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365days365movies · 3 years

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February 21, 2021: The African Queen (1951) (Part 1)

The leading man!

It’s an old term from old Hollywood, and while leading men certainly exist today, it’s not something we really use anymore. And yet, we all have some concept of the leading man. First modern one that came to mind for me was Chris Evans. For the GF, it was this guy:

And that’s valid! But if we’re gonna talk about Hollywood’s leading men, we have to go BACK. FAR back, to the beginning of film, and to some of the most iconic film stars that helped define the term. These are guys like Errol Flynn, Jimmy Stewart, John Wayne, Bing Crosby, Frank Sinatra, Marlon Brando, James Dean, Rock Hudson, yesterday’s Cary Grant, and of course, Clark Gable.

And some of those guys will appear on this blog at some point this year, most likely. One of them is gonna pop up this month, even! But there’s one more leading man to talk about, and that’s Humphrey Bogart, one of the most prominent of the leading men of the 1940s and ‘50′s.

I mean, come on! Casablanca! He’s a classic leading man, and I’m excited to see more of him. But every leading man needs his leading lady, and there are plenty of classic ones to choose from. Lauren Bacall, Jean Arthur, Judy Garland, Marilyn Monroe, Elizabeth Taylor, Natalie Wood, Mae West, Joan Crawford, Bette Davis, Olivia de Havilland, Greta Garbo, Lena Horne, Sophia Loren, yesterday’s Deborah Kerr, my mom’s favorites Doris Day and Audrey Hepburn, and OF COURSE, today’s star: Katharine Hepburn.

The Philadelphia Story, Bringing Up Baby, Guess Who’s Coming to Dinner! Another classic leading lady in another set of classic films. And, OF COURSE, these two starred together in today’s movie, The African Queen. And who’s the director of this film? MOTHAFUCKIN’ JOHN HUSTON BOIIIIIIIIIIII

Director of The Maltese Falcon, The Treasure of the Sierra Madre, The Asphalt Jungle, Moby Dick, The Misfits, the original Casino Royale, and weirdly enough, Annie. AND he was an actor in The Bible, Chinatown, The Hobbit, The Black Cauldron, and weirdly enough, Annie! Goddamn, this movie’s got a lot of talent behind it! I’m genuinely looking forward to watching this, considering that it’s often considered one of the best films of the 1950s. So let’s do it, yeah? SPOILERS AHEAD!!!

Recap (1/2)

We begin in German West Africa, where...yeah, it’s a little uncomfortable from modern day standards, as a group of indigenous people are in a service at a constructed Methodist Church, where two missionaries, Rose Sayer (Katharine Hepburn) and her brother, Reverend Samuel (Katharine Hepburn), are pretty unsuccessfully leading the singing of hymns.

As they do so, a boat called the African Queen pulls up, captained by Charlie Allnut (Humphrey Bogart). When he pulls up, he delivers needed supplies and mail to the village, which disrupts the ceremony (thank God), and leads to an interaction between Allnut and the Sayers, who invite him to tea.

The Canadian Allnut seems to be pretty relaxed, while the British Rose and Samuel are obviously pretty stuck-up. But this is probably not going to matter soon, as Allnut delivers the news that World War I has begin, leaving the status of the British missionaries in German-occupied West Africa in danger.

And as soon as they realize this, a group of German soldiers comes through the village, and soldiers gather up all of the people from their houses, and...Jesus, they set fire to the place! Why? I mean, it’s war, duh, but WHY? The villagers are taken away for what I’m sure are totally good reasons, as the village of Kungdu burns to the ground. Samuel and Rose are left behind, and Samuel’s clearly a little fucked up by the encounter with the soldiers.

Soon after, Samuel seems ill, forgetting that they’re even in Africa. She helps him to his room, and he falls to the ground, obviously not well. It’s central Africa, so this could be malaria, trypanosomaisis, yellow fever, a BUNCH of shit. But I’m sure he’s gonna be fine. He’ll be fiiiiiiiiiiiiine.

Oh, wait, he’s dead. We find that out when Charlie arrives to deliver more bad news: people are being taken from their homes to forcibly join the army, and the villages are destroyed in order to give them no place to go back to. Which is...disgusting, fuck me.

