The Seven Year Itch (1955)

Artwork for DVD Release

Icon seems to be overused, and it is.  And myth hints at a bit of nonexistence, which does not apply here.  But it comes as no surprise that when you watch, or even just hear the name Marilyn Monroe, there's a bit of mythos that slips through, even if you've never watched any of her films.

Although forgettable for cinematic instances, minus the famous dress instance (which as a side-note, is attributable completely to a publicity shot, since no full establishing shot is visible in the film proper), the film exudes the sort of brilliant fine line dancing exhibited by Marilyn.  Always prancing in the fine line between sultriness and innocence, sexy and next door.  Always making you wonder whether she's playing a fool, or fooling you into playing along.

And that's brilliant.

The plot is simple, and explained in the four words of the title.  The structure of the film itself is mostly steadfast to what would have been seen in the play the film is based on, at least in structure and visual impasse.

Publicity Photo for Theatrical Release

The script is good, but the main character, played neurotically by Tom Ewell, seems forced at times, although that might be a characterization more than a flaw in acting, although knowing that Marilyn was forced to shoot this film under contract and against her wishes, it makes one wonder is the same is true for Ewell.   Regardless, occasionally a glimpse of brilliance comes through, and that makes the film a lot of fun to watch.

As for Marilyn's acting, it's impossible to not be awashed by the legend of Marilyn, even if her character is a simpler, more "girl next door" person compared to the actress playing the part.  And she's just sheer joy to watch, even in the most pedantic and shallow roles.


Apart from Marilyn's sheer and utter sultriness, not even an image (just a thought, a sexy joi de vivre), it's hard to think of any other indelible images that have stuck true to my mind a week after viewing the film, and that's a shame.

Publicity Photo for Theatrical Release

The structure of the film is off, and sometimes feels too forced and unnatural. 

The ending comes too abruptly and almost against type.  The film seems to be moving in a specific direction, towards a determined outcome in narrative and theme, even four minutes before the film is over, then suddenly in the last two minutes...KAPOW!  The credits roll and you're left to ponder.  Was is the censorship boards at the studio, in society, in government.  Something, because ultimately, not having read the original play, I'm left to wonder if the jauntiness is done on purpose or forced in post-production.

Rent this film if you can, Marilyn is worth it, and you might not watch it more than once or twice.  If you're a fan though, buy it on Blu-ray, the colors are truly amazing.

Love and Death (1975)

Artwork for DVD Release

A tried and true testament to the films that introduced Woody Allen to the film world, and made him such an icon of the American New Wave to the American public and their contemporaries abroad.

The film is thinly veiled as a hilarious treatise on existentialism with hints of a philosophical contemplation on sex and murder, which seems to have preoccupied Woody's mindset in the 1960s and 70s, culminating in his opus Annie Hall (1977), before turning to more dramatic fare afterwards.

It stands, as Woody films often do, as the right amount of intellectual hubris and crude infantile sexual jokes.

Love and Death stands to make you wonder the meaning of life, love and death, all the while keeping you rolling around in the floor, with a script so replete with phenomenal one liners, that you will be reciting them years after watching the film, without remembering where the context came from.

"Don't consider death as an end...think of it as a very efficient way of cutting down on your expenses."

I have personally, never seen a funnier boot camp montage since Robin Hood Men in Tights (), and even then, here, the montage serves more as a way of maintaining the pace, whereas in Men in Tights, it serves as a vehicle of laughter alone.

Artwork for Italian Theatrical Release

Diane Keaton has a splendid comedic timing, even if she stumbles noticeably twice with Allen's script.

The opening titles are a perfect example of the point I made earlier regarding the simplicity and emblematic nature of Woody's masterful approach to film making (see Vicky Cristina Barcelona).

Although not a splendidly technically perfect film, it is a thoroughly enjoyable film and a perfect example of the nature of the American New Wave.  It is as utterly game changing as any other of its contemporaries, including Monterrey Pop (1968), Cabaret (1972), or The Last Waltz (1978).

Like those films, Love and Death proves that you can take an otherwise stereotypically frivolous genre and infuse it with meaning, depth, and relevant transcendence, and do it all while creating a new standard of filmmaking a la Cinema Verite, or Neorealism.

The cinematography here is bleak, but the script and fast pace of the acting, make the film feel bright and exuberant, which makes the relative short span of 85 minutes pass even faster.  While still leaving you very fulfilled at the end.

Buy this film on DVD and on BluRay if it ever gets released as such.  It is worth your time and energy, and it stands well to multiple viewings.  My wife and I have watched this film at least once a year for the last 8 years, and we have never grown weary of it.

The Campaign (2012)

Artwork for Theatrical Release

I sadly spent the weekend suggesting people go out an watch this film after seeing a trailer that promised, as it turns out, more film-making than the film could deliver.

In my moonlighting as a sometimes unpaid editor for a national network morning show, I watched this trailer no less than a hundred times between Wednesday and Thursday, laughing all the way to the last viewing.

Then came Monday, and an invite to watch the film, and even though I had much to do, including an overdo review of The Island for this here blog, I jumped at the opportunity and soon wished I hadn't, safe for the, as usual, excellent company.

The first thing that strikes you is the bad editing and really, really bad script.  It seemed at times, that the few truly brilliant and raucous moments were actually improvised, and that speaks more to the comic brilliance of the two pillars of the film, than anything else.

Watching the first third of the film, you might be fooled into a faux sense of security, but rest assured that the second part of this film is oft unfunny and unimaginative.

Good acting, narrative, and film-making is sacrificed to be able to make a social commentary that most people in the age of 24 hour news and a year of elections might not care.  And even then, doesn't do a good enough job to merit it (does anyone really know who the Koch brothers are, and what they do?)


The idea itself was great, but the execution was uninspiring and full of flaws.  Which is a shame considering the pedigree of the film-makers, including the director of the Austin Powers trilogy and the first two film in the Meet the Parents films.  If you go in expecting any of those films, or Step Brothers or anything funny, don't.

Plot exposition is horrible and even in the American tradition of over simplifying even the broadest of stereotypes, this falls short and unfunny.  One of the truly hillarious and memorable moments comes from the ethnically confused maid who does an exceptional job with a tepid idea, but falls flat and short in the encore.

The acting is pretty atrocious and worse yet, flat; with the exception of John Lithgow and my personal wispy WASP alpha female crush, Katherine LaNasa, who sadly is playing an offshoot of the same character she's been playing for years.

SIDENOTE:  If only Hillary Clinton had the pure sex appeal of one Katherine LaNasa, she could have played the Obama girl bandwagon to a presidency, just saying.  I would have voted for her.  Twice even.  And I'm not even a citizen.

Wait for this movie to make it's way to TBS or TNT in 2 years, or until it hits the discount bin at Walmart.  This film is really not worth the ticket price or really your full attention without the commercial breaks, and even then you might have to be drunk. 

Or high.

Discuss.