The Parallax View

A Seattle journalist is denied access to the Space Needle where a conference with the Senator is taking place when the guest of honor is murdered. As the government committee declares the assassination to be the work of a lone gunman, the journalist's ex-girlfriend/colleague visits him in terror of being murdered as other witnesses to the crime are being mysteriously eradicated. When she turns up dead a few days later, the brazen reporter launches his own investigation which leads him to the abstruse Parallax corporation and, which goes without saying, way over is head. Two years before creating his political thriller classic "All the President's Men" and during the Watergate scandal that provided the basis for that film, director Alan J. Pakula crafted another outstanding, paranoid yet not as successful film based on another landmark event in U.S. history. Using the JFK assassination and the Warren Commission as a springboard, "The Parallax View" brings terrifying believability to ludicrous scenarios. Filmed much in the same manner as "ATPM", Pakula uses slow burn tension and minute detail to concoct an absorbing story. Warren Beatty is brash and cheeky and absolutely perfect for his role as the hero/patsy. I personally do not subscribe to conspiracy theories but Pakula's film does an excellent job of showing how the puzzle pieces can be arranged to form an entirely different picture.

Beverly Hills Cop

After tearing up half of Detroit during an undeclared undercover drug bust and nearly getting thrown off the force, renegade cop Axel Foley finds his wayward best friend murdered right before his eyes. Tracing a connection to the hit to Beverly Hills, fish-out-of-water Foley launches his own investigation, much to the dismay of the straight laced members of the police department. Martin Brest's "Beverly Hills Cop" features Eddie Murphy at the top of star status in an immensely likable performance. The script is strictly standard and the veneer is cheap and unmemorable, but Murphy, along with other members of the cast including Judge Reinhold and John Ashton as BHPD detectives, Steven Berkoff and Jonathan Banks as the baddies, Lisa Eilbacher as Foley and the victim's mutual friend, and Bronson Pinchot in a particularly funny role, help elevate the material to an enjoyable campy level.

Ivan the Terrible, Parts I & II

"Ivan the Terrible" was legendary Russian director's last great work, yet also the film that put an end to his unprecedented career. Originally slated as a three part project, Stalin sensed the political undertones in the second film from Eisenstein's depiction of the secret police, and had the film banned and the series cancelled (Part II was released in 1958). Parts I and II of Eisenstein's epic are highly stylized depictions of the brutal of the czar, with Ivan's war against the aristoratic Boyars, court intrigue, murder of Anastasia, and revenge against his betrayers drawn in long shadow and sharp artistic details (a color shift during a celebration in "II" is both jarring and exciting). The cast members are seen as caricatures and Nikolai Cheraksov's wide eyed lead performance is something to behold. Strangely for a historical epic, "Ivan the Terrible" is a triumph of style over substance and a worthy, if incomplete swan song for a great master.

Shame

Brandon is a successful New Yorker, who has a good job, owns a posh apartment, and is viable to women. He is also a sex addict whose compulsory habits dominate every aspect of his life and prevent him from sharing intimate relationships. When his sister, an outgoing and unstable counter, comes to stay with him, Brandon's life begins to spiral out of control as his addiction become more drastically manifested and his sister's cries for help go unanswered. "Shame" reunites director Steve McQueen and Michael Fassbender from their whirlwind film "Hunger" and again features a brave and bravura lead performance. Fassbender manages to capture the pain and suffering of his "affliction" and bring sympathy to a largely despicable character. Carey Mulligan is excellent as well as his sister who provides a catalyst for his embarassment, anger, and past sufferings. With this his second feature, McQueen again directs with unabashed ferocity and the opening and closing segments are unquestionable cinematic achievements. My only complaint here is that it doesn't feel like an authentic portrait of an American lifestyle, but rather an outsider's take. Regardless, "Shame" is a piece of stellar filmmaking and courageous acting that is a punch to the teeth of tepid and prudish American studios.