They bury Samuel, and Charlie takes Rose onto The African Queen so that they can get away from the village before the soldiers return. This is backed by...very light-hearted music. Very poorly-timed sprightly music. I dunno, it really just doesn’t match the done, given that Sam just died, and they’re trying to escape.

We learn what some of the issues are for our two. The British won’t easily be coming because of the various German fortifications, including a large ship called the Königin Luise on a nearby lake. Said boat has a massive gun on it, posing major damage to any enemies.

But Rose has an idea: using explosive gel and some pipes and cylinders, she has an idea to use The African Queen itself as a torpedo to plow up the Luise. Charlie points out that the only where there is down the dangerous Ulanga River, and past a German fort. And Rose guilts him for not wanting to help his Queen and country. And, with that, he agrees.

From there, it’s time for a boat trip! Like a road trip, but with a boat! Katherine learns to steer, and Charlie notes that he hasn’t fixed the safety mechanism on the engine because he likes kicking it. Y’know, psychologists say that catharsis doesn’t work like that, Charlie.

It would seem that Charlie knows this, and settles instead for a drink. And as he brings out his bottle of gin, Rose looks ABSOLUTELY HORRIFIED. Like he brought out a dead body instead of a bottle of alcohol; it’s even backed by this bombastic DUN DUN DUUUUUUUUN in the score! It’s weirdly hilarious.

The two take separate baths in the river, which has gotta be FULL of a bunch of stuff, but whatever. They tuck in for the night as it rains, and Charlie’s stuck outside while Rose gets the tent. Which is...supremely unfair, and ASKING for Charlie to get malaria or other diseases. Thankfully, Rose realizes this and allows him inside.

The next day, they come upon the rapids, which look dangerous...but also kind of fun, it that weird to say? I dunno, I’d go rafting down those. On a related note, I’ve never been whitewater rafting. Maybe one day, huh? Well, despite the ride and again, WEIRDLY sprightly music, they survive...and more. See, Rose LOVED it. Like, really LOVED it. She compares it to a bonafide religious experience, and says that she’s never experienced such joy from a...physical experience.

So, either she’s an adrenaline junkie, or that was some, uh...foreshadowing. Charlie’s a little less excited by this, and notes that the upcoming rapids are far worse. And Rose is just...SO FUCKING PUMPED for this. Shit, I think something’s awoken in her. Get this lady to a theme park, STAT!

But again, Charlie is NOT happy about this, and gets kinda drunk later in the day. While drunk, he insults her plan, and goes back on his agreement to go on. She calls him a coward, and she calls him a “crazy, psalm-singin’, skinny old maid.” Um, Charlie, maybe not the best idea to do that to a woman who’s just learned to joys of adrenaline and tsting her limits. She might retaliate by, I dunno...throwing all of your gin over the side of the river while you’re asleep.

Yeah, like that. Exactly like that. Some drunk fish in the river today, lemme tell you.

Anyway, despite this, Rose is pissed off, as Charlie still won’t go down the river. As he insists that all that’s down the river is death, she still insists that he promised to go. He finally agrees, despite thinking that they’re doomed to be food for the crocodiles. And so, they go.

They pass the fort, the Shona, and the Germans do indeed fire at them as they go down. And I mean the ENTIRE time they pass. They hit the engine, and Charlie has to fix it right amidst all of this. They also hit the boxes of blasting gel, but they don’t go off. And, as Rose rightly suggested earlier, the sun gets in the soldiers’ eyes as they try to fire on them. And they pass without a hitch! Except for oooooooooone tiny detail.

HALFWAY POINT! See you in Part 2!

#the african queen #john huston #humphrey bogart #katharine hepburn #robert morley #peter bull #romance february #romance film #user365 #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #my gifs #mygifs #captainsamerica

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thefilmsnob · 4 years

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Glen Coco’s Top 10 films of 2019

2019 was one of the better movie years I’ve experienced. It was no 2007 or 2013--we all know that--but it was pretty damn good. People who say ‘they just make crap nowadays’ probably aren’t really into movies and are definitely out to lunch. Dammit, now I want lunch. Anyway, here are my picks for the ten best films of 2019 which, as always, follow my runners-up and the traditional bonus track...There’s always a bonus track.

