~Harry H Long
BODY AT BRIGHTON ROCK
2019 / Magnet / 87m / $26.98 / R
This limp thriller has a young parks employee, Wendy (Karina Fontes), heading out into the wild to post handbills along a hiking trail. At some point she wanders off the trail and gets lost; of course her cell phone charge dies shortly after she realizes this. In trying to find a spot where her walkie talkie will make a connection she discovers a several days old body. Eeuw. (I’m not being snarky; that’s approximately her reaction.) Now she has to stick around near the corpse until help arrives and deal with another hiker (Casey Adams) – maybe a murderer! – who insists on rummaging through the body’s clothes for identification. Oh, yes, and there’s a bear that – despite much being made of it on the case art – only shows up at practically the end of the film and (SPOILER ALERT) is easily sent packing. From the cheesy, computer generated opening titles (over some of the crappiest music I’ve ever heard) to, well, just about everything else, this film misses the mark and – except for really good photography – looks every bit as low budget as it likely is. It’s essentially supposed to be a study of a young woman finding out she’s stronger and more resourceful than she realizes but Wendy is such a whiner who comes off feeling very entitled that it’s nigh impossible to care about her (particularly as she makes bone-headed decision after bone-headed decision – not that the story could proceed without them). There’s a plot twist at the very end (no, I won’t spoil that) that seems pulled in from another movie. If it is really the point here I’ll just note that Rod Serling used to do this kind of thing more successfully and in one third the time.
THE BRINK
2019 / Magnolia Home Entertainment / 91m / $26.98 / NR
Some little while back here I reviewed a documentary on Roger Ailes; that work was in the nature of an expose while this look at Steve Bannon is more balanced and without obvious bias. So your reaction is likely to depend on where you fall on the political spectrum. If you’re to the Left you’ll wish he’s been hammered harder; if to the Right you’ll wonder why he isn’t more glorified. For this liberally leaning writer two of the most telling moments come early on. The first is when Bannon talks of visiting Auschwitz and being impressed by the flawless engineering of the place and pondering on how those who designed it must have just focused on the task and put aside the evil it would be put to (he doesn’t seem to consider that the death camp might have been created by true believers in Hitler’s dream). I can’t help but ponder if he is, perhaps unknowingly, drawing a parallel to the racist agenda he promotes – and my use of that word is not an opinion; Bannon’s remarks on the public record over the years are clearly racist. His more recent campaign to coordinate the anti-immigrant campaigns of an assortment of European politicians is the final proof if any is needed but that he acknowledges and embraces the attitude came when he recently exhorted a crowd to wear the term racist as “a badge of honor”. Case closed.
Somewhat later he espouses his “populist” ideology by railing against the “elites” and then, within a sentence and with no hint of recognizing the irony, references his years at Harvard. I’m sorry but it doesn’t get any more elite than Harvard. And let’s not forget he was once a Goldman Sachs banker (he’s shown a couple times meeting with former execs); that hardy puts him in amongst the common herd. Nor does his formerly being underwritten by the astronomically wealthy Mercer family – a situation that ended when his comments about the Trump White House, related in “Fire and Fury” hit print (and leading the POTUS to dub him Sloppy Steve). But then recognizing irony isn’t his strong suit; he declares that a foundation he’s creating will not accept foreign money but later does just that from Chinese CEO Miles Kwok (aka Gun Wengui, wanted by his country for a variety of illegal doings). Allison Klayman’s documentary follows Bannon from just after his resignation (or ouster) from the Trump administration through his stumping for his endorsed candidates in the 2018 mid-terms to his jet setting about to forge a European alliance of far right candidates. Klayman’s approach is to put all the pieces out there without comment, leaving it up to the viewer to draw conclusions. I’ve always thought him slime so nothing changed here.
DOGMAN
2019 / Magnolia Home Entertainment / 101m / $26.98 / NR
Marcello (Marcello Fonte) is a timid, affable dog groomer in a poor section of an unnamed Italian town who gains some extra cash by selling cocaine. What money he can set aside is lavished on his shared custody daughter. He is frequently drawn into criminal pursuits by the town bully and ex-boxer Simoncino (Eduardo Pesce), who also hits Marcello up for free coke. Simone insists on having a spare set of keys to Marcello’s shop (yclept Dogman) so he can break into and rob the shop next door, promising the cash-strapped groomer a cut of the loot. As there’s no evidence of the grooming shop first having been broken into Marcello, who doesn’t rat out the thug, becomes the prime suspect and does a year in prison. On his release, unsurprisingly Simone reneges on his promise and so Marcello sets out on revenging himself. That’s really a very spare recounting of an intricate plot but it might be best you don’t know more going in. Director Matteo Garrone is possibly best known for his Italian Mafia film, “Gomorrah.” and here he is once again concerned with criminals but of the petty and independent kind. Despite the complexity of the plot the film is as much – possibly more – a character study. We see Marcello interact lovingly with his daughter and gently with the dogs (the very opening scene shows him calm a very angry pooch who very decidedly does not want to be washed).