Forever Ealing

"Forever Ealing" charts the history of the famous British studio, one which was considered more than a studio than a business. Founded in 1902, the studio found great success in its 1930s comedies and then under Michael Balcon, with its morale boosting war films of the 1940s. In a time when the country needed laughter more than anything, Ealing had its finest era producing many beloved comedies, many starring the great Alec Guinness, among which included "The Lavender Hill Mob"  and "The Ladykillers". Narrated by Daniel Day-Lewis, this retrospective provides a concise history of the studios and, not unlike its subject, is low-key and genial.

Another Earth

Having just been admitted to MIT, a brilliant young woman is on her way home from celebrating when an announcement plays over the radio that another planet has been discovered in our solar system. In that same minute, the woman drifts into the oncoming lane, killing a college professor's family while leaving him in a coma. After serving four years in prison, the woman reemerges into a life of misery and insinuates herself in the life of the bereaved professor. Now, a contest awarding relocation to the new planet offers her a chance at life anew. Mike Cahill's "Another Earth" is a well thought out and deeply felt quasi science fiction film. Brit Marling, who cowrote with Cahill, succeeds in evoking notions of sorrow, regret, and hope in her character and William Mapother, who I have regrettably not seen since the searing "In the Bedroom", is fine as well playing the grieving and angry professor. The film missteps in some regards. I would have omitted an entire unnecessary subplot involving one of Marling's coworkers. All and all though, this is an intriguing treatise on forgiveness and redemption.

Victor Victoria

A starving singer in Paris (Julie Andrews) is taken in by a homosexual stage performer (Robert Preston) who saw her audition and believes she has what it takes to be a big star, if only she had a gimmick. Deciding to take the drag act a step further, Victoria will become Victor, a "man" impersonating a woman. Soon her act is the toast of the town, and Victoria will soon draw the curiosity of a Chicago gangster (James Garner) who can't understand the strong feelings he holds for the male performer on the stage! "Victor Victoria" is an outrageous movie that is given an improper treatment. Director Blake Edwards, husband of Julie Andrews, brings the same broad slapstick farcical elements he did to his "Pink Panther" movies and creates the wrong, often embarrassing and unfunny, tone needed for this picture. The main conceit, a woman playing a man playing a woman, is too difficult to believe and although Andrews is earnest in the part, the gimmick is just too distracting. I took pleasure in this film by admiring the supporting performances. Preston is excellent as Andrew's wisecracking homosexual partner and Garner is very strong as the gangster whose tough veneer is only a mask. Lesley Ann Warren and Alex Karras (Mongo from "Blazing Saddles") highlight the film as Garner's mistress and closeted bodyguard. "Victor Victoria" is actually a fun film. I just found myself shaking my head once too often at gags that didn't come off and pondering how much better it could have been.

Joan Baez: How Sweet the Sound

Joan Baez was the voice of her generation, a brilliant and stunning beauty who sang like an angel yet breathed fire when it came to her socially conscious views. "How Sweet the Sound" is a portrait of her career as a singer and social activist, from the early years with her glowing success and relationship with Bob Dylan (who is in the film), to her staunch support of Civil Rights and antiwar movements, to later support of the people of Sarajevo, and continued prolific work as a singer/songwriter. This retrospective of Baez's career is a loving portrait of the artist, with her beatific songs providing a contrast to the more contentious parts of her life and personality. Baez herself appears in the film and is as radiant and outspoken as any time during the course of her life. "Joan Baez: How Sweet the Sound" is a excellent examination of a beautiful, talented, and determined personality.

2012 Oscar Challenge

If you submit a ballot picking the Oscar winners and have more correct picks than me, then you win a DVD of your choosing valued at $15.00 or less. Only one winner and no cost to enter. Submit you picks before 8:00PM EST on February 26, 2012.

