Archive for New York City

THE APARTMENT (1960)

Posted in Reviews with tags , , , , , , , , , , , , , , on December 6, 2016 by cdascher

apartIn general, I am not a fan of rom-coms, though there are a few – usually of the Ten Things I Hate About You/Better Off Dead/Can’t Hardly Wait ilk that I will enjoy at least marginally. I certainly don’t watch a lot of rom-coms in black and white. I was, however, pleasantly surprised with our most recent Oscar winner The Apartment (1960), featuring Shirley MacLaine and Jack Lemmon.

The film tells the bleak tale of C.C. Baxter (Lemmon), a lonely bachelor who lends out his apartment to a number of higher-ranking men at his work to help facilitate their extra-marital affairs. They dismissively refer to him as “Buddy Boy,” and he is often left in the rain or sleeping on a park bench while they are posted up in his abode. He continues in this arrangement in the hopes – which they fuel – of moving up the corporate ladder. Instantly though, I felt humiliated for him at the entire prospect. To make matters worse, the head of personnel, Mr. Sheldrake, learns of the setup and offers to make the career advancement an immediate reality but only if he can also get in on Baxter’s apartment borrowing.

A bright spot in Baxter’s days comes in the form of interactions with Fran Kubelik (MacLaine), a beautiful and independent elevator operator. The other men joke that no one has been successful with her romantically, wondering at it. In a few exchanges, we see a genuine rapport between Baxter and Kubelik. He eventually even works up the nerve to ask her on a date. She demurs, telling him she has plans to meet up with another man, but then agrees to meet him after. To our horror, we realize soon she is meeting up with Sheldrake, with whom she had previously been having an extramarital affair. Worse still, Sheldrake lays it on thick, promising to leave his wife for her. She ends up standing Baxter up, and going back to Baxter’s apartment (unbeknownst to her) with Sheldrake. In the scene where we see Baxter waiting alone at the theater for her, there is a heavy sadness. I found myself just yelping, “no, no!” I think this gloom and pitiful irony was what made this film more engaging to me than a run-of-the-mill flowers-and-sunshine rom-com.

A lot of things come together to make The Apartment work, but the keystone is Jack Lemmon as the hapless and slightly dorky optimist Baxter. There is a pitch perfect blend of pathos and humor to Baxter that makes him the ideal stand-in for anyone who has ever found themselves the third wheel, or realized they’d moved just a little too late on the one they were falling for; not that I would know anything about that. He is so earnest in trying to get ahead at work and pursuing a gentlemanly romance. We just watch him, waiting for the world to grind him down. But he has a resilience that wouldn’t let me stop pulling for him. Continue reading

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ANNIE HALL (1977)

Posted in Reviews with tags , , , , , , , , , , , , on February 10, 2016 by cdascher

AnniehallposterThe bad news has been confirmed by researchers from Scotland’s Heriot Watt University: watching romantic comedies is bad for our love lives. This validates the therapists who tell anecdotes about frustrated individuals coming in expecting to encounter in life a quasi-magical special person who will know their desires and feelings innately, without being told. We all know the familiar rom-com formula that has been an industry staple since the golden age of Hollywood: two people meet in the most novel of circumstance, they go through a phase of misunderstanding or mutual hostility before realizing how right they are for each other and achieving True Love. A successful template for a movie plot, yes, but as the researchers point out, it can distort our perception of reality and belie the hard work of communication and the development of trust and rapport that characterize successful relationships in reality. But people love their romantic movies! So what to do?

Perhaps this blogger can suggest to the Scottish researchers an antidote of sorts: 1977’s Annie Hall. In it, the protagonist, Alvy Singer, contemplates his failed relationship with the title character and we follow him through a series of remembrances in his attempt to make sense of it all. These vignettes aggregate to tell the story of a romance that follows an arc much more similar to real world relationships, but is nonetheless funny and ultimately heartbreaking.

Also, the guy who made it turned out to be a despicable deviant.

It’s really hard to watch this for the first time as someone who has great disdain for Woody Allen. The film is an easy, pleasant, enjoyable watch, but I couldn’t turn my brain off entirely to its creator. I found myself at times wishing we were seeing the film more through the eyes of Annie, played by Diane Keaton. Continue reading

MIDNIGHT COWBOY (1969)

Posted in Reviews with tags , , , , , , on May 29, 2015 by katyotto

midnight cowboyI ain’t a for-real movie critic, but I am one hell of a blogger. So let me talk about Midnight Cowboy, the movie about a poseur cowboy from Texas who sets off for New York City, convinced that owing to a dearth of straight men, wealthy women there will pay him for his sexual services. When his clientele fails to materialize, he meets and eventually befriends Rico “Ratso” Rizzo, a sickly sneak thief with a desperate dream to escape the city for Miami. While it’s status as “the only Best Picture winner to be rated X” is a little misleading, it is certainly worlds away from the previous year’s winner and it signalled that a new era had definitely arrived for American filmmaking.

I was excited to see this movie because Mouse has told me so much about it over the years. I wasn’t disappointed. Jon Voight and Dustin Hoffman are both fantastic in this film. Voight plays Joe Buck, a man from Texas who decides to leave his home and job as a dishwasher to pursue a career of hustling in New York City. He believes that his charm and good looks, along with his sexual prowess, will enable him to succeed financially because New York is a city teeming with wealthy, older women eager to hire someone such as himself for company and a good time. Voight is plagued by flashbacks throughout the film, and we as the viewers never learn the entire story behind them. It appears he was raised by a grandmother, had some negative experiences with organized religion, and had several traumatic experiences connected to a past lover/girlfriend – possibly even surviving his own assault and witnessing hers as well. What exactly happened in his hometown and home life is never made fully clear, but we do know he has a painful relationship to sexuality and other people. In spite of this, he is a warm, loving person, eager to do right by others. Within days of relocating, he meets Enrico Salvatore “Ratso” Rizzo, played by Dustin Hoffman. Rico is a con man and pulls one over on Joe, but thankfully this doesn’t define their relationship. In fact, they need one another’s companionship more than either can fully articulate. Continue reading