But there’s also focus on Marcello’s fellow shopkeepers who are equally terrorized by Simone, to the extent that at one point they discuss hiring a hit man to off the bully. Later they ostracize Marcello for having abetted, and possibly participated in, the break-in and thus acting against one of their and his own. The transition from being one of the fellowship of small businessmen to outcast may be as much motivation for Marcello to cast off his mild-manneredness after being stiffed on his portion of the take. We know less of Simone who seems more an elemental force of nature but may be just a tad mommy dominated. Garrone’s film is very much in the Italian Neo-Realist tradition, shot entirely in natural locations (Castel Volturno standing in for the unnamed village) with photography that is gritty yet more carefully composed and striking than documentary in its look. But in a production where the technical aspects are not in the forefront and scenes are often mere snippets (and sometimes without dialogue) it is the direction and acting that must carry the show; both are subtle and naturalistic. Fonte, who is in almost every (maybe every) scene, is exceptional as the woebegone groomer and Pesce is one scary presence. Garrone has crafted another outstanding, if not precisely upbeat film with a more than slightly up-in-the-air finale.
THE HEIRESSES (Las herederas)
2018 / Icarus Films Home Video / 98m / $26.98 / NR
Marcello Martinessi has crafted a Neo-Realistic film (from Paraguay, however, not Italy) that is very, very understated; much is inferred but very little is stated outright. Formerly affluent Chela (Ana Brun) and Chiquita (Margarita Irun) have been living together for 30 years and have recently been forced to start selling their inherited possessions. Chiquita is withdrawn, possibly depressed, not eager to get out of bed to visit friends, spending most of her time working on abstract watercolors. Chela organizes things so that everything is just so for Chiquita, including having the breakfast items placed exactly right on the tray). When Chela must serve a prison term for fraud (unpaid bills) Chiquita must become more self-sufficient; there is a newly hired maid but she’s not terribly efficient at first. Then an elderly neighbor asks Chiquita to give her a lift to her bridge game and all the participants decide to get rides home with her, all of them paying for the taxi service. Chiquita has not driven in years – and this may be the closest thing to a job she’s ever held – but bringing in money and the social interactions involved start to bring the middle aged woman out of her shell.
Built in short scenes that don’t really pay off until they accumulate, this is a film where one must pay attention to the details. The relationship between Chela and Chiquita is never spelled out but the hints are there. We first see Chiquita in a very large bed; the two women are never shown sharing it but Chela is never depicted as having her own bedroom. Chela also seems peeved that Chiquita is becoming more able to look after herself, even dealing forcefully with the rude people who are potential buyers of the household goods. Chela specifically tries to denigrate the gypsy taxi service, painting it with all sorts of dire implications; clearly she prefers Chiquita to be dependent on her (perhaps she even hired a less than capable maid on purpose rather than the only one they could afford?). But whether or not the two women are in a relationship rather than a close friendship gets a question mark attached. Chiquita goes into outright panic when a young woman who uses her chauffeur service makes an overt sexual move on her; her reaction suggests more than an unwillingness to be unfaithful but rather horror of having a same-sex encounter. It’s hardly the only unanswered question here (unless I missed some clues) and there’s an ambiguous ending to ponder as well – the two women’s relationship will have changed but we don’t learn how. It’s a fascinating film.
HOTDOUG’S: THE MOVIE
2018 / Random Media / 57m / $14.95 / NR
This is a thoroughly enjoyable little documentary about a hot dog “stand” that was strictly gourmet. Yes, that’s right: past tense. HotDoug’s closed down a number of years ago despite being so successful people lined up around the block and waited for hours to be served in the postage stamp size restaurant. Why make a film about a place that’s only a memory? Because, amongst other things, this is an object lesson in how to run a business. Treat your employees as if they are family and your clientele as friends. Owner Doug Sohn was hands on, greeting customers, taking their orders and ringing up the (cash only) sales. He also personally created the menu, deciding which exotic meats (armadillo, venison, curry pork, or escargot anyone?) would be ground up and encased and what unusual other ingredients would be included (ever had truffles in your sausage? how about foie gras?). One of the reasons the place was a success (though not immediately of course) was Sohn’s dedication to excellence. I wish the place was still around; I’d like to try some of these exotic (and very reasonably priced!) “encased meat” sandwiches (of course I’d have to get my butt off to Chicago to do so). Filming was obviously underway well before Sohn announced he’d be shutting down – a good bit of the footage is devoted to the tearful last day – so why it’s taken about five years for this film to see the light of day is a puzzlement. But it’s a perfectly made example of a good documentary, hitting all them right notes in its telling of a standard American Dream (in this case owning your own restaurant) and, at just under an hour, it doesn’t overstay its welcome – a lesson quite a few documentarians should learn. The subject isn’t weighty and neither is the handling. Take a bite.
