Wednesday, July 01, 2015

The Auteurs #46: Xavier Dolan




Among the crop of new filmmakers to come out in the late 2000s, there is probably no one that has created as much excitement and ferocity better than Xavier Dolan. Though he would start out as a child actor in Quebec and do dubbing for films all over the world, his impact as a filmmaker is already immense as he’s only 26 years old with five films so far and two in the works. Openly gay and not afraid to define himself as a director of style, Dolan has managed to make the kind of films most young filmmakers would dare to dream. Even if they manage to be controversial or daring in ways that would even make those quite afraid or others who are just fascinated by how dangerous he is at times. Still, Dolan is someone that has managed to bring something new to the world of cinema as he is really just getting started.

Born Montreal in the Quebec province of Canada on March 20, 1989, Xavier Dolan was the son of the Egyptian-born Canadian comedian/singer Manuel Tardos and the schoolteacher Genevieve Dolan. Dolan would be part of the film and television industry in Canada early as a child where he became a child actor for many productions set in Quebec while getting work as a dubbing voice actor for many English-language based productions including the Harry Potter film series where he would dub the voice of the character of Ron Weasley as well as the Twilight film series as Jacob Black. While Dolan would get some financial stability and work as an actor, Dolan had the desire to wanting to make films as a director. After years of doing voice work and appearing in films and television, Dolan would get the chance to make his very first film.

More can be read here at Cinema Axis.

© thevoid99 2015

Tuesday, June 30, 2015

The Films That I Saw: June 2015



Summer is heating up and it’s not really a good thing as I’m not really fond of warm weather as I prefer to stay home. Yet, I’ve been spending much of my time at home because there isn’t a lot going on and I don’t have a lot of money which forced me to miss the Stones playing at Bobby Dodd Stadium earlier this month. Then again, I’m not surprised that I missed since I rarely have the kind of money to see something like this though I do hope they will come to Atlanta once again and I hope to have the money this time around. At the same time, I’ve been slowing things down now as there’s days where I would watch a movie and end up not watching it.

Largely because I just don’t have the urge to do anything and I’ve been sleeping very late recently. I sometimes have bad insomnia spells as I couldn’t sleep and would end up waking up nearly noon or something. Plus, I’m dealing with my dog Prissy who is very old as she’s pissing on the floor a lot and is becoming blind. It’s just pretty overwhelming these days as I decided to just slow down.


In the month of June, I saw a total of 26 films in 13 first-timers and 13 re-watches plus six episodes of the first season of Twin Peaks as part of my summer marathon devoted to the series. Definitely down from last month due to other activities and such. The highlight of the month was definitely my Blind Spot assignment in The Long Goodbye. Here are the top 10 First-Timers I saw for June 2015:

1. Il Sorpasso


2. Tom at the Farm


3. Spy


4. Dreams


5. Love is Strange


6. Carne


7. Pretty Baby


8. Altman


9. All These Women


10. Magic in the Moonlight


Monthly Mini-Reviews:

Premature


This was a weird but funny teen sex comedy that mixes the elements of Groundhog Day in which a young high school kid is forced to relive one of the worst days of his life and at the worst time when he’s being interviewed to attend a prestigious college. It is quite funny while the real star is Alan Tudyk in a cameo role as the college representative who is going through a divorce as it’s very silly but funny in terms of what a kid will do to lose his virginity to the hottest girl in school.

Top 10 Re-Watches:

1. Gone Girl


2. The Empire Strikes Back


3. Spaceballs


4. Star Wars


5. Superman Returns


6. Return of the Jedi


7. Just Friends


8. Stick It


9. Revenge of the Sith


10. Blades of Glory


Well, that is all in July. Tomorrow in honor of Canada Day, my Auteurs piece on Xavier Dolan will come out as I will start work on my next subject in Bennett Miller. I will also release my list of 150 Favorite Films (that isn’t Lost in Translation) from 2000 to 2015 to celebrate my 15 years in writing reviews. Along with theatrical releases like Inside Out, Magic Mike XXL, Vacation, and hopefully a few others. I will release a new list of films that I think should be in the Criterion Collection in conjunction with Barnes & Nobles’ Criterion sale and reviews of films by the Martin Scorsese, Sam Peckinpah, and Warren Beatty along with some recent releases. The Star Wars and Twin Peaks marathon will continue where in the former, I will finally watch the infamous Holiday Special. Until then, may the Schwartz be with you….