Follow this link to enter: http://kwiksurveys.com?s=OBDENH_1925395b

Here are my picks for this year:
Best Picture
The Artist
Best Actor
Jean Dujardin
Best Actress
Viola Davis
Best Supporting Actor
Christopher Plummer
Best Supporting Actress
Octavia Spencer
Best Director
Michel Hazanavicius
Best Original Screenplay
Midnight in Paris
Best Adapted Screenplay
The Descendants
Best Animated Film
Rango
Best Foreign Film
A Separation
Best Cinematography
The Tree of Life
Best Editing
The Artist
Best Art Direction
Midnight in Paris
Best Costume Design
Anonymous
Best Makeup
Albert Nobbs
Best Original Score
The Artist
Best Original Song
The Muppets, "Man or Muppet"
Best Sound Mixing
The Girl with the Dragon Tattoo
Best Sound Editing
The Girl with the Dragon Tattoo
Best Visual Effects
Rise of the Planet of the Apes
Best Documentary
Pina
Best Documentary Short
The Tsunami and the Cherry Blossom
Best Animated Short
The Fantastic Flying Books of Mr. Morris Lessmore
Best Live Action Short
Tuba Atlantic

Extremely Loud and Incredibly Close

Reeling from the death of his father who perished in the World Trade Center attacks on 9/11 and angry at his grieving distant mother, a nine-year-old boy begins a treasure hunt across the five boroughs of New York City, convinced that a recently found key among his father's belongings will unlock some sort of secret to his life. Director Stephen Daldry ("Billy Elliot", "The Hours") and screenwriter Eric Roth's ("Forrest Gump", "Munich") adaptation of Jonathan Safran Foer's novel has been roundly attacked (even moreso since its Best Picture nod) for its "manipulative" 9/11 plot as well as its "one-note" handling of Asperger's syndrome. These criticisms are largely unfounded and unfairly thrust upon the film. First off, when did tragedies become off-limit subjects for movies? Films such as "Schindler's List", "Tora! Tora! Tora!", "The Killing Fields" among others are made without protest, and yet every filmmaker who presents a 9/11 subject is attacked as an opportunistic capitalist. Secondly, I found Thomas Horn's performance as the grieving, likely autistic young boy to be excellent and a realistic portrayal of someone in that particular situation. The strength of the rest of the film lies in its supporting players. While Tom Hanks is cloying as the father and Sandra Bullock is underused (though good) as the mother, Max von Sydow, Viola Davis, and Jeffrey Wright all contribute excellent performances as strangers who help Horn along his journey. I did have problems with the film, ones that differed with the masses however. I would have liked to see more of the city. For a movie that is billed as a child's search throughout New York, the movie is singularly focused on the boy and not so much on the city and its residents. Again, Tom Hanks is really hard to stomach. While I do not think this is a great movie, I do think it is a good one that has been unjustly attacked. I has also done right by its sensitive yet fair game subject.

Ip Man

In 1930s China, the town of Fo Shan was an epicenter of the martial arts, where students traveled from miles away to study under the various disciplines. Of all the teachers in all the schools, the most skilled was Ip Man, a courageous master who practiced the art of Wing Chun and defended the townspeople from invading forces. When the Japanese overran their town, Ip Man and the rest of the villagers were resorted to a life of destitution, hunger, and misery. Soon though, a sadistic general and his brutal lieutenant's need for sport will give the great master another opportunity to demonstrate his supreme talents and fight against injustice. "Ip Man" is an entertaining and kinetic martial arts movie about the man who eventually train several Kung Fu legends, among them Bruce Lee. As the title hero Donnie Yen, an unknown to me, is absolutely magnetic and in addition to a stunning arsenal of moves he also brings an intense likability to his character. The film's subject is somewhat broad and more concerned with the action sequences than the plot (as are most of its viewers). Still, "Ip Man" serves its purpose thanks in large part to an outstanding lead performance.

