Fall Suspense and Thrillers

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Autumn Suspense and Thrillers

By Kristin Battestella

What better way is there to spend a stormy autumn evening then with some cool mystery, heady suspense, classic thrillers, or spy hijinks? 

The Asphalt Jungle – John Huston’s (The Maltese Falcon, The Treasure of the Sierra Madre) brooding 1950 noir starts slow, but the wonderful cast twists and turns this complex, intricate heist tale into a grand, sharp tongued classic.  Sterling Hayden (Johnny Guitar, Dr. Strangelove), Supporting Oscar nominee Sam Jaffe (Gunga Din, Ben Hur), and a budding, forties styled innocent but no less femme Marilyn Monroe (Some Like it Hot) lead the viewer on the murderous city scene as the dark, intricate lives and crimes blur together into one tragedy and double cross after another.  The ensemble is exceptional, everyone’s corrupt, you can’t trust anyone, and it makes for damn fine film.

Color of Night – Yes, the uncensored glimpse of Bruce Willis’ (Die Hard, Moonlighting) wang brought a lot of negative attention to director Richard Rush’s (The Stunt Man) 1994 thriller.  The psychological run around and build up of hints, however, outshines the kinky drivel and the more obvious plot points here.  The poor editing and numerous chopped up editions hurt this mystery more than anything else did, but not all the steamy nineties erotic scenes have stood the test of time either. Thankfully, the ensemble cast- including Leslie Ann Warren (Clue), Scott Bakula (Quantum Leap), Brad Dourif (Lord of the Rings), and Lance Henriksen (The Terminator) is very good-especially when plot holes and weak dialogue fails them.  There’s not a lot of repeat value once you’ve figured this one out but it’s a lot of fun guessing the twists or shouting at the inconsistencies on that first viewing. Although there’s yet to be a definitive DVD edition, give this one a chance.

Red Riding: 1974, 1980, 1983 – Directors Julian Jarrold (Brideshead Revisited), James Marsh (Man on Wire), and Anand Tucker (Shopgirl) have crafted an exceptional trilogy based on the novels by David Peace and adapted by Tony Grisoni (Fear and Loathing in Las Vegas).  This morbid tale based on real life events captures the scope of corruption, gruesome violence, depression, and emotions.  Each film can be viewed separately, but this is indeed a trilogy with all three completing a much larger puzzle. The varying styles, great period music, and Yorkshire brooding are wonderfully filmed. Performances by Andrew Garfield (The Social Network) Sean Bean (Sharpe), Paddy Considine (Hot Fuzz), Mark Addy (The Full Monty), David Morrissey (Blackpool) and the rest of the ensemble are exceptional.  We follow each of our protagonists even though they can’t possibly surface in these disturbing waters much less win out.  This series is not for the faint of heart, and subtitles are required thanks to plenty of whispers and soft sounds. Although Red Riding is a very heavy series, depressing, and confusing in some spots, Americans should definitely see this fine multi layered piece twice if you can stand it.  Law and Order: Special Victims Unit wishes it could get away with this kind of disturbing magic.  Hollywood simply does not know how to make this kind of film, and I can’t imagine Ridley Scott attempting to top this wonderful piece with a big screen remake. Please don’t bother! This may be the best recent series on either side of the pond-I haven’t looked forward to an ending and jumped up and down for it this much since Trainspotting.

The 39 Steps (2008) – No, this is not the Hitchcock classic, but I don’t know why this recent adaptation starring a Cary Grant-esque Rupert Penry-Jones (MI-5) and lovely Lydia Leonard (Jericho) gets no love.  Director James Hawes (Doctor Who) takes some historical liberties, absolutely, but the period music and World War I styles add to the Scottish action and locales.  An American version would have Hannay and the hottest 18 year olds updated to today with terrorism in L.A., oil mania, and more transportation chases then you can shake a stick at.  Though silly, fun, and too fast in some places, the mystery and chemistry keep this one entertaining from beginning to end.  I could have done without Penry-Jones’ super bleachy blonde hair, but the period espionage action here makes me again wish that the Bond reboot had been period as well. And why not continue the good here in another Hannay telefilm?

Touch of Evil – Orson Welles’ 1958 noir classic has its fair share of cinema history and infamy.  Unprecedented tracking shots and Charlton Heston (The Ten Commandments, Ben-Hur) as a Mexican-what the heck is going on here?  A damn fine, complex thriller that’s what.  Naturally, the editing and pacing suffers from all the studio interference and recuts, but Welles’ (Citizen Kane) corrupt Captain Quinlan and the ambiguous mistreatment of Janet Leigh (Psycho) keeps the suspense wonderfully seedy.  Oscar winner Henry Mancini’s (Breakfast at Tiffany’s, The Pink Panther) music also ups the onscreen ante.  All this heady crime and its Marlene Dietrich (Morocco, Witness for the Prosecution) who almost steals the show along with a creepy Mercedes McCambridge (All the Kings Men).  I could do without all the aforementioned Mexican stereotypes, but the 112 minute restored version honoring Welles’ original vision is worth another look.

