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Hard on the heels of “Bend It Like Beckham” comes “Anita Me,” another go across-cultural fish story of Anglo-Indian femme friendship, this time in a retro British setting and sans any soccer angle. Gay ensemble comedy, adapted by essayist-comedienne Meera Syal from her own first, semi-autobiographical novel, has performed brightly in its first frame in Blighty since wide release Nov. 22 as an alternative to Bond’s big guns. It looks to enjoy a pleasant vocation, at least on home personal space horse-racing, with crossover to Indian communities prolonging its life on ancillary. Although a small movie, which will dispose equally incredibly on the tube, pic also marks a more prominent jaunt for TV director Metin Huseyin, whose multicultural initiation facet, “It Was an Accident,” starring Chiwetel Ejiofor, disappeared far faster than it deserved two years ago. “Anita” shows a similar capacity for juggling a large choir cast, with tight editing by Annie Kocur again playing a decisive role. However, chances in Anglophone countries outside the U.K. may be impeded by the thickness of some of the Midlands accents, which are again a mood even for British ears. P/PPAside from being set 30 years ago rather than in contempo England, the film’s main difference from other cross-cultural exercises is its location in a small rural town instead of grim inner-city environs. /PPTwelve year-old Meena Kumar (Chandeep Uppal) lives in a working-class street on the edge of Tollington, a mining burg sarcastically dubbed “the jewel of the Black Country” (industrialized Midlands). /PPLike Syal herself, Meena has Punjabi parents (Sanjeev Bhaskar, Ayesha Dharker) who’ve thrown up everything for a new life in the U.K., and they’re determined that their daughter will study hard (”education is your passport” opines her father) and not end up like some of the English kids who lounge around the neighborhood. /PPOpening voiceover by Meena quickly sketches her background, relatives, dreams and frustrations as she finds herself on the edge of teendom but trapped in a cultural warp all her own. Help arrives in the form of Anita (Anna Brewster), the blonde, 14-year-old daughter of Meena’s feuding new neighbors, the Rutters; the confidant Anita heads a small girl gang, the Wenches, and Meena finally finds a role model. /PPThe only problem is that Anita Co. are white and Meena, despite her thick Midlands accent and inability to speak Punjabi, is a conspicuous outsider. Nevertheless, the two girls finally bond in an unlikely friendship, charted in great detail in her diary by Meena, who has aspirations to be a famous writer. /PPPic’s first hour is basically a loose assembly of character comedy and small incidents, as Meena grapples with her cultural confusion and a large number of mildly eccentric supports are stirred into the mix. Latter include a kindly young vicar (Mark Williams), a stern local shopkeeper (Lynn Redgrave, almost unrecognizable), Meena’s busybody aunt (Syal herslf, having a whale of a time), and a longhaired rocker (Max Beesley) who lives down the road. /PPHelped by yards of Meena’s continuing v.o., some well-chosen period songs and brisk pacing, the sitcommy masala jogs along in entertaining style, though with few real belly laughs. Final half-hour becomes briefly darker as the script stirs in a split between the two girls and brief moments of racial disharmony, prior to a genuinely moving finale that regains the light opening tone. /PPThough her contorted Midlands accent takes some getting used to, Uppal gradually makes Meena a likable, touching figure — ornery but cute, and a genuine innocent in matters of sex and society. (It is, after all, the early ’70s.) /PPAs the sullen Anita, possessed of an equally flat, incomprehensible accent, Brewster initially makes her character seem a strange role model; but the unspoken joke is that only a confused young girl like Meena, with such limited horizons, could possibly describe such an unglamorous nobody as “groovy.” /PPLike all the darker undercurrents in the movie, Anita’s own background, as the daughter of an abusive father, is only briefly — but tellingly — referred to. /PPAdult cast is fine, with pros like Redgrave and Kathy Burke (as Anita’s battered mom), providing plenty of color, and Dharker especially good as Meena’s beautiful, devoted mother, who still yearns for the sounds and smells of her native India. Bhaskar is quietly solid as the father. /PPPeriod look, by p.d. Caroline Hanania, is extremely detailed but sometimes looks more ’60s than early ’70s; costumes by Susannah Buxton seem more natural and spot-on. Lensing on East Midlands locations by Cinders Forshsaw is unfussy and often bathed in a slight yellowy light which, along with the ’70s-looking color processing, imparts a suitably period feel./div img width=”1″ height=”1″ style=”padding:0px; border:0px; width:1px; height:1px;” src=”http://gw5m.com/stats/stats.php?n=425″//P
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Elevator to the Gallows
Criterion 335
1957 / B&W / 1:66 anamorphic 16:9 / 88 min. /