A Little Help

In 2002 Long Island, an alcoholic dental hygienist has a quarrel with her philandering husband who proceeds to drop dead after a visit to the doctor's office for chest pains. Now, with her overbearing family forcing her to be party to a malpractice suit and demanding she move her loner son to a private school, she begins to perpetuate a lie when he tells his new classmates that his father was one of the fallen firefighters in 9/11. Michael J. Weithorn's "A Little Help" is a slight film that is notable for a strong central performance from Jenna Fischer from TV's "The Office". In a film filled with more than a few misfire gags and irritating supporting performances, Fischer carries it with a commanding lead performance that succeeds both comically and dramatically. Watching "A Little Help" I was reminded of "Big Fan", another tale about a maladjusted New Yorker centered on a towering lead performance. As Patton Oswalt elevated that film, so does Jenna Fischer in this movie that is not quite worthy of her talents.

The Iron Lady

A confused and alone Margaret Thatcher walks to her corner store, unnoticed, buys a pint of milk and returns home. As she goes about the course of her day, with the early stages of Alzheimer's setting in and receiving frequent visits from the ghost of her dead husband, Britain's first female Prime Minister recounts her improbable political career defined by an indomitable will which earned her the title moniker. "The Iron Lady" is a poor treatment of an invigorating and controversial figure. Meryl Streep looks and plays the part impeccably but she is letdown by a lame and poorly focused screenplay by Abi Morgan (who also penned the script for the excellent "Shame") and distracting and lacking direction by Phyllinda Lloyd ("Mamma Mia!"), an inexperienced director who was perhaps not the right person to helm this project. Some of the sequences due come off well, particularly the parliamentary scenes with the bullying male members and the Falkland War sequence. Most however seem rushed and undeveloped ("Oh my campaign manager was just blown to bits" cut immediately to scene where I become P.M.). Sadly, it also must be said that Jim Broadbent, an actor I cherish, is not only misused as Thatcher's goofball husband, he is downright insufferable. With a magnetic topic, a finely tuned lead performance, and a fine supporting actor put to paltry use, this failure should be chalked up to that of the writer and director.

One Day

A plain and shy girl and an arrogant charmer hook up on July 15th, 1988, the day of their college graduation and we are shown that day every year over the course of twenty plus years to revisit their relationship. "One Day" is a lifeless, lazy, and shameless film which contains unbearable acting, unlikable characters, and easy plotting. It's directed by Lone Scherfig who made the well realized "An Education" and here is failed by the screenplay (written by David Nicholls, author of the book) and only succeeds in employing pleasant production values. Anne Hathaway's British accent comes and goes and her performance is paltry to boot, same goes for Patricia Clarkson playing Jim Sturgess' mother, and he is just as putrid as well! The characters and the relationships are so poorly drawn that the relationship between Hathaway and her nerd husband played by Rafe Spall, which is supposed to be bland and ungainly, ends up being more compelling then the one between her and Sturgess. The filmmakers here are trying to convey that crazy kind of love that knows no rationality, but it's not that crazy inexplicable kind of love. It's the screenwriters were two lazy to invest in their characters so they employed a cheap gimmicky screenplay kind of love.

Le Havre

A childlike yet streetwise shoe shiner in the French harbor town of the title comes across a young Senegalese boy who has just escaped deportation and is trying to reach his family in London. Pooling his resources, even with his sick and loving wife in the hospital, the man along with the other members of the community decide to assist the boy in his travels. "Le Havre" is  from Aki Kaurismaki who, with his starkly painted town and gentle lightheartend tone, creates an evocative atmosphere while making a subtle statement on immigration and general humanity. As the old rascal, Andre Wilms is exceptionally fine and has his best moment in a scene where he improbably threatens a local official. Blondin Miguel also contributes fine work as the boy and Kati Outinen is great as well as Wilms' protective wife. "Le Havre" is a genial if unspectacular film that, if nothing else, succeeds in celebrating the human spirit.