© thevoid99 2015

Monday, June 29, 2015

Altman (2014 film)



Directed by Ron Mann and written by Len Blum, Altman is a documentary that explores the life and career of one of American cinema’s great artists in Robert Altman. Featuring audio interviews with his widow Kathryn Reed Altman, their children, and the people who had worked with him. The film plays into Altman and his peculiar approach to filmmaking and storytelling along with rare footage of behind-the-scenes footage and rare home movies provided by his family. The result is an enchanting and exhilarating portrait of one of American cinema’s great voices.

The term “Altmanesque” is something that best describes the style of the kind of films that Robert Altman makes which are based on real things that are happening with overlapping dialogue while refusing to play by traditional and conventional aesthetics that usually happens in mainstream cinema. For those that had worked with him and those like Paul Thomas Anderson who was inspired by him, it’s a term that means many thing. Especially to a man that didn’t live his life by conventional means as he was someone that liked to have a good time and treat his actors and collaborators as part of his family. It’s a film that isn’t just a tribute to Altman but also to his body of work which were all defined by its refusal to play by the rules whether they were successful or not.

Each chapter opens with a collaborator of Altman such as Lily Tomlin, Lyle Lovett, Sally Kellerman, Elliott Gould, Michael Murphy, Paul Thomas Anderson, Keith Carradine, Robin Williams, and several others to each define the term “Altmanesque” in their own way. These chapters would play into Altman’s early life where he served in the U.S. Air Force in World War II and later found his way into the film industry when he co-wrote the screen story for a film called Bodyguard in 1948 for RKO Pictures. The film would also play into Altman’s time doing industrial films and documentaries during the 1950s, his work on various TV series where he would meet his third wife Kathryn Reed, and his first films as a feature-film director where he would clash with studio heads about how to tell a story.

By the time he broke through with M.A.S.H. in 1970, things would definitely go up as Altman would often have his own family on the set where director Ron Mann would reveal not just a few rare short films but also some rare behind-the-scenes moments and such to show how Altman’s children were part of the set. Notably as his son Stephen would start out as a props man and later be his father’s production designer while Matthew Reed Altman would become a camera operator for much of his father’s films. The success that Altman would have for much of the 1970s where he was able to remain independent while working with studios gave him the chance to create a studio of his own in Lion’s Gate Films (not the US/Canada studio of the same name) that launched the career of Alan Rudolph and several others.

The film would play into Altman’s own innovations as a filmmaker where he would find new ways to record a lot of overlapping dialogue through little microphones on the actors while Altman and a sound mixer would find out which dialogue to use and how to mix it right the way to make it feel natural. While his innovations would be used for a lot of films by other filmmakers including Hollywood, the film also played into Altman’s own exile from Hollywood until 1992’s The Player where he made a big comeback. Some of the scenes that Mann would create would be presented through the work of art directors/animators Matthew Badiali and Craig Small who would create some background images of what Altman might’ve been doing during those times.

With the aid of cinematographer Simon Ennis in shooting some of the testimonies from Altman’s collaborators and Kathryn Reed Altman for its ending along with editor Robert Kennedy to compile footage of Altman’s earlier work and rare home films. Even as the sound work of John Laing would help play into Altman’s innovations in capturing overlapping dialogue while the music of Phil Dwyer and Guido Luciani is playful with its jazz-based score. Music supervisor Mike Rosnick would maintain that sense of playfulness with the music to play into the different periods of time.

Altman is a phenomenal documentary film from Ron Mann. It’s a film that anyone who loves the work of Robert Altman must see this not just for some of the rare home movies and interviews he does but also into a study of his methods. For anyone new to Altman might think of the film as a nice place to start though his own work is the best way to look into the man and his work. In the end, Altman is a remarkable film from Ron Mann.

© thevoid99 2015

Saturday, June 27, 2015

Summer of Twin Peaks: Episode 5-Cooper's Dream



Directed by Lesli Linka Glatter and written by Mark Frost, the fifth episode of Twin Peaks entitled Cooper’s Dream revolves around the discovery of Leo Johnson’s blood-stained shirt that Bobby Briggs put in the apartment home of Jacques Renault. Special Agent Cooper, Sheriff Truman, Deputy Hawk, and Dr. Hayward all check out what is in Renault’s apartment where they find some clues into the work that Renault and Johnson are up to. It’s an episode where it is not just about a series of investigations where Audrey Horne, James Hurley, and Donna Hayward trek into their own journeys to find out what is going on where Hurley and Hayward ask Laura’s cousin Maddy for help.