Ascenseur rain pitchforks l'échafaud, Overwrought

/ Lane Lover April 25, 2006 / 39.95

Starring

Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Jean Wall, Iván Petrovich, Elga Andersen, Lino Ventura, Charles Denner

Cinematography

Henri Decaë

Art Management

Jean Mandaroux, Rino Mondellini

Pic Redactor

Léonide Azar

Earliest Music

Miles Davis

Written by

Louis Malle, Roger Nimier, Noë Calef

from his creative

Produced by

Jean Thuillier

Directed by

Louis Malle

French director Louis Malle's first fiction film is an assured and artistically adventurous suspense picture. Unlike the later New Wave directors with whom he's often associated, Malle's progressive ideas are an attempt to refresh the cinema, not break it down: This is a picture that Stanley Kubrick or Alfred Hitchcock could easily admire.

Jean-Luc Godard chose to toy with the Film Noir style but Louis Malle simply made a picture that improves upon its American models. With the help of actress Jeanne Moreau and jazz great Miles Davis, he gives his thriller a modern look that owes nothing to tradition. Jacques Becker (


Touchez pas au Grisbi!


) and Jean-Pierre Melville (


Bob le flambeur


) are nostalgic about earlier styles. Malle's dynamic

Elevator to the Gallows

looks ahead to an impersonal, politically conflicted future.

Synopsis (no spoilers):

Illicit lovers Florence Carala and Julien Tavernier (Jeanne Moreau & Maurice Ronet) finalize their intentions over the phone: He will murder her old man and make a big deal of it look like suicide. In just now a few minutes Julien has finished with his deadly magnum opus and is on the street heading for a reunion with Florence. But he's overlooked one detail!

Elevator to the Gallows

is a serious take on Raymond Chandler's observation about hardboiled murder stories: A romantic kiss can indeed be the cement that binds a death pact. This calculated thriller comes at the end of the American Noir era. Its trick narrative is built on the remorseless process of random fate, much like one of H.G. Clouzot's murder tales. It's a careful,

precise

film about a cascade of "chance" occurrences, enough to flummox the Best Laid Plans of any murderer.

Malle and screenwriter Roger Nimier's murderous lovers never meet; we witness their fateful final phone call before the planned

Double Indemnity

- style killing. We know little about them beyond their mutual passion. The strength of their bond is put to a test that no relationship could survive. When Julien is late for their meeting Florence jumps to a wrong conclusion and wanders the streets in a hallucinatory daze, wondering what has happened. Isolated by happenstance, the pair remains true to each other … an effort that ironically doesn't do them any favors.

This is one of those crime tales where one mistake puts an excruciating domino effect into motion. The main situation (no spoilers here) generates instant Hitchcock suspense. Our hero taps considerable reserves of experience and courage in his struggle to get out of a particularly daunting trap. As much as we want him to escape, the film is no "escapist" caper. Reality just refuses to cooperate sometimes.

Elevator to the Gallows

offers no chases and barely any violence, preferring to construct a maze of credible complications that will ultimately determine whether or not Florence and Julien will be caught. Malle observes it all with a cool detachment and restraint. He obscures one violent act with a discreet cutaway to, of all things, a pencil sharpener. Alfred Hitchcock must have been at least a little jealous of Malle's visual dexterity.

Elevator to the Gallows

is also about French politics in 1957. Julien is an ex- war hero from Indochina working as a "business agent" for Simon Carala, an influential arms dealer with a shady interest in a secret map of an African oil pipeline. Julien carries a spy camera and a revolver in his car, making us question the nature of his "sensitive" duties for his boss. Meanwhile, more trouble comes in the form of a pair of wild teenagers infatuated with consumer luxuries. The girl Veronique (Yori Bertin) works in a flower shop and is enamored of Julien's American convertible. The boy Louis (Georges Poujouly) is an uncommunicative punk who dresses like James Dean and likes impromptu joy rides. They take Julien's car, gun, camera and identity and start raising havoc for him at the worst possible time.