Runners-Up

-Bombshell

-Booksmart Full Review: https://thefilmsnob.tumblr.com/post/185427895290/booksmart-out-of-5

-Ford v Ferrari

-The Irishman

-Joker Full Review: https://thefilmsnob.tumblr.com/post/188571262775/joker-out-of-5

-Parasite

-The Peanut Butter Falcon

-The Two Popes

And here are my top 10!

#10b. (Bonus Track) Avengers: Endgame

Director: Anthony Russo, Joe Russo

Starring: Robert Downey Jr., Chris Evans, Scarlett Johansson, the rest of Hollywood

Maybe, like some people in the industry, you don’t consider Marvel films to be ‘cinema’. Well, that’s a legitimate and long debate for another time. But, you can’t say that weaving a narrative through 22 related films isn’t an impressive feat. That’s what Marvel Studios did and with the help of the Russo Brothers, and despite the countless moving pieces, they ended this chapter of the franchise almost perfectly with just the right balance of action, human drama, twists, turns and some surprisingly poignant moments. If you didn’t get goosebumps--and maybe even pee your pants a bit--when those portals opened up at the end, bringing to mind Gandolf’s triumphant entrance into the Battle of Helm’s Deep, then maybe movies just aren’t for you, my friend.

Full Review: https://thefilmsnob.tumblr.com/post/184694412545/avengers-endgame-out-of-5

#10. Marriage Story

Director: Noah Baumbach

Starring: Adam Driver, Scarlett Johansson

Ironically, Marriage Story is actually about a divorce. But, writer/director Noah Baumbach imbues this civil-turned-nasty separation with all the complexity and aggravation that come with being married with child. He treats the divorce like the grueling process you’d expect it to be, one which involves real, flawed people whose needs and desires don’t align, making the situation increasingly distressing for all parties involved. In turn, Driver and Johansson make this distress increasingly palpable for the audience until it feels like we’re in the room with them during one of their several heated arguments. Both actors give some of the best work of their careers, yet it still may be overshadowed by Laura Dern and Ray Liotta who shine as the two ruthless lawyers representing them. Baumbach has been churning out these gems for years, but his latest, which may be his most accessible, may also be his best so far.

#9. Jojo Rabbit

Director: Taika Waititi

Starring: Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson

What do you get when you mix Nazi Germany, the ghost of Hitler and a poor Jewish girl trying to survive the second World War? You get one of the funniest and most touching movies of the year, of course. The surging writer/actor/director Taika Waititi, who specializes in quirky films filled with quirkier characters, hasn’t made the typically grim melodrama about Nazi Germany nor is he doing anything close to promoting Nazi culture. Instead, he uses the tale of a young boy who attends a Hitler Youth training camp to highlight the absurdity of this horrible movement while promoting tolerance. He delivers this powerful message by introducing a young Jewish girl who seeks refuge in the home of Jojo and his mother, played by Scarlett Johansson (who clearly had a good year). This leads to Jojo’s crisis of conscience which is complicated by his imaginary friend...who happens to be Adolf Hitler! Yes, the movie is different.

#8. Once Upon a Time...in Hollywood

Director: Quentin Tarantino

Starring: Leonardo DiCaprio, Brad Pitt, Margot Robbie

It’s no surprise that Quentin Tarantino would make a film about 1960s Hollywood starring one of the most prestigious celebrity trios in the business; the guy’s passion--obsession even--for film is unmatched. Here, he uses the medium to take a horrific moment in history like the murder of Sharon Tate at the hands of the Manson Family and gives it the stereotypical Hollywood happy ending. In doing so, he showcases the wish fulfillment of the movies and their power to comfort us with optimism while simultaneously warning of their ability to shelter us from our cruel reality. DiCaprio and Pitt give brilliant performances as characters who add to the perception-vs-reality theme, DiCaprio playing the huge movie star full of anxiety and doubt in real life who relies heavily on his stunt double, Pitt, who’s the actual confident hero. All this and much more takes place in a meticulously recreated Hollywood of the ‘60s that sweeps you up in nostalgia and immerses you in a world of make-believe.