The episode does find a balance of quirky humor with some suspense and drama as there’s also some looming tension as it relates to Hank Jennings’ return to society as he promises Norma to do right though it is clear he might have a history with Josie Packard. Hank’s return would put Norma’s affair with Ed Hurley on hold while Benjamin Horne’s attempt to buy the Martell saw mill is getting closer with Catherine Martell wanting to ruin Packard. It’s an episode that plays into a lot of elements in the underworld as Mark Frost would write events and little subplots that play into not just how Laura Palmer’s death would unravel some of the things in the town but also how things become more complicated as it relates to her own activities.

One major subplot involves Bobby Briggs and his affair with Shelley Johnson as the latter reveals she had bought a gun as the two pretend to play with it while Briggs would finally unveil a more tormented side of himself during a session with Dr. Jacoby as it relates to Laura. It’s a moment where Dana Ashbrook’s performance definitely shows a lot of layers as someone who has some depth and makes Briggs a character who isn’t just some good-looking bad boy but one who is very troubled. Sherilyn Fenn’s performance as Audrey Horne is another standout not just due to the script but also in Audrey’s motivations as she would blackmail her father’s department store boss to get her a job where she would work to investigate what Laura and Ronette would do. Even as it showcased more of her attraction towards Agent Cooper.

Lesli Linka Glatter’s direction is very mesmerizing in the compositions as well as matching the elements of suspense and humor such as a scene where Cooper, Truman, Hawk, and Dr. Hayward meet with the log lady who would reveal some things that her log claims to have seen. It would be a key break into the story while the episode would also feature moments of humor as Cooper is annoyed by visiting Icelanders for a business convention held by Benjamin and Jerry Horne. A business meeting and later a party that would set the course for some of the elements of greed that looms over Benjamin but also a moment that shows Leland Palmer losing it. Yet, it’s one of the final scenes of the episode that involves the Johnsons that becomes a major turning point as their story ends in a cliffhanger.

Cooper’s Dream is a phenomenal episode of Twin Peaks thanks in large part to Mark Frost’s script and Lesli Linka Glatter’s direction. It’s an episode that ends on a high note into what will happen next while keeping this mysterious about what happened and what is going on. In the end, Cooper’s Dream is a dazzling and riveting episode from Lesli Linka Glatter.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 4 - (Episode 6) - (Episode 7)

Season 2: (Episode 8) - (Episode 9) - (Episode 10) - (Episode 11) - (Episode 12) - (Episode 13) - (Episode 14) - (Episode 15) - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22)

Season 3: (Coming Soon)

(Twin Peaks: Fire Walk with Me) - (The Missing Pieces)

© thevoid99 2015

Friday, June 26, 2015

Summer of Twin Peaks: Episode 4-The One-Armed Man




Directed by Tim Hunter and written by Robert Engels, the fifth episode of Twin Peaks entitled The One-Armed Man is an episode where Special Agent Cooper and Sheriff Truman find more answers into the underworld and who is connected to who. Especially as they uncover certain things relating to the Renault brothers and their dealing with drugs as there is more that is going that the authorities don’t know yet. Notably as it plays into growing feud between Josie Packard and Catherine Martell over the sawmill and other events that lurks into the town where Deputy Hawk would finally track a mysterious one-armed man who could be a suspect relating to Laura Palmer’s death.

It’s an episode that plays into a lot of the things that are going behind the scenes in the town of Twin Peaks as the authorities would try to get answers as they confront this one-armed man in Philip Michael Gerard (Al Strobel) who admits to being in the hospital the same night Hawk was meeting the Pulaski family. Yet, it turns out to be a step back where Cooper receives word from a fellow FBI agent in Gordon Cole (David Lynch) about some of the marks in Laura’s body. The episode also reveals about Laura’s missing necklace where James Hurley and Donna Hayward realize that someone had took it based on a vision that Sarah Palmer had.

