio - all three were nominated for acting Oscars. These three characters are the meat of the film. The story is guided by a simple slice, a mere taste of these three lives intertwining - and their dialogue with each other, their simple human, realistic interactions are what make this film beautiful.

What makes this film so incredible is its poignant connection to reality. This is only Jason Reitman's third film after the marvelous Thank You For Smoking (2005), and Juno (2007). This guy - now age 37 - has some SERIOUS talent up his sleeve, he can do no wrong with character films. For the realism, Reitman used real footage of real people who had just been fired. It's a film for the times, with people like you and me reacting to some of the worst news they could ever receive - a worst fear for many. This stuff is REAL. I have never been fired, but I could feel it. I felt the pain, and the anger. THE FEELS, MAN.

I loved this movie because though, admittedly, it was kind of depressing, it's subtle. I love how unforcedly Ryan develops in his character. He doesn't go all 180 and settle down and realize he's missing out on life like something Hallmark. Despite what many movies teach us, change is hard and people don't actually change who they are over the weekend. Ryan doesn't. And it's refreshing. And yet, you still see a flicker of change growing deep down there. The start of a new outlook on life for the aged flyer.

Five years later, or whatever, but this might have been my pick for Best Picture in 2009. Closely matched with Inglourious Basterds. And I definitely think some acting Oscars should have been won.

Though the film certainly centers on our three leads, the supporting acting cannot be ignored. Jason Bateman, JK Simmons, and Zach Galifanakis in their small roles were enjoyable as usual. Up in the Air is a character study, and provides a great insight into people we see everyday but don't necessarily know. 8/10