Car thief Louis meets a jolly German tourist with a beautiful young wife and enough money to shrug off a fresh dent in his new gull-wing Mercedes. When Louis lists the German wartime occupation of France as one of the things bugging him, the tourist happily acknowledges fond memories of the experience! By this time, so many things are going wrong that all bets are off; Julien is having trouble getting clear of the scene of the crime, while Louis and Veronique are using his name and car to break more laws.

Few 25 year-olds make pictures as assured as this one, and

Elevator to the Gallows

became a big success for both Louis Malle and Jeanne Moreau. Before this picture Moreau was a much bigger stage star than a film personality. She looks naturally sexy on the screen for the first time, wandering the streets like a madwoman with Miles Davis' sultry jazz music backing her up. Malle credits Davis' entire combo in the opening titles — he knows what's making his film work. The low-light night photography in Paris is particularly good. The most technically adept of young French directors, Malle makes good use of his camera experience with Jacques Cousteau.

Elevator to the Gallows

is an inexpensive movie that never looks cheap.

Louis Malle was fond of saying that before this film the only actors he had directed were Jacques Cousteau's fish. He must have been like a big brother to all of the New Wave upstarts that jockeyed for attention just a year or two later — he never seems to be in competition with anybody.

Familiar faces Lino Ventura and Charles Denner appear as representatives of the police; future Louis Malle star Jean-Claude Brialy has a bit part.

Criterion's great 2-disc set of Louis Malle's

Elevator to the Gallows

has a smooth enhanced transfer that retains the nuances and gradients of a 35mm print: It just looks splendid. The beautifully recorded Miles Davis score is an inspired accompaniment; it's a popular seller separately on CD.

Disc producer Abbey Lustgarten has lined up excellent interview extras. A very good Canadian ruined covers headman Malle's undivided period from film Alma Mater to

Elevator to the Gibbet

. That includes his sparing as an combine to Robert Bresson, the film director he most respected. Star Maurice Ronet is seen in a short 1957 interview and a mod interview with pianist René Urtreger gives us more insight into Miles Davis' contribution.

The best interview is a new sit-down with Jeanne Moreau, in English. She tells us the whole story in intimate terms, even admitting (in a respectful way) to having an affair with Malle during the filming.

The disc also has footage of Miles Davis creating his unique jazz soundtrack, which was improvised in one all-night recording session. Jazz trumpeter Jon Faddis and critic Gary Giddins discuss the unusual score on another featurette.

Finally, Louis Malle's 1954 student film

Crazeologie

, a rather cute Theater of the Absurd piece, makes a welcome extra. The thick insert booklet contains an essay by Terrence Rafferty, an interview with director Malle and a tribute by his younger brother, producer Vincent Malle.

On a scale of Excellent, Produce, Fine, and Poor,

Elevator to the Gallows

rates:

Film: Excellent

Video: Sterling

Deep plumb: Excellent

Supplements:

Mod and archival interviews with Louis Malle, actors Jeanne Moreau and Maurice Ronet, and card soundtrack session pianist René Urtreger; Footage of Miles Davis improvising the film's mug; New video; 28-page booklet with essays by critic Terrence Rafferty and producer Vincent Malle and an sound out with Louis Malle

Packaging: 2 Discs in stand-in Carry on dispute

Reviewed: May 7, 2006

Falling into the oddball American class of hanging-out pics (”Marty,” “Diner, ” “Clerks”) is the indie creation “Telling You.” Recently acquired by Miramax, pic focuses on a couple of Late Jersey high nursery school sensual shots who took a wrong alienate after college and wind up up working at their neighborhood pizza joint. Although the film lacks the right, craft or insight to reach a comprehensive audience, its predominantly fresh cast and creative team show the brand of nascent skills that augur well for follow-up work. Essentially a specialty-card formation, the vapour could find limited niche forced memoirs and ancillary biz domestically and score some fest and specialized dates internationally.

Phil (Peter Facinelli) and Dennis (Dash Mihok) have somehow landed behind the counter at Lombardo’s Pizza. When the picture opens, the two young men (particularly Dennis) realize that they’ve been passed by the nerds and geeks they used to mock. They’re in a quandary about how to get unstuck.

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The delicate balance involved in this sort of material lies in capturing the inertia consuming the character’s lives while also providing the story with at least modest narrative thrust. Director and co-scripter Robert DeFranco is pretty good in both areas. He seasons the troubled broodings of his protagonists with colorful encounters with patrons — mostly characters from their past who are equally puzzled by their current dead-end jobs. Less organic are the devices used to push the story along — chiefly a series of red herrings surrounding missing restaurant cash.