The episode would feature Donna making a secret alliance with Audrey Horne who wants to find out who killed Laura despite the fact that she and Laura weren’t close friends. It plays into the element of suspense and intrigue as Audrey would plea to her father to work at his cosmetics store as a way to please him who is unaware of her real motives. While it’s an episode that has a few elements of humor as it relates to Cooper’s unconventional methods and an encounter with a veterinarian’s building with all sorts of animals including a llama. It is a darker episode where it would feature the introduction of Norma’s husband Hank (Chris Mulkey) who is awaiting the results of his parole hearing where he promises Norma to do things right for her.

Tim Hunter’s direction definitely plays up the elements offbeat humor with elements of suspense and drama. Notably as it focuses on some of the things that goes on in the town where Josie Packard stakes out a motel where Benjamin Horne and Catherine Martell are having their fling. Much of it plays into Horne and Martell’s plans to ruin Packard while the episode would later reveal Horne being aligned with someone more nefarious as it relates to the underworld of Twin Peaks. Then there’s the Dr. Jacoby character who remains very ambiguous as Audrey believes that he knows something as does Agent Cooper. It all plays into the complexity of the case as well as some strange events where James Hurley meets Laura’s cousin Maddy for the first time as he is surprised at how much she looks like Laura.

The One-Armed Man is an excellent episode from Tim Hunter that maintains much of the film’s strange approach to mystery as well as exploring some of the drama that revolves around some of its characters. Most notably as it showcases some of the darker elements that is happening where those who are good are trying to set things right in a world that is very corrupt. In the end, The One-Armed Man is a riveting episode of Twin Peaks from Tim Hunter.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 3 - Episode 5 - (Episode 6) - (Episode 7)

Season 2: (Episode 8) - (Episode 9) - (Episode 10) - (Episode 11) - (Episode 12) - (Episode 13) - (Episode 14) - (Episode 15) - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22)

Season 3: (Coming Soon)

(Twin Peaks: Fire Walk with Me) - (The Missing Pieces)

© thevoid99 2015

Thursday, June 25, 2015

Summer of Twin Peaks: Episode 3-Rest in Pain




Directed by Tina Rathbone and written by Harley Peyton, the fourth episode of Twin Peaks entitled Rest in Pain revolves around the day of Laura Palmer’s funeral services as emotions run high while Special Agent Cooper believes that he has a hunch on who killed her. While Cooper believes that there’s a lot more to the case, he also deals with the tension between Sheriff Truman and Agent Rosenfield as the latter found some clues during Laura’s autopsy that opens the door to an underworld in the town. All of which plays into things that is happening where Cooper and Truman confront Leo Johnson who denies anything despite Cooper’s reciting all of Johnson’s past criminal activities.

It’s an episode that does close a moment where everyone says goodbye including Laura’s look-a-like cousin Maddy (Sheryl Lee) who visits to attend the funeral to Leland Palmer’s comfort. Yet, it’s a moment where the town would unravel as Bobby Briggs would claim that Laura’s real killer is the whole town in saying that they didn’t do enough to help her. It’s an episode where it features some very intense and intentionally cheesy dramatic elements along with comical moments that prove to be very funny in the most unintentional ways. Thanks in part to Harley Peyton’s script which not only manages to balance the disparate tones of the story but also find ways to keep the focus about the mystery surrounding Palmer’s death.

Under Tina Rathbone’s direction, the element of humor, drama, and suspense is engaging as well as being offbeat as it also features little moments that do play into the story. Notably a scene involving Ed Hurley and his wife Nadine (Wendy Robie) as the latter thanks him for giving her the accidental solution for her silent drapes as it is among some of the weird moments of the episode. Yet, it’s the funeral where Rathbone’s direction has nearly all of the principle characters in the frame while building up something where things will explode. It’s a very comical moment while it is followed by Shelley Johnson working at the diner telling the customers exactly what happened.

Its final moments would play more into the underworld where Truman and Deputy Hawk (Michael Horse) would invite Cooper into a secret society that involves Ed Hurley as it relates to a secret drug smuggling ring that Truman and Hawk are trying to end. It’s the episode that would give a proper introduction to Jacques Renault (Walter Olkewicz) and his family who are in connection with Leo Johnson into transporting drugs. What would happen would unveil more about the dark elements of the town as well as more about Laura Palmer and her connection with the Renault family. With Miguel Ferrer being great as the asshole FBI Agent Rosenfield and Sheryl Lee providing a brief yet wonderful performance as Maddy Ferguson. It’s an episode that plays more into the tension between Josie Packard and Catherine Martell where the former tells Truman about what she wants to do as it is clear that Martell is trying to ruin Packard.