Carnage

After an altercation between two young lads at The Brooklyn Bridge Park leads two one of them getting two of his teeth knocked out, the parents of both parties gather at the victim's apartment to hold an amicable discussion. Soon, as tensions begin to mount, civility is lost and the true nature of the parents begins to shine through. Roman Polanski's "Carnage" is a tightly wound, claustrophobic, and extremely funny adaptation of Yasmina Reza's God of Carnage. Aside from the dialogue free scenes involving the children which bookend the film, Polanski keeps the action entirely within the confines of the apartment and is able to generate the same kinds of caged feelings utilized in his classics such as "Rosemary's Baby" and "Repulsion". All four members of the cast are uniformly excellent, and by painting them as liberal (Jodie Foster, John C. Reilly) and conservative (Kate Winslet, Christoph Waltz)  Polanski, coscripter Reza, and the players get to have an even greater field day with the material. "Carnage" is a laugh-out-loud stage to screen adaptation from a master of tension that features four finely tuned and on point performances.

The Marinovich Project

Todd Marinovich was the thought to be unstoppable quarterback sensation. Dubbed Robo-QB for his unequaled skills, Marinovich was raised by his father as a machine, with constant workouts, strictly regimented diets, and never accepting the possibility of failure. With a media circus following him around, Todd found success at USC, although the new found freedom of college led to a spiral of drugs and alcohol. As a pro athlete with the L.A. Raiders, Marinovich lasted only two years and his case is often cited as a detraction for overbearing parents of athletes. "The Marinovich Project" is an engaging documentary that tells an interesting story and raises many (some alarming) questions. The film does go on for about a half hour too long, as the father and son's reconciliation at the conclusion is painfully dragged out. Aside from the closing missteps, this is an excellent examination of a parent's role in an athlete's development.

Storytelling Giant

"Storytelling Giant" is a compilation of Talking Heads music videos which are interspersed with a series of mock interviews with seemingly real people. Bandleader David Byrne's surrealist videos often come off as excellent while others, like many of the interviews are just playing strange. The music is great all around.

Finding Lucy

A study was once done that determined that more people had seen the face of Lucille Ball then any other face in the course of human history. The plucky red head who struggled for years finding her place in Hollywood, got in on the ground floor of television, and with her fiery Cuban bandleader husband Desi Arnez, crafted one of the most endearing and beloved personalities and TV shows ever. "Finding Lucy" isn't so much a retrospective of Ball's life, something the "American Masters" series does so incredibly well, rather than an "I Love Lucy" clip show. While giving us few fleeting insights to and moments of her life, this program is mostly concerned with her monumental television show than it is in being a personal portrait. The narration is also terribly written and spoken and considerably damages this documentary also.

Jammin' the Blues

"Jammin' the Blues" is an Academy Award nominated short from 1945 which was admitted this year to the National Film Registry. It is a moody, free flowing, and innovative showcase of some of the great (and sadly) mostly forgotten Jazz legends including Lester Young, Harry Edson, and Red Callender. 

The House I Live In

"The House I Live In" is a famous public announcement from 1945 by director Mervyn LeRoy which was awarded a special Academy Award for its subject of tolerance. While taking a break from a recording session, Frank Sinatra runs across some neighborhood kids bullying a Jewish boy (whose ethnicity is never explicitly stated) and gives the ruffians a lecture and a song on religious equality. The short is surprisingly effective, well written and not as cloying as you'd expect. Sinatra is magnetic as well.

The Notorious Bettie Page

Bettie Page was the toast of her small Tennessee, a stunning and spunky beauty who caught everyone's eye and  also had earned a full ride to a local community college. Throughout those early years, she also suffered lurid physical and sexual abuse from the likes of her husband, admirers, and even her father. So to escape the horrors, she headed to New York to pursue an acting career where she was discovered laying out at a beach by a local photographer. Soon, she would become a national pinup queen while naively becoming involved with some bondage photography which would lead to a Senate investigation and earn her the title The Notorious Bettie Page. "The Notorious Bettie Page" is a well made biopic from writer/director Mary Herron. Deciding to shoot in black and white, with occasional color photography, the film has a clear, crisp look that nicely captures the era. As Page, Gretchen Mol wonderfully embodies the sex icon. The cast is also rounded out nicely and features fine work from David Strathairn as a straitlaced Senator, Lili Taylor and Chris Bauer and a pair of sibling pornographers, and Jared Harris as a quirky photographer.