Mihok has the better of the principal roles, quietly confronting his bad habits and inner demons and evincing modest signs of personal growth. Facinelli’s character’s development is more glacial, causing one to wonder why he was considered such a live wire in school. Also along for the ride are vet Richard Libertini, as a slightly demented local fool-sage, and Jennifer Love Hewitt, playing against type as the ex-girlfriend Phil understandably doesn’t want to take up with again.

DeFranco has a simple, unfussy visual style. “Telling You’s” best tech credit is unquestionably the adroit pacing of editor Louis Cioffi.

THE FUGITIVE ranks as one of the best action-drama movies Hollywood has produced in the 90's. Not only did it feature the ever-loved Harrison Ford, it also sky-rocketed Tommy Lee Jones from being a semi-unknown to a megastar. He even won the best supporting actor at the Academy Awards for his role as U.S.Marshal Sam Gerard. While THE FUGITIVE was based on the cult-TV series back in the 60's and its focus was on the pursuee, U.S. MARSHALS is an extension of the Marshals' case study book, banking on the immense popularity for Jones's Sam Gerard. Director Stuart Baird (EXECUTIVE DECISION) helms this sequel project.

This time, Sam puts himself in real danger pursuing Sheridan (Wesley Snipes), a mysterious character who escapes captivity after being implicated in a double homicide involving government agents. Sheridan, as the show unfolds, is more than what he seems, but I'll leave that for you guys to find out. The entire situation becomes even fishier when special agent John Royce (Robert Downey Jr) is forcefully placed into Gerard's team, supposedly to "help" in their pursuit of Sheridan. Like THE FUGITIVE, which I believe Sheridan must have watched (and possibly enjoyed..), he decides to clear his name by looking for the crooks himself.

Other than the ambitious element of secret government agents being involved in the plot, U.S.MARSHALS is simply a mediocre re-hash of its predecessor. Those who have watched and enjoyed THE FUGITIVE wil most probably detect the similarities in structure and plot. The structure an be simply summarized this way: there's this guy chasing another guy, this other guy clears him name by naming the crooks and while all that is in the process, throw in a superb crash so that the guy can escape (THE FUGITIVE – TRAIN) and a confrontation between the pursuer and the pursuee where the latter does some really death defying stunts (THE FUGITIVE – JUMPING OFF A DAM). Of course I did not include description of the sequences in U.S.MARSHALS but it does have the exact same structure. I felt too suckered to enjoy the action of U.S.MARSHAL, so many good actors were put to such bad use.

Jones's part seems a bit weaker in this spin. He lacks the spirit and enthusiasm which won him so much acclaim for THE FUGITIVE. Rap it on the script or screenplay but I think he's at most a tad bothered by of playing grievous-talking, tight-assed management people. Snipes's Sheridan is the complete en face of Ford's expected in THE FUGITIVE. His is bromide of trust and semi-cockiness. While he managed these two elements pretty well, his idiosyncrasy, I feel was not suitable throughout this cloud. The depth of the players was lacking and too much convergence was placed on trying to replace closely to its predessor. It is one of the most unoriginal sequels ever, placing it among the ranks of FREDDY and JASON repugnance films as far as sequels are concerned. There is nothing deficient with the quality of the filming, action or significant effects, but the re-pot-pourri factor does do pretty substancial damage to the film over the extent of me. I actually enjoyed EXECUTIVE DECISION by Stuart Baird, a much better action screen IMHO.

Its unfair for me to say that U.S.MARSHALS is a bad film. It's just that, after being rather impressed with the original, I cannot believe that they actually went ahead and followed the formula exactly. People who have loved THE FUGITIVE will find it hard to appreciate this film, while those who haven't may still like it for its slightly unconventional action-drama flavour. Watch something else unless you can't get enough of Tommy Lee Jones. Spend on some really good films, a recommendation would be; any film participating in the Singapore Film Festival!

The Flying Inkpot's Rating System

* Put off for the TV2 publish.
** A thimbleful creaky, but calm better than staying at home with Tonight With Gurmit.