Rest in Pain is a fantastic episode from Tina Rathbone and Harley Peyton as they manage to find a balance between elements of humor and drama. It’s also an episode that isn’t afraid to find the line of unintentional humor as it plays into David Lynch’s idea of playing against the rules of conventional television mysteries. In the end, Rest in Pain is a thrilling and witty episode of Twin Peaks from Tina Rathbone.

Twin Peaks: Season 1: Pilot - Episode 1 - Episode 2 - Episode 4 - Episode 5 - (Episode 6) - (Episode 7)

Season 2: (Episode 8) - (Episode 9) - (Episode 10) - (Episode 11) - (Episode 12) - (Episode 13) - (Episode 14) - (Episode 15) - (Episode 16) - (Episode 17) - (Episode 18) - (Episode 19) - (Episode 20) - (Episode 21) - (Episode 22)

Season 3: (Coming Soon)

(Twin Peaks: Fire Walk with Me) - (The Missing Pieces)

© thevoid99 2015

Wednesday, June 24, 2015

2015 Blind Spot Series: The Long Goodbye




Based on the novel by Raymond Chandler, The Long Goodbye is the story of a detective who tries to find the people who are involved in the murder of his best friend in Los Angeles. Directed by Robert Altman and screenplay by Leigh Brackett, the film is an update of Chandler’s novel as it’s set in 1970s Los Angeles where a man trying to do what is right finds himself in a world that is very complicated. Starring Elliott Gould, Sterling Hayden, Nina Van Pallandt, Jim Bouton, and Mark Rydell. The Long Goodbye is an entrancing and gripping film from Robert Altman.

A murder has just happened as a man who is accused of his wife’s death goes to his gumshoe friend for help only to be presumed dead in Mexico starting a gumshoe’s journey to find the truth. It’s a film that doesn’t just subvert the ideas of traditional film noir and suspense films but it is also set into a world where it’s about greed and selfishness that clashes with old school ideals. In the middle of this is the gumshoe Philip Marlowe (Elliott Gould) who is a private detective who learns that his best friend’s wife was murdered as he would also deal with his friend’s eventual suicide in Mexico prompting him to believe that something isn’t right. What would happen is that Marlowe would drive all over Los Angeles to find some truth only to encounter a series of strange characters and things that stray from the norm.

Leigh Brackett’s screenplay definitely strays from a lot of the conventions of film noir as well as doing a complete deconstruction of Chandler’s novel such as setting the story in 1970s Los Angeles as opposed to something like the 1940s. While Brackett retains much of the language that is expected in noir in terms of its stylistic and rhythmic approach to dialogue, it’s in the characterization that is subversive. Notably the character of Marlowe as if he was presented in a traditional noir film. He would be someone that is quite aggressive in his findings or be very smart and cooperative while often having some kind of voiceover narration. What Brackett does is turn that persona upside down by presenting Marlowe as an everyman of sorts as someone who bumbles his way into a situation while being difficult towards the police and be concerned about finding the right kind of food for his cat.

It’s not just Marlowe that strays from the ideals of noir but it’s also in the characters he meet such as the novelist Roger Wade (Sterling Hayden) as he is essentially a washed-up alcoholic with money problems who rambles about his life and is abusive towards his wife Eileen (Nina Van Pallandt). Eileen is another character that doesn’t play to the tradition of noir as she could’ve been a love interest but the script allows her to be so much more as it is clear that she might know what happened but there’s complications. Then there’s mob boss Marty Augustine (Mark Rydell) who is a man that just wants his money as he is quite intimidating but sensible unless he doesn’t get what he wants where he turns out to be very dangerous. It all plays into this world that Marlowe is in as it is one where he is being the cuckold while trying to make sense of things as he just wants to know what really happened to his friend and his friend’s wife.

Robert Altman’s direction is quite stylish in terms of staying true to the elements of film noir but it is infused with an offbeat sensibility that makes it a very unconventional film. Notably as he would present it in a world that is very modern but has this sense of conflict of old-school ideas with a new age of individuals who care more about themselves. While it is shot largely in Los Angeles with a few shots in Mexico, the film does play something that is very modern though much of its tone is a mixture of old school noir with an offbeat sense of humor that is more akin to the world of the 1970s. Notably as there are elements that are very quirky such as the fact that Marlowe is always seen lighting a match to smoke a cigarette or a character playing variations of the title song that appears frequently in the film.