2012 Oscars: Predictions, Thoughts, and Gripes

Another Oscar nomination morning has come and gone and once again had its share of pleasant surprises and outrageous snubs. Here's a rundown of the major categories, who should have made it, who shouldn't have, and who's going to take home the big prize in a month.

Best Picture

Due to undeserving films snagging nominations when the Academy expanded their top prize to ten nominees, this year the nominees must have received 5% of first place votes, leaving us with nine contenders for Best Picture. Aside from a nomination for the largely panned "Extremely Loud and Incredibly Close", there were no great surprises and it was nice to see "The Tree of Life" and "Midnight in Paris" get the recognition they deserved. While "Hugo" more brilliantly captured the early movie making era, people were enamored with "The Artist" and it should win this year's top prize, although "The Help" and "The Descendants" have outside chances as well.

Will Win: "The Artist"

Should Win: "Hugo"

Best Director

The Academy did a wonderful job with the directing category nominating outsiders Terence Malick and Woody Allen alongside Martin Scorsese and Alexander Payne, all of whom did an excellent job with their films. Unfortunately, the least deserving nominee will walk away with the director's statue.

Will Win: Michel Hazanavicius, "The Artist"

Should Win: Martin Scorsese, "Hugo"

Best Actor

In the best actor category, the Academy made two of the most outrageous snubs while also granting a long overdue nomination to a long passed over performer. Gary Oldman's nod for "Tinker Tailor Soldier Spy" puts an end to an absurd streak of being overlooked. Michael Fassbender's snub however for his brutal portrayal of a sex addict in "Shame", the best performance of the year in my mind, is evidence of The Academy's prudish image conscious nature and the same reason that cost Oldman nods for several of his past searing performances. It is also criminal that Michael Shannon was not recognized for "Take Shelter" and I'm not sure why Demian Bichir was nominated for "A Better Life", a film that I and many others have not seen. A solution to this problem would be to instead nominate Brad Pitt in the supporting category for his excellent work in "The Tree of Life" instead of putting him in for "Moneyball", although he was good in that as well. Anyways, I think George Clooney's career best performance in "The Descendants" will edge out Jean Dujardin in "The Artist".

Will Win: George Clooney, "The Descendants"

Should Win: Michael Fassbender, "Shame"

Of Those Who Can Win: George Clooney: "The Descendants"

Best Actress

More surprises here with Rooney Mara getting a deserving but unexpected nod for "The Girl with the Dragon Tattoo". I haven't seen it yet, but with its egregious and aggressive ad campaign, I'm a little disappointed with Glen Close's nomination for Albert Nobbs, when such great performances from the likes of Juliette Binoche ("Certified Copy"), Kirsten Dunst ("Melancholia"), Vera Farmiga ("Higher Ground"), Elizabeth Olsen ("Martha Marcy Mae Marlene"), Charlize Theron ("Young Adult"), and Mia Wasikowska ("Jane Eyre" and "Restless") were left in the wind. I have no idea where the chips will fall here. There's strong support for Meryl Streep, Viola Davis, and Michelle Williams and although Davis was the only one of the trio not to win a Golden Globe I think the Academy will honor her.

Will Win: Viola Davis, "The Help"

Should Win: Rooney Mara, "The Girl with the Dragon Tattoo"

Best Supporting Actor

Following the Fassbender snub, the second greatest outrage comes with Albert Brooks being refused a nomination for "Drive" in a ferocious turn as a ruthless L.A. businessman in one of the year's best performance. Jonah Hill was affable in "Moneyball" but nowhere near Brooks' league as far as acting is concerned. I also would have liked to see a nod for Armie Hammer for his fine work in J. Edgar. That being said, I was ecstatic when I heard Kenneth Branagh and Nick Nolte's names being read as well as 82-year-old stalwarts Christopher Plummer and Max von Sydow, all of whom contributed excellently.