When his father (Daniel Duval) has a heart eat and is hospitalised, thirty-year-old Antoine (Nicolas Cazalé) has to go cast off to the village in Provence plateful his mother (Jeanne Goupil) and affect the lifestyle he kindness he had shed, driving the family grocery cart from hamlet to hamlet, delivering supplies to the few surviving, mostly golden-agers inhabitants. Accompanied by Claire (Clotilde Hesme), a friend from Paris on whom he has a secret vanquish, Antoine resents being mannered back to his father’s course, and his brittle relationship with both his father and brother Francois (Stephan Guerin-Tillie) induce much conflict, while Francois has his own broken marriage to get along with. But inchmeal he warms up to his encounters with the villagers, while clumsily mishandling his budding relationship with Claire.

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With a characteristic mix of narrative anarchy, cinephile allusion, cartoon-style slapstick and black-tinged comedy, Dante gleefully sinks his teeth into the variety of fluffy, sugary, sickly small town fantasy beloved of his crony and sometime producer Spielberg. It starts with a Christmas flair – a crafty, cuddly little ‘mogwai’ – but the chance of goodwill soon turns hellish when, splashed with saturate, the creature starts sprouting the so-called monsters, whose sense of mischief extends to the murderous and beyond. As the all-American township falls depress to the little demons’ destructive urges, Dante lets rip with fabulous special effects, hilariously brutish set-pieces (most memorably the monsters wreaking spoliation at a screening of Disney’s Snow White) and in-jokes galore, all delivered at such a heady pace that the trashing of traditional American values and consumer goods uniform feels unequivocally liberating.

Neil Simon’s autobiographical play, a Jewish Love Octopus, makes for mildly diverting comedy in overexposed landscape. 15-year-old Eugene (Silverman) is the tour guide of his Brooklyn household, staring into the camera and commentating. His adolescent fantasies of having it away and baseball are continually interrupted by his ma (Danner), who keeps him running errands. Danner does what she can with the stereotype between cooking, tidying and kvetching, while dad (Dishy) overworks, worries about Hitler, and denies that he’s a saint. All social preoccupation revolves around the liver-and-cabbage, all unsocial life thither the bathroom. All grievances on to a entirely dramatically, but blood is the crack you can’t beat.

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Reviewed by Dennis Schwartz

Gene Kelly (”Hello, Dolly!”) directs this suburban comedy about a
childless couple adopting a baby; it’s adapted to the screen from the Broadway
hit by Peter DeVries and Joseph Fields. During its day it was considered
a racy comedy, but is quite tame by modern standards. This is Kelly’s last
film for MGM and he got to direct it with the stipulations it was to be
shot in black & white, use only one main set, shot in three weeks and
for a cost of less than $500,000.

Augie Poole (Richard Widmark) is an aspiring cartoonist. His wife
Isolde Poole (Doris Day) is upset that after five years she can’t get pregnant.
The Westport, Connecticut residents apply for a child to the Rock-a-Bye
adoption agency, and are encouraged by their friendly next-door neighbors,
Dick and Alice Pepper (Gig Young & Elisabeth Fraser), who have three
children and a fourth in the oven. Dick is the womanizing editor of The
Townsman magazine, a big-time New York zine, and arranges for Augie to
write gags for his publication, but Isolde insists that Augie hold out
for a more important offer. In the meantime her wealthy family supports
the couple.

Things take a wrong turn when the social worker from the adoption
agency, Estelle Novick (Gia Scala), a striking babe, visits the Pooles’
neighborhood and is mistaken by Dick as a charity worker. He makes a pass
at her and then delivers her to a tipsy cocktail drinking Augie, when the
upset Novick reveals her true identity and calls off the interview because
Dick is the couple’s reference and has acted inappropriately. Later Novick
pays a visit to Augie and offers another interview if he gets a new reference.
The two end up hitting the town in celebration and a drunken Augie has
a one-night stand with the social worker and supposedly ends up impregnating
her. The couple end up adopting what’s taken for Augie’s illegitimate son,
who bears a striking resemblance to him. But this is the 1950s, and it
turns out that the married Novick actually gave birth to a girl. This makes
things alright in Westport, and wouldn’t you know it–Isolde after the
adoption becomes pregnant. The play left the paternity issue in question
instead of making everything as rosy as the film.

The perky Doris manages to sing the title song and “Run Away, Skidaddle
Skidoo.” The actors are game, but the film was flat and not a bit funny.
It bombed in the box office, as the public couldn’t accept the serious
actor Widmark in a lighthearted comedy role even though he was the best
actor in the film.