John Grant

I found quite a surprise last week while watching The Works network on TV. They presented a 1966 film directed by George Axelrod called “Lord Love a Duck.” The movie stars Tuesday Weld and Roddy McDowall as a couple of high school students. Weld, playing Barbara Ann Greene, wants to be famous and McDowall, playing Alan “Mollymauk” Musgrave, offers to help her. The movie then begins a convoluted plot that becomes mostly a farce with a few serious dramatic moments. Besides McDowall and Weld, Ruth Gordon and Harvey Korman also play over-the-top characters.

 
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Axelrod, who also helped write the screenplay, opens his movie just after Alan does away with some people during a high school graduation ceremony. After his arrest, he narrates the whole story into a tape recorder while the film plays in flashback. Quick cutting and very sardonic dialogue ensue, especially from McDowell and Ruth Gordon, who plays the hilarious mother of Barbara Ann’s fiance. Mollymauk, Alan’s nickname and a species of duck, weaves himself everywhere throughout the film. He even shows up at a chaotic, Southern California-style spring break, where the girls dance around in bikinis and Barbara Ann meets her fiance Bob Bernard (Martin West).

Things seem to be looking up for Barbara Ann when a movie producer, famous for making bikini pictures, spots her and wants to put her into a movie. This, of course, would make her famous, but Bob forbids it. This leads to a rather surprising plan concocted by Alan. The movie presents one satirical surprise after another, and it’s just the kind of film it’s fun to stumble upon while watching TV.

Among all war films, the 1966 Italian-Algerian production called “The Battle of Algiers” seems to invoke the tensest evocation of the current state of warfare in the world. It’s war taken to a divided city where cultures compete and freedoms seem sapped as a result of over a century and a half of occupation. It tells the story of the Algerian revolution from both sides, with much bloodshed and explosions. In addition, we hear how tiresome the philosophy of the oppressors and revolutionaries become when confrontation happens at every turn, murder becomes the norm, and momentum builds towards the inevitable revolution.

The film, directed by Gillo Pontecorvo, stars Yacef Saadi as Djafar, a man so driven by both bitterness and a sense of determination to take on a colonial power as great as France. After Djafar and his associates, including several women, orchestrate the murders of several policemen and a series of bombings in Algiers, France sends the decorated and very experienced Colonel Mathieu (Jean Martin) to deal with the situation. He compares the revolutionaries to a tapeworm with many parts and encourages his army men to destroy the head. In the first scene of the film, Colonel Mathieu’s plan seems close to becoming successful. But we know how Algeria’s history played out: it gained independence from France in 1962.

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The film seems so realistic that people in the film really look like they received serious injuries. Director Pontecorvo carefully staged things to look real, and the tension never lets up. Except for a few dry quips from Colonel Mathieu about the French press, Pontecorvo makes no attempt to add any comic relief to the story. So, it’s surprising that the unrelenting tension doesn’t break in the wrong direction at any point in the film.

Music plays a big part in film, guiding the atmosphere as the film switches between episodes of terror and images of the powerful French army in their battle fatigues. The music in the opening scenes of a French battalion bounding through the narrow streets of Algiers to fight an enemy we haven’t seen yet sets up a powerful, but episodic, narrative that never lets up.

I had the good fortune to see the 1957 Indian film “Pyaasa” the other night. The film tells the story of a poet named Vijay (Guru Dutt) who finds it extremely difficult to get his poems published. A failed college love affair and the many years of frustration he encounters from publishers lead him to a life of hopeless drunkenness. Only the great love of a beautiful prostitute named Gulabo (Waheeda Rehman) offers him the kind of redemption only a real artist craves — not fame and fortune but the satisfaction of charting a personal course through the fickleness of his worshiping but oddly fickle fans.