Altman’s usage of medium and wide shots not only help play into the vast look of the locations but also play into a world that is very lively and chaotic as Altman knows where to place his actors into a frame. Notably as he doesn’t use a lot of close-ups while keeping things very natural and on location such as an opening sequence where Marlowe is looking for cat food at a 24-hour supermarket at 3 in the morning. Altman’s approach to capturing some of the chaotic moments that involves multiple characters talking with lots of overlapping dialogue do help play into a world that is confusing but also offbeat. Even as he uses some long takes and tracking shots while knowing when to play the elements of suspense and infuse it with something humorous or something much darker. Overall, Altman creates a very engaging and riveting film about a gumshoe private detective trying to uncover a mystery in Los Angeles.

Cinematographer Vilmos Zsigmond does brilliant work with the film‘s cinematography from the usage of available light for some of the nighttime interior scenes along with naturalistic lights for the scenes in the day as Zsigmond‘s photography manages to play something that strays from convention in order to capture a moment in time. Editor Lou Lombardo does amazing work with the editing with its usage of jump-cuts and various rhythmic cuts to play into the suspense as well as the film‘s offbeat humor. Costume designers Kent James and Majorie Wahl do excellent work with the design of the different clothes from the clothes of the men to some of stylish dresses of the women.

The sound work of John Speak and Dick Vorisek is terrific for not just the naturalistic approach to sound but also in the sound editing to capture some of the pieces of music and match it up along with the vast sounds of the party scenes. The film’s music by John Williams is fantastic as it is largely a jazz-based score that only appears in few instances for some of the film’s suspenseful moments while the title song that is written by Williams and Johnny Mercer is played in various styles on location or as part of the score.

The film’s cast is marvelous as it features some notable small appearances from Jack Knight, Pepe Callahan, and Vincent Palmieri as a few of Marty’s hoods, Rodney Moss as supermarket clerk Marlowe meets early in the film and in jail, Jerry Jones and John S. Davies as a couple of LAPD detectives that Marlowe despises, Jo Ann Brody as Marty’s girlfriend, Stephen Coit as the lead detective Farmer, Ken Samson as the Malibu Colony security guard who does great old Hollywood star impressions, David Arkin as young hood named Harry who takes a liking towards Marlowe’s often-topless neighbors, and Arnold Schwarzenegger in one of his early film appearances as a hulking yet silent hood who works for Marty. Henry Gibson is superb as Dr. Verringer as a private hospital doctor who was treating Wade while asking for money. Jim Bounton is excellent as Marlowe’s friend Terry Lennox who asks Marlowe for help as he would later be accused of killing his wife and later be dead prompting Marlowe to find some truth.

Mark Rydell is fantastic as Marty Augustine as this crime boss who just wants what is owed to him as he’s a character that has something that is quite calm but is also very dangerous in one notable moment that is scary. Nina Van Pallandt is amazing as Eileen Wade as Roger’s wife who has been trying to deal with his debt as well as helping Marlowe with the case as she knows a lot more than she seems. Sterling Hayden is brilliant as Roger Wade as a washed-up and troubled novelist who is dealing with money troubles as he deals with the ways of the world while concealing knowledge about the night Terry’s wife was killed. Finally, there’s Elliott Gould in a phenomenal performance as Philip Marlowe as this gumshoe private detective that deals with a case that becomes complicated throughout the course of his journey as Gould brings a humility and wit to his performance that strays from all of the ideas of what is expected in a film noir protagonist.

The Long Goodbye is a magnificent film from Robert Altman. Featuring an incredible performance from Elliott Gould along with a strong supporting cast, enchanting music, and Vilmos Zsigmond’s beautiful photography. The film isn’t just a fascinating take on the world of film noir but it’s also one of Robert Altman’s finest films in terms of taking a genre and put a different spin on it. In the end, The Long Goodbye is an outstanding film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - (Countdown (1968 film)) - (That Cold Day in the Park) - M.A.S.H. - (Brewster McCloud) - McCabe & Mrs. Miller - (Images) - (Thieves Like Us) - California Split - Nashville - (Buffalo Bill and the Indians, or Sitting Bull’s History Lesson) - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - (Fool for Love) - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie's Fortune - Dr. T and the Women - Gosford Park - The Company - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2015