The Usual Suspects – I suppose now everyone knows how this 1995 thriller directed by Bryan Singer (X-Men) and starring Oscar winner Kevin Spacey (American Beauty, L.A. Confidential) ends.  Yes, repeated viewings may pick up a few flaws, but if you haven’t seen this one in awhile, give it a second look with fresh, intelligent eyes.  Better yet, if you can find a viewing virgin who doesn’t know the end thanks to all the spoofs or parodies- make the popcorn and turn out the lights.

Cinderella (1965)

Rogers and Hammerstein’s Cinderella Never Gets Old

By Kristin Battestella

I’m not a girly girl by any means, but I do have a few purely indulgent, guilty pleasure pictures, and the 1965 Rogers and Hammerstein’s Cinderella is one of them. There’s really no reason for an adult to see this television production now and fall in love; but for those of us who grew up with such charming songs and costumes, this Cinderella can still get us singing along.

After a year of adventure rescuing princesses and slaying dragons, the Prince (Stuart Damon) returns home to seek his bride. Along the road, the Prince and his entourage stop at a cottage for a drink of water. The servant girl there, Cinderella (Leslie Ann Warren), is home alone, but overcomes her fears with kindness for the guests. Later, Cinderella’s cruel Stepmother (Jo Van Fleet) and two Step Sisters Prunella (Pat Carroll) and Esmeralda (Barbara Ruick) make ready for the Prince’s homecoming ball, where the King (Walter Pidgeon) and Queen (Ginger Rogers) hope their son will find a bride. Cinderella wishes she herself could attend the ball and marry the Prince, and shortly her Fairy Godmother (Celeste Holm) appears to show her nothing is impossible!

Some classic audiences might remember Rogers and Hammerstein’s first 1957 television production starring the wonderful Julie Andrews, but I suspect most viewers think of this musical version before all others-except for the Disney animated tale of course. Some of Oscar Hammerstein’s lyrics are a little anachronistic for the fantasy medieval setting, but who cares? Long time television director Charles S. Dublin (Hawaii Five-O, Kojak, MASH, Matlock) swiftly handles the silent, dramatic scenes and balances the fun and light-hearted romance with Richard Rogers’ songs. Though not entirely for a juvenile audience, the composers of such classics as South Pacific, Oklahoma!, and The King and I touch your inner childhood with enchanting music of love, charm, and adventure. Maybe ‘In My Own Little Corner’ is a little silly, just like the ‘Impossible! It’s Possible!’ medley. ‘Ten Minutes Ago’ and ‘Do I Love Because Your Beautiful’ are indeed sappy. However, who just started singing along as you read those song titles? Cinderella is charming, catchy, fun, and even a little inspiring for the young and young at heart.

The same audiences who grew up on Rogers and Hammerstein’s Cinderella are also probably the same audiences who watched the long running and now slowly dying network daytime soap operas. Those viewers will of course recognize Stuart Damon at the Prince, for the long time General Hospital patriarch proves he’s more than a one trick pony with some fine vocal talent. He’s a little mellow and lovey dovey, of course, but having a good time-just like his onscreen parents Ginger Rogers (Top Hat, Kitty Foyle, Monkey Business) and Walter Pidgeon (Mrs. Miniver, Madame Curie, How Green Was My Valley). Despite all the musical flare, it’s nice to see Rogers in a non-dance spectacular role, and she looks medievalriffic as the Queen. Likewise, Pigeon has fun with the revered but good-natured King with his son’s best interests at heart.

Lesley Ann Warren’s (Clue, Victor Victoria, In Plain Sight) debut here as Cinderella is a little imperfect, but delightful nonetheless. Her voice isn’t bad, but a little too raw or untrained. Warren’s capable ballet skills are also oddly displayed in a weird, somewhat out of place solo interlude- but when you’re looking at the fourth wall, pointing to mice that aren’t on your Astroturf lawn, it’s all okay. Warren is all smiles, loveable to young and old, and clearly enjoying herself with this magical introduction. Also bewitching us is Celeste Holm (All About Eve, Gentleman’s Agreement) as the Fairy Godmother. Her tongue-twisting tune isn’t easy to deliver, but Holm carries herself with the necessary grace and charm. It’s such fun to see these classic elder actors being able to perform, give back, and have a good time-unlike today where visuals and effects can overtake performance and style. Wicked Stepmother Jo Van Fleet (East of Eden, Gunfight at the O.K. Corral) and Pat Carroll (Too Close for Comfort, The Little Mermaid) and Barbara Ruick (Carousel) as her less than desirable daughters are like three kitschy blind mice. You love to hate them, but look forward to all their witty scenes. Their songs are understandably a little off key and for the humor, but the bad girl fun is just as juicy as all the fairy tale love: ‘Why would anyone want a girl like her-a girl who’s merely lovely!’