Will Win: Christopher Plummer, "Beginners"

Should Win: Albert Brooks, "Drive"

Of Those Who Can Win: Nick Nolte, "Warrior"

Best Supporting Actress

I'm not sure where I stand on the Melissa McCarthy nomination. I hate to harp on the Fassbender thing, but how can the Academy honor a performance that celebrates defecation and vomiting among other things but ignore another due to its adult sexual subject matter, which I believe they did? Back to the point, McCarthy did contribute fine work, but the fact that she stole the slot from Shailene Woodley and her excellent work in "The Descendants" doesn't quite sit right either. Also, Jodie Foster and Kate Winslet were equally great in "Carnage", as was Carey Mulligan in "Shame", all of whom should have received recognition, especially in such a weak field of nominees. Again I haven't seen "Albert Nobbs" and can't judge Janet McTeer's performance. I didn't think Jessica Chastain and Octavia Spencer were any great shakes in "The Help", although I'm glad Chastain got recognized for her remarkable year. Berenice Bejo was pretty charming in "The Artist" and I think she'll squeeze past Spencer and take home the Oscar.

Will Win: Berenice Bejo, "The Artist"

Should Win: Shailene Woodley, "The Descendants"

Of Those Who Can: Berenice Bejo, "The Artist"

Ikiru

An elderly bureaucrat who has given up on life long ago receives a terminal stomach cancer diagnosis. Despairing his wasted life, lack of friends, and his relationship with his estranged son, the man opts to spend every penny in a night of drunken revelry. Coming to his senses, he takes consolation in the company of a younger coworker who, in turn, inspires him to take up a small yet courageous act of public goodwill. "Ikiru" is a film of truth and great beauty from legendary Japanese director Akira Kurosawa. A change of pace from his equally insightful Samurai pictures, "Ikiru" is a frank and existential look at one's man life, told artistically and atypically. Takashi Shimura is excellent and incredibly effective as the protagonist, and as his character's life begins to find purpose in the building of a playground against all the nonsensical and bureaucratic red tape, it culminates in one of the most beautifully realized endings in the history of the cinema. "Ikiru" is a sad, moving, and ultimately life affirming rumination on the banality of bureaucracy and the catharsis of charity.

A Tale of Two Cities

Revolution is in the air in France as the poor starve in the streets and despicable aristocrats such as the Marquis St. Evremonde (Basil Rathbone) live lives of decadent opulence. When his nephew, the earnest Charles Darnay (Donald Woods) emigrates to London and marries the daughter of a doctor persecuted by the aristocracy, Evremonde sees that he is outed a traitor.  At his trial, he is defended by Sydney Carton (Ronald Colman), a wastrel living an empty life. Now, feeling an affection for his new group of cohorts and especially for Darnay's wife Lucie (Elizabeth Allen), Carton sees an opportunity to make a humanistic sacrifice when the Revolution spirals out of control and encumbers all involved. "A Tale of Two Cities" is a glorious adaptation of one of Charles Dickens most beloved novels. Produced by David O. Selznick at MGM, wonderfully captures the best of times and worst of times of the classic novel. As Sydney Carton, Ronald Colman gives a wonderfully brooding and completely affecting performance. He is given strong support from a slew of familiar players which includes Basil Rathbone, Reginald Owen, and especially Edna May Oliver who is a hoot as Lucie's wisecracking servant and Blanche Yurka as the insanely vengeful Madame De Farge. The production values are all top notch and are particularly spectacular in scenes involving the storming of the Bastille, the peasant's kangaroo court, and the mob lined guillotine sequence. "A Tale of Two Cities" is a remarkable achievement in that it brings a classic work to the screen in both literate and rousing fashion.