#7. Knives Out

Director: Rian Johnson

Starring: Ana de Armas, Daniel Craig, Chris Evans, Jamie Lee Curtis, Christopher Plummer

Yes, there have been many murder mysteries. No, Knives Out isn’t just like the rest of them. Writer/director Rian Johnson does a masterful job at crafting a labyrinthine story that’s just complex enough without overwhelming and strikes a perfect balance of suspense and comedy. Featuring one of the greatest casts assembled in 2019 playing a dysfunctional family of despicable yet intriguing individuals of means, the story is full of truly surprising twists and turns and, more crucially, some well-integrated and astute social commentary. This isn’t a two-hour lecture, though; the film is undeniably entertaining. The stand-out here is detective Benoit Blanc, played by Daniel Craig with a delightful southern drawl and an attention to detail that rivals Sherlock Holmes. Craig transcends his James Bond persona while the film itself transcends a genre.

#6. 1917

Director: Sam Mendes

Starring: George MacKay, Dean-Charles Chapman

If this were a few years ago 1917 would be, without question, my #1 pick. However, as the long, uncut tracking shot has become more common over the years, it’s also lost a bit of its luster; 2014′s Birdman, one of the best films of the decade, also had the appearance of a single take. Nonetheless, to make a war film, with all its tricky choreography and pyrotechnics, look like one long take is still a phenomenal achievement and an absolute marvel to behold. And, although it obviously couldn’t be filmed in one shot, Sam Mendes and master cinematographer Roger Deakins still had to shoot long takes and stitch them together digitally while stealthily hiding the seams. It all helps tell the story of two young soldiers tasked with traversing treacherous territory to warn a Battalion of British soldiers about an impending German ambush. We follow the pair in real time amidst a story of remarkable bravery, enhanced by the fact that we’re with them every step of the way, at once experiencing everything they do up close while being reminded of how removed we really are from the danger they face.

#5. Uncut Gems

Director: Benny Safdie, Josh Safdie

Starring: Adam Sandler, Kevin Garnett (hey, why not?), Julia Fox

There are several talented actors in Hollywood who’ve gained a bad reputation for poor career choices. Ben Affleck and Will Smith come to mind. Perhaps the king of this group is Adam Sandler. He’s excelled sporadically in movies like Punch-Drunk Love and The Meyerowitz Stories, but he gives a truly Oscar-worthy performance in this--ahem--gem. As Howard Ratner, he’s a gambling addict who runs a jewelry store in New York’s Diamond district when he gets his hands on a rare Ethiopian black opal which he hopes will help pay off his many debts. In fact, he owes so much to so many people that he struggles to keep track of it all and we cringe every time he does. The tension builds to an almost unbearable level as a host of dangerous men seek payment. If that’s not enough, he’s on the verge of a divorce as he continues seeing a mistress who’s also his employee while owing $100 000 to his own criminal brother-in-law. If you were stressed just reading that, try watching the movie...or being Howard himself. The Safdie brothers don’t let up either, filming it like a documentary to add to its realism and immediacy...as if it needed that extra boost.

#4. The Lighthouse

Director: Robert Eggers

Starring: Robert Pattinson, Willem Dafoe

The first thing you notice watching The Lighthouse is that half the screen is missing; Robert Eggers, who also wrote and directed The Witch, shot the film with a 1.19: 1 aspect ratio, making the picture square, like an old-timey photograph. It feels limiting at first until you fully appreciate the feelings of confinement and anxiety it evokes. That’s important in a film about two lighthouse keepers, or wickies, who are forced to live together in insanely grungy and cramped quarters of a lighthouse on a remote island off the coast of New England. Considering the harsh conditions and the fact it’s a horror film, they soon clash and seemingly lose their grip on reality which manifests in macabre images and supernatural occurrences. Or does it? Ha! This is one of the most unique and beautifully filmed movies of the year with the grainy black and white 35mm making it seem like it was made closer to the late 19th century, when the film takes place. Like many recent horror films, this one relies more on mood and imagery than jump scares and is buttressed by only two actors who give award-worthy performances. Alright? So, go to hell; Pattinson can act.