Although the music, story, and performances in Cinderella have stood the test of time, the cardboard sets and stage like production can hinder modern audiences. On one hand, yes by gosh they are absolutely hokey looking and completely fake and pathetic. Honesty, is there a green Styrofoam topiary tree in Cinderella’s garden? However, Cinderella’s châteaux also has a fun fireplace and a great set of stairs upon which to pretend. Likewise, the chandeliers and palace interiors set the mood for the big ball. Fans of musical theater won’t have a problem letting the minimal set design spark the mood, but I worry that contemporary, CGI obsessed effects mavens can’t appreciate the idea of pointing a camera at a dressed stage and letting people work. Cinderella has lovely waltzes, great songs, even horses on set! This was the height of television production heights back in the day!

The costumes are also not quite accurate to a particular time period, going rather for a mix of fantasy looks and styles from any and all medieval varieties. Nevertheless, they are delightful and everyone in the production is surely in the mood with such great outfits! Costume enthusiasts will spot the use of bright and shiny modern fabrics and way too many truncated henins–that’s the big pointy princess hat every little girl simply must have growing up that actually was as historically brief as the also appearing beehive. But come on now, ‘unicorn oil’ is also named as the remedy for Prunella’s creaking knee! Though there’s not much that can be done to fix innate blips in the onscreen values, the Cinderella DVD does have some fine sound and even a few features. The Retrospective is short, but it’s nice to see Lesley Ann Warren, Stuart Damon, and Celeste Holm recall Rogers and Hammerstein, their favorite songs, and the ambitious production.

Naturally, modern audiences have probably moved on from the dated look here to the 1997 Disney update with Brandy and Whitney Houston leading a multi-talented, lavish, culturally ambiguous version- but the young at heart who grew up with Cinderella can watch again and again and sing along just as though nearly fifty years haven’t gone by. Younger folks like me who were fortunate enough to get some viewings in as a child can also still enjoy. Very young viewers might still be charmed, as will musical and medieval fans, but tweens and up are probably better served by the 1997 redo. Pick up the DVD of the 1965 version today or dig out your video copy and sing along late at night in your own little corner in your own little chair with Cinderella.

Clue

Clue Safe Halloween Fun for the Whole Family

By Kristin Battestella

Alright we all know about it. The only movie based on a board game. If you haven’t seen Clue, you’ve most certainly played the Parker Brothers game. Phrases like ‘It was Colonel Mustard in the billiard room with the candlestick’ are part of our cultural lexicon, so why does the John Landis penned film get such a bad rap? Clue is a fun movie with spooks and humor for the whole family.

Tim Curry (The Rocky Horror Picture Show) leads Clue’s all-star comedy team as Wadsworth, the butler of an ominous mansion where one by one mysterious guests arrive for a good old fashioned dinner party. Unfortunately, as the night unfolds, Mrs. Peacock (Eileen Brennan), Professor Plum (Christopher Lloyd), and Miss Scarlett (Leslie Ann Warren) discover the true meaning of this party-murder, blackmail, and red herrings.

Set in the 1950s, writer John Landis (Animal House, An American Werewolf in London) and director Jonathan Lynn (My Cousin Vinny) ensure Clue mixes old school film noir styles with 1985 slapstick supreme. Today’s younger audience might not be familiar with Madeline Kahn or Martin Mull, but Mrs. White, Colonel Mustard, and Michael McKean’s Mr. Green all have their moments. Each actor knows his or her handle, and along with outrageous set ups and situations, each character has some sort of trademark or catch phrase. The resulting chemistry and deadpans highlights this ensemble. The cook, the singing telegram, the driver, etc.-are, however, stock, clichéd characters. Fortunately, they serve their purpose and don’t stick around for too long.

Horror comedy. Comedy horror. These may seem like oxymorons, but in the mid eighties, studios churned out such films for better (The ‘burbs) or worse (Once Bitten). Clue has its share of essential laugh out loud moments, as well as smart dialogue and word play, but Lynn also made way for a few genuine jump in your seat moments. Of course, you feel silly afterwards, but the old fashioned creepy atmosphere is established early and grows for an hour and a half. The Clue set goes above and beyond bringing a board game to life. The attire of each character, the over top mansion, the French maid-even Clue’s score helps the audience along. Lightning crashes mixed with eighties twangs or good old doo wop on the phonograph provide something for everyone, young or old.

Perhaps the best part of Clue’s charm is its multiple endings. In theaters, random endings were shown. Just like the game can have various outcomes, so can the movie. This format was hit and miss with audiences, and for television airings, a special multiple ending completes Clue. The standard DVD release has next to no features, but it does provide for the option of a random ending or the multiple conclusion. Unfortunately, the subtitles are the kind that don’t exactly match the dialogue word for word. This irritates me, but quoters can take those or leave them. Some of Clue’s line’s are made by their delivery, anyway. “One. Plus two. Plus one.”

Old school fans will enjoy Clue whether watching for the first time or rekindling old memories. Kids will find enough laughs and spooks even if they don’t get all the subtext and innuendo. There’s a few risqué puns and sexual references, but Clue’s PG rating makes it a great choice for a family night at Halloween or any time of the year.