The Rare Review

Movies, books, music and TV

I Review “I Confess”

Montgomery Clift is painfully dull as a priest accused of murder in Hitchcock’s I Confess (1953).  It is believed he did it to protect the gaga Anne Baxter from a blackmailer, but we know who the real killer is—a ludicrous nerd. . . Come to think of it, there’s something rather nerdy about Dimitri Tiomkin’s inappropriate music for the film.

Despite some exemplary directing by Hitchcock, I Confess is a lame entertainment.  Kudos, even so, to Baxter, Karl Malden and a couple of others for their acting.

Cover of "I Confess"

Cover of I Confess

Costumes And Bodies: “L’Innocente”

I have never read L’Innocente by Gabriele D’Annunzio, but I regard Luchino Visconti‘s Italian film of it (1976) as worthwhile. It is a lush costume drama about Tullio (Giancarlo Giannini), a free-thinking aristocrat who falls in love with his betrayed wife (Laura Antonelli) a second time, or seems to. The man is ignoble and tortured, though. And Catholic Europe of yesteryear is also “enlightened” Europe of yesteryear.

Giannini is a manly actor of quiet power. Jennifer O’Neill, an American actress dubbed, gets the job done as Tullio’s mistress, but without any real charisma. Antonelli isn’t bad but lacks personality—without lacking a comely face and body, unclothed. Antonelli died in 2015. Anyone with a body as resplendent as hers deserves a serious and lasting marriage, which, alas, she didn’t have. Ironically, when he and his wife are naked in bed, Tullio is aiming for the triumph of marital sex, as it were.

(In Italian with English subtitles)

Lively In The Water: “The Shallows”

We could use a fiction film about sharks that’s better, more consequential really, than Jaws.  Despite its preposterousness, The Shallows (2016) is it.

Following some Blue Crush pop crud, Blake Lively escapes a shark by climbing onto the back of a dead whale, but is soon perched on an islet destined to be covered by the tide.  Nancy, Blake’s character, is competent and aware she has to be brave—why, she’s even brave enough to try to eat a tiny dead crab (which she perforce spits out)—but she’s bleeding from a shark-created gash in her leg and the odious big fish is still swimming around. . . The Shallows is a good feat of directing and editing (by Jaume Collet-Serra and Joel Negron, respectively); and, granted, there is CGI but “the vistas . . . are staggering” (Glenn Kenny).  Ocean shots are even more beautiful than Lively’s smile.  As for Blake’s acting, she does a lot of yelling and, carrying the film, is spot-on.

 

“Irresistible”: Non-Partisan But . . .

Jon Stewart is a smart man, but his Irresistible (2020) is not a smart movie. The critical drubbing it received is justified. A political comedy, it revolves around a swinish Democratic consultant, Gary (Steve Carell), who tries to manage a military veteran/farmer, Jack Hastings (Chris Cooper), into a Democratic mayoral victory in a small Wisconsin town. Another (D.C.) consultant, Faith (Rose Byrne), strives for the defeat of Hastings.

Stewart, director and writer here, has made Faith a Republican hypocrite. She speaks obscenities, as does Gary, and has contempt for small town America. She is neither believable nor as interesting as she should be. What is worse is that we already know, emphatically and forever, that political campaigns and low tricks go hand in hand. Why such a message from Stewart? It’s because his film is naive and hollow, which explains his creation of a scene in which Hastings delivers a speech to New York Dem donors (!) and says not a word about what is most important in politics—policy. Yet the donors are impressed.

Nothing wrong with the acting, though. Carell is nigh brilliant and Cooper is pleasantly authentic. Byrne is as poised and flavorous as Lea Massari. But, although non-partisan, the movie they’re in is preposterous. Unfunny too.

“Sullivan’s Travels” By Preston The Cool

Sullivan’s Travels (1941) produces an appreciable number of laughs, especially in its big slapstick sequence, before being deprived of its comedic tone.  It’s a Preston Sturges picture, less successful than The Palm Beach Story and The Great McGinty but still engaging and unique, still the opus of a recherche artist.

Joel McCrea is not bad as a Hollywood director, but Veronica Lake, without nuance or charm, is not good as an aspiring actress.  A shame.

Sturges’s film is a comedy (for the most part) that tells us there is something to be said for comedy.  Also that there is much to be said for wealth, wherever it exists, over against poverty.  Sure ’nuff.

Cover of "Sullivan's Travels: The Criteri...

Cover via Amazon

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