#3. Little Women

Director: Greta Gerwig

Starring: Saoirse Ronan, Florence Pugh, Emma Watson, Timothee Chalamet, Eliza Scanlen, Laura Dern

You might assume that Little Women is a stuffy period piece and even unnecessary considering it’s the seventh adaptation of Louisa May Alcott’s iconic 1868 novel, but the prodigious actor-turned-writer-turned-director Greta Gerwig is too adept in her craft to settle for conventional story-telling. She gives this classic story a fresh, modern take with a non-linear approach and a feminist angle that enhances without overwhelming. Like her work on Lady Bird, she keeps scenes brisk and to the point with decisive cuts. She also adds her unique wit and snappy dialogue. Every conversation, no matter how superficial, leaves you enraptured. So, too, do the characters; it’s a pleasure following these complex girls through the ups and downs of their lives as women of little means and even fewer rights. They’re portrayed by a stellar cast, particularly Jo March who’s played by Saoirse Ronan, perhaps our greatest sub-30 actress. This may be a little movie about little women, but the payoffs and sheer enjoyment are truly grand.

Full Review: https://thefilmsnob.tumblr.com/post/190231754125/little-women-12-out-of-5

#2. Us

Director: Jordan Peele

Starring: Lupita Nyong’o, Winston Duke

I know it’s blasphemous, but I might be the only person on Earth who not only thought Get Out was a tad overrated, but that Jordan Peele’s second feature, Us, is the superior picture. It’s easy to look at this film as merely a unique take on the slasher genre, but it’s so much more than that. Like any good horror, it’s creepy as hell, but it’s also brimming with foreshadowing, symbolism and metaphor. There are three or four ideas that Peele sets up at the beginning that seem disconnected to the story, yet they each have a specific purpose and when that becomes evident, it’s incredibly satisfying. Even more impressive is how Peele turns a movie about a vacationing family encountering their doppelgangers into a brilliant commentary on the current state of America, specifically in regards to class division and its relation to the Nature vs Nurture debate. And the movie’s neat twist at the end isn’t just added for shock value; it’s actually the final puzzle piece and essential in conveying the film’s message. I struggled with ranking Us at #1 or #2, but its over-reliance on slasher film action around the mid-point (a minor flaw) was the deciding factor. It’s near-perfect, nonetheless.

Full Film Interpretation: https://thefilmsnob.tumblr.com/post/184073868405/interpreting-jordan-peeles-film-us

#1. Midsommar

Director: Ari Aster

Starring: Florence Pugh, Jack Reynor, William Jackson Harper, Will Poulter

If there’s one thing for which the 2010s should be known, it’s great horror films, a refreshing development after decades of mediocrity. But, just like movies in general from the ‘New Hollywood’ ‘70s, horror films are more creative and ambitious than they’ve been in ages thanks to a handful of visionary filmmakers. Three out of the top five entries are horror movies and that’s saying something.

Midsommar is a mesmerizing horror film that hearkens back to the 1970s when the genre relied more heavily on atmosphere and pacing and sheer creepiness than on jump scares and gimmicks. It takes one hell of a talented writer/director to make a movie shot almost entirely in daylight feel so utterly sinister, but Ari Aster, who also made the acclaimed Hereditary, does just that with ease. What’s more, the film contains no monsters, nothing supernatural and an astonishingly minimal amount of violence, yet when we do see bits of blood and gore, it’s a complete shock to the system. What Aster does rely on is his mastery of lighting and framing to produce images that are unexpectedly eerie.

This is a movie that starts with a group of anthropology students looking to take part in a once-in-a-lifetime festival at a commune in the Swedish countryside and ends in an unspeakable nightmare. It’s a long and sometimes grueling experience that steadily snowballs into horror, but that slow burn is crucial for this delightfully nerve-wracking series of events. Oh, and it’s also a breakup story...possibly the scariest breakup story of all time. It’s certainly the best film of 2019.

#2019 films #top 10 of 2019 #movies #movie review

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