Guru Dutt, who directed the film, frames the faces of his cast in muted light. While the characters are constantly taking forceful actions, their faces mostly convey subtle changes. One exception, Johnny Walker, who plays a massage oil salesman named Abdul, uses his expressive face with the grandest of gestures to inject more than a little humor into this dark and serious tale. When Vijay goes far down the road to alcoholism, we also become aware of how trapped his former school sweetheart Meena (Mala Sinha) feels in her confining but opulent marriage to a jealous publisher named Mr. Ghosh (Rehman). We also feel the stigma and hopelessness of Gulabo, who’s trapped in a life of prostitution with no chance of gaining society’s approval.
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Pyaasa, which means “thirst” in Hindi, uses lots of recited (or sung) poetry throughout its 146 minute length. Gulabo gets involved in the story when she reads some of Vijay’s poetry on some paper she buys from a waste paper dealer. The film maintains a thoroughly engaging romantic tension, mostly through the excellent acting of Dutt and Waheeda Rehman. It surprises me that Vijay’s family and friends have so little regard for his decision to become a poet. But their indifference, and in some cases, downright scorn, turns into the betrayal and manipulation that leads to a shocking climax to this wonderful film. When Vijay discovers that his poems have reached a wider audience, his small moment of triumph doesn’t lead to greater satisfaction until he reaches for success on his own terms.

The songs, with their romantic lyrics of longing and happiness, sound like Vijay’s poems. One tuneful exception, a funny romp sung by Johnny Walker about the joys of a good head message, seems completely out of place but nevertheless provides a good laugh.

Tom Hanks doesn’t seem like the kind of actor who could fly into a convincing rage, but if there was ever a movie to do it in, “Captain Phillips” would be it. However, he does not fly into a rage or even raise his voice much. In fact, Hanks continued calm (as Captain Phillips) in the face of overwhelming terror and physical deprivation makes Captain Phillips a much more interesting and though-provoking thriller. Using reason against armed Somali pirates seems like an exercise in futility, but Phillips never strays from it because he thinks it just might work. Of course, the pirates have reasons for what they do too, and the talky script gives them plenty of room to explain it.

The 1913 movie, about the attempt of a small group of Somali pirates to board and take the Maersk Alabama cargo ship, shows the hijacking attempt in great detail. Director Paul Greengrass manages to create a great deal of tension as he shows the ship’s crew vainly trying to thwart the boarding of the vessel by the determined pirates. After the exciting and successful boarding attempt, the resultant standoff aboard ship becomes a subtle battle of wits between Phillips and the pirate leader, Muse (Barkhad Abdi). Their interplay continues throughout the film as the real life adventure presents bigger and bigger stakes for both of them. Even though we know the outcome of this true event, the story grips us as rescuers race to scene while Phillips remains menaced.
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The film opens with scenes of Phillips at his American home getting ready for his voyage. Hanks plays a scene with his wife Andrea (Catherine Keener) where he bemoans the state of the world. I wondered in this scene why he doesn’t just give up these dangerous voyages, but even the early scenes paint him as a lonely and ever vigilant sea dog. This becomes even clearer later when the film announces that the real Captain Phillips eventually went to sea again. It’s hard to imagine Captain Phillips could have loved his Somalian pirate adventure enough to keep sailing, especially when the film shows him in an almost complete state of shock after his rescue.

The film’s maintains a newsreel feel in its cinematography. The director of photography, Barry Ackroyd, makes us feel like we’re eavesdropping where the camera doesn’t belong in the early scenes with Hanks and Keener. The chaotic Somali scenes feature a jerky camera hard cranking in the macho posturing of the pirates and the dusty landscape. Phillips’ and Muse’s worlds may contrast greatly, but the camera records them both with the same flat reach for objectivity.

Ernst Lubitsch’s 1929 film “The Love Parade,” features romantic comedy at its finest, with playful adult situations and a score full of catchy numbers. The deftly acted and directed film features Maurice Chevalier as Count Alfred Renard, a confirmed ladies man who marries Queen Louise (Jeannette MacDonald) of Sylvania. Count Renard soon realizes that as the Prince Consort of Sylvania, he holds no power and must kowtow to the Queen. MacDonald’s Queen Louise makes him a virtual prisoner in the palace while she wields power in a mythical and seemingly trouble-free kingdom.

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The musical numbers include a few duets involving MacDonald and Chevalier, but other singers join the action too, including Lupino Lane, who plays Count Renard’s manservant Jacques. He sings a humorous and very acrobatic song called “Let’s Be Common” with the lovely Lillian Roth, who plays a maid named Lulu. I love Jeanette MacDonald but I sometimes don’t enjoy her extremely operatic style. Lubitsch did an amazing technical job for a sound film at it’s time, but I couldn’t understand some of the words sung by Queen Louise. Lubitsch kept me laughing throughout with the sophisticated dialogue and the subtle ways he implies sexuality. MacDonald and Chevalier take knowing smiles to new levels in this thoroughly enjoyable piece.