ROMOLA
1924 / Alpha Home Video / 105m / $6.98 / NR
Back in high school English class we tackled George Eliot’s “Silas Marner,” an experience that decided me against ever reading anything else by the author. I surmise that finding Eliot a slog to get through might not be uncommon based on how few big screen adaptations there have been of her work – the excitement for it just isn’t there. This silent version of her historical drama is the only feature version ever attempted (a one reeler of 1911 preceded it) and it was made at a time just before it would have been impossible to do without ruinously expensive set building. Director Henry King – whose career stretched from 1915’s “Should a Wife Forgive?” to 1962’s “Tender is the Night” – hied his cast off to Italy and filmed in Florence, Tuscany and Pisa… yes, that really is the actual leaning tower seen in the background at one point! At the time the locales were not much different than they’d been in the time of the Medicis and Savoranola, which is the period in which the story is set (the latter is even a character in the tale). Technology, including the introduction of the automobile, would soon make such location production difficult (only a year earlier Universal gave up on its plan to make “The Hunchback of Notre Dame” in Paris because the city was no longer Quasimodo’s home town).
The potboiler story begins just after the Medicis have been driven out at the urging of Savoranola and centers on Romola (Lillian Gish), who is beloved by painter Carlo (Ronald Colman) and the daughter of a blind scholar. A shipwrecked man calling himself Tito (William Powell) and claiming to be a scholar (he is neither a scholar nor named Tito) arrives in town and ends up in Romola’s household. The old man urges his daughter and the bogus scholar into marriage with hopes his great work will be completed by his son-in-law. Tito has meanwhile been pursuing Tessa (Dorothy Gish), who sells milk and garlic (!) in the square and is pregnant with his child after a marriage that is obviously fake to everyone but her. Tito also becomes involved in the city’s new, increasingly non-democratic, government and in that capacity is the one who sentences Savoranola to death (the crowds that once loved the monk turned on him and he was hanged and burnt). With sound some of the psychological insights that are said to be in Eliot’s novel might have been presented but as a silent film this is pure melodrama. It is impressively mounted, however, and a film crying out, nay, screaming for restoration and BluRay on the basis of its cityscapes alone. This print is soft and somewhat murky – to the extent that a few of the intertitles are impossible to read. The film is preserved in the UCLA archives but until they get around to restoring it this may be as good as it gets.
THE TOUGH ONES (Roma a mano armata)
1976 / Grindhouse Releasing / 94m / $39.95 (2 BR + CD) / NR
Inspector Tanzi (Mario Merli) is a handsome, snazzily dressed cop who is of the opinion that “the law protects criminals” so he ignores the law he’s sworn to uphold. “Don’t talk to me about rights!” he shouts as he beats up a hunchbacked suspect (of course because the screenplay has him always right, the perp is a gun-loving psycho killer with sharpshooter-perfect aim). Arthur Kennedy plays his boss, the less nattily accoutered Superintendent Ruini who’s always cautioning Tanzi to hold back with less than salubrious results. Yes, it’s an Italian variation (or should we say copycat?) of the “Dirty Harry” and “Death Wish” films that celebrate renegade officers who are more vigilante than policemen. (To be fair the genre goes back farther than the Clint Eastwood and Charles Bronson vehicles; it was already old when Bruce Wayne started prowling the nighttime streets of Gotham City.) And of course, to justify such things as thrashing someone senseless before bringing him in, or planting “evidence” in his glove box, this gang is really vicious. They tie Tanzi’s girlfriend in a car and lower it into a crusher, only pausing at the last minute so she can deliver the message to lay off and collectively they are given to more maniacal laughter than might be heard at a Tod Slaughter retrospective. There are some diversions to a complicated (or possibly merely confusing) plot, such as when Tanzi happens upon a gang of rapists and clobbers the crap out of them before even attempting arrest and a kind of subplot involving Vespa riding purse snatchers who get theirs in a traffic accident after pursuit byTanzi. There’s car chases and car crashes aplenty. It’s the work of Umberto Lenzi, revered by some but basically a hack who turned his hand to giallos, pirate epics and some of the most notorious of the cannibal films. (Here there’s a scene in a slaughterhouse that is grosser than anything in the last as a cow gets disemboweled – you’ve been warned.) Those without a taste for Neopolitan genre films, and their frequently nonsensical plots, should probably steer clear.