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Harold and Maude (1971)
Finally seen and greatly enjoyed
I waited years (maybe 35?) to watch this movie and was not disappointed. All I knew about it beforehand was that it involved a May-December relationship where the younger partner pretended to hang himself. I assumed it was a black comedy.
The film can, I suppose, be defined that way but is very life affirming in its contrast of the futility of some lives versus the joyous acceptance of an individual's place in the world as lived by others.
Despite my familiarity with the era and experience predicting where plot lines would lead the final scenes were not what I expected. And the one, quick, simple, un-glorified shot that explained a lifetime of behavior was nothing less than brilliant.
Well worth the wait - and an hour and a half of your time - if you enjoy films that were refreshing in their era and continue to challenge the Hollywood norm.
Bright Young Things (2003)
Enchanting, with gravity
I thoroughly enjoyed this film. The story is lively and great, the dialog quick,witty and fabulous, darling. The performances are outstanding, particularly Stephan Campbell Moore, David Tennent, James McAvoy and especially Fenella Woolgar, who plays her supporting role brilliantly. Emily Mortimer's beauty makes her acting a non-issue, but she is perfect in her portrayal of the fickle love interest. Stephen Fry's direction pulls it all together in such a delightful way that I felt as if I was one of the bright young things tagging along from party to party, race course to race course, bomb-drop to bomb-drop, and home again.
Square Pegs (1982)
Totally.
Square Pegs was one of my favorite TV shows, mostly because it was so off-beat. There were frequent references to the new style of music that was just about to break through to mainstream media at the time the show began. i.e. a bulletin board in one classroom had notices for the "Tom Tom Club" (a real band formed by two members of the Talking Heads) as if it was some organization for building school spirit. And the theme song was written specifically for the show by another unique and fantastic early 80s band, the Waitresses.
Quirky in delivery but right on in concept, the show was far and away ahead of its time. Perhaps the only recent program on TV it can be compared with would be "Malcolm in the Middle". Although not as sophisticated as MITM, and with many silly, sophomoric jokes, those of us who were aware of the changes bubbling below the crusty American cultural landscape of the time sensed that this was the first breaker of the "New Wave".
The characters on the show were about as broad-stroked as they could be, yet the characterizations were unlike anything I'd seen before. Patty and Lauren were two high school freshman desperate to be admitted to the "in" crowd, but were often spared of making fools of themselves like the kids who considered themselves too good for our heroines. It didn't hurt that "the skinny one" was played by a young actress that would go on to fame and fortune in one of the most popular TV series of the upcoming century. And to marry Matthew Broderick! SJP did bring much heart and honesty to this very small role, as did her co-star Amy Linker, and that was part of what endeared the Square Pegs to us.
The only friend the two could count on in the show was played with goofy panache by Merritt Butrick. The actor managed to stretch his career out through the end of the decade (and possibly longer; the last I remember seeing him was on Hollywood Squares, probably in the 90s), but his portrayal of the eccentric yet somehow cool Johnny Slash landed him the short-lived program's one catch phrase, "Totally."
More success would come to the actresses who played "the pretty one" (Tracy Nelson, who went on to star in "Father Dowling Mysteries", and is still acting today); and the incredibly uptight and driven one with the unforgettable name of Muffy Tepperman (Jami Gurtz, the lead actress in a number of movies over the ensuing years and star of the recent hit TV show "Still Standing".)
Rounding out the cast was the working class Italian hunk (Jon Caliri in an updated version of John Travolta's "Welcome Back, Kotter" character of the same name), the always angry black girl (Claudette Wells) and the nerdy schemer with another classic name, Marshall Blechtman (John Femia), who I swear I went to high school with.
In the end the show didn't catch on, but it will always remain a bellwether to the energetic shift in music, fashion and attitude that was the 1980s.
Mùa hè chieu thang dung (2000)
A beautiful braid of love
It's been awhile since I've seen this film, but an image of the artistry of its story has stayed with me for several years now. I saw the story as a braid of long black strands of hair, each strand representing the love life of one of three Vietnamese sisters from a complex and changing family. The characters reveal themselves slowly, so we the audience have a bit of confusion to work through to come to understanding, much like the characters themselves. There is a joy of discovery in this film, as well as joys of beauty, love and individuality. Deception is also an important element, one that adds to the complexity of the situations, but ultimately helps to explain the characters' actions.
Platoon (1986)
Verified my fears of going to war
I saw this movie with a group of coworkers when it first came out in theaters. I wouldn't let any of them go home until we had all sat down and talked about the emotions brought up in the film. Growing up in the 60s I had become scared to death of having to go to war and kill someone. This movie verified my fears. It's a horrifying portrayal of what fighting in the Viet Nam war was probably like. I found it much more moving than Full Metal Jacket, and although I can't say for sure which is more accurate, this film felt more real. Director North got the most out of his actors, especially Charlie Sheen and Tom Berenger, both in perhaps their best roles ever. Willem Dafoe was, as always, excellent. Unfortunately for the actor John C. McGinley, because of his role in this movie I will never be able to trust in any character he plays. Just seeing the actor's face brings up the disturbing emotions I felt about his Sgt. Red O'Neill in Platoon.