movie: Frequency (2000)

Another firefighter flick. (I can’t remember where I got this list.)

As the movie opens, Dennis Quaid is a hunky firefighter, Frank, in 1960s Queens. He has a good marriage with Julia, and a six-year-old son, John. Flash-forward some 30 years, and John (Jim Caviezel) has grown up to be a cop. He’s close to his mother. They both mourn his long-dead father.

Until the return of the rare (especially in NYC) aurora borealis, which shows up in both 1969 and 1999, coinciding with adult John’s discovery of his father’s old HAM radio. In a sci-fi twist, this allows Frank and adult John to talk to each other across the years. (There is mention of string theory and multiple dimensions to lend this mystery a touch of possibility.) It takes a bit of convincing, especially for Frank, to believe what’s happening, but the play-by-play John is able to give of the 1969 World Series (the Amazing Mets) clinches it. (That World Series will continue to signify throughout the movie.) You can guess what comes next: John is able to warn his father about the warehouse fire in which the latter dies. Now he doesn’t die. Hooray! Except… cue the butterfly effect.

Frank’s survival gives John a whole new set of memories in which his father was there for his adolescence and young adulthood. He’s kept the other memories, too: “I remember both. At the same time. It’s like waking up from a dream and you’re not sure what’s real. I remember you being here, but I also remember when you weren’t.” And now, of course, things start changing in John’s present. His girlfriend doesn’t know him. His mother is not at the phone number he has for her. John the homicide detective gets a new case that matches an old case, and the news just keeps getting worse. He and Frank, across the years and via nightly talks on the HAM radio, undertake to catch a serial killer, but as Frank points out, he’s a firefighter, not a cop. It’s possible that whatever they try will make things worse.

This movie is kind of sappy, but I quite loved it. Seeing the father and the son be open and emotional with each other was darling, actually, even if a bit cheesy. Frequency‘s plot is not unfamiliar (think elements of Back to the Future, Sixth Sense, Ghost, It’s a Wonderful Life), and it uses some fairly transparent tools to manipulate my emotions, but I’m here for it: with a little willing suspension of disbelief, the tension was convincing, and the plot twists intriguing. There’s a bad guy, and there are a couple of clear good guys, and enough disturbance to put them in danger along the way. Most importantly, there are compelling relationships, and maybe that’s key to my enjoyment here. I found a user review on IMDB that says it perfectly: “There have certainly been better action/suspense/serial killer movies (the action scenes weren’t amazing, the story has some holes, and I thought the ending was a little cheesy), but the heart of the film is the relationship between Frank and John. I bought into that relationship fully, and that’s why I liked this film as much as I did.” Well put, UnclePaul.

Solidly worth the time. Also Dennis Quaid is hunky.


Rating: 7 cigarettes.

movie: Brokeback Mountain (2005)

I just recently rewatched this movie, which I saw when it first came out, and appreciated. I’m quite blown away. This is masterful understatement. Emotions run fast and deep; Jack Twist and Ennis Del Mar are men’s men in a classic sense, macho, physical, and (in Ennis’s case) of few words; they are also lovers. There is a rough physicality to their affection, as in the scene when Jack shows up at Ennis’s apartment after four years apart. It’s a deeply sexy, sensual movie, perhaps more movingly so because of how different this love and sex is from what we’re accustomed to seeing in romance movies.

And it’s a very romantic movie, in several senses. For one thing, there is the romantic relationship at its center; but there’s also the romanticism of ranching and rodeoing and the gorgeous scenery and harsh weather of the Montana mountains. (Heath Ledger and Jake Gyllenhaal are gorgeous, too.) I think the power of the film is in part in the overturning of expectations about romance (in both those meanings) and about who we expect Jack and Ennis to be. To put a point on it, we don’t expect cowboys to be gay, and we don’t expect gay men to be rough-and-tumble, macho-masculine cowboys. Those are stereotypes, and Brokeback Mountain is here to dispel them. But that makes it sound didactic when in fact it’s anything but that: it’s deeply beautiful, starkly painful, and at every point feels true.

I have dim memories of enjoying the Annie Proulx story this movie is based on, but perhaps because I saw the movie first, my standard remains this cinematic, visceral, visual version.

I could watch this movie over and over again.


Rating: 10 hats.

movie: We Have Always Lived in the Castle (2019)

There’s a movie version out of We Have Always Lived in the Castle! Boy, rereading that review was interesting. This blog was still pretty young back in 2011. I cringe a bit at the thought that I didn’t know the book yet, and didn’t make the Shirley Jackson connection; but that’s what life is, is a learning process. Everything you ever know, you at one time didn’t know yet! (Don’t make fun of beginners!) Also, it’s interesting to note that now the big Shirley Jackson reference is not “The Lottery” but The Haunting of Hill House, since it’s recently been made into a successful TV series. My students this coming semester will be reading “The Lottery,” of course.

First note: the movie is scarier than the book was. I recall (and it seems from my review) that the book was more spooky or creepy than outright frightening. Well, the movie is not straight horror, in the sense that there are no jump scares; but I was more upset by the things that lurk in the night. For one thing (spoiler follows here in white text, highlight to read): Cousin Charles reads as physically threatening, as in he assaults each sister in turn in what might be a sexual fashion, which I don’t recall happening in the book.

Reviews are mixed. Some reviewers found the tone of the movie off; others felt there wasn’t enough substance, or something like that. I found it to be quite a successful adaptation, and wonder if some of the criticisms aren’t missing the point, or if things I’m calling positive were what most bothered those reviewers. For example, it’s true that the aesthetic of the movie is bright and colorful – not at all matching its content. Constance is forcefully cheerful, with a bright Stepford smile; she almost seems drugged (and her pupils are dilated – how’d they do that? give her eye drops?). This contributes to a weirdly upbeat vibe, even though it’s patently faked, and often in extreme contrast to the conflicts taking places around Constance. It’s odd, but not I think by accident. Each character – weirdo Merrikat; forced-chipper, porcelain-beautiful Constance; increasingly angry Charles; and poor unbalanced Uncle Julian – delivers their own lines in varying forms of deadpan; each believes their own reality. It’s most disturbing, and that is absolutely the point.

There is a trailer here, which on the one hand gives a good impression of visuals and atmosphere, but on the other hand maybe you should go in without having seen so much of it? Maybe the latter; I’m glad I went in more or less blind.

It has been eight years since I read the book, which undoubtedly helps, but I’m inclined to say that as far as book-to-movie adaptations go, this one was quite good and less likely to frustrate the book’s fans than most. Full credit for capturing the feel of the original; great visuals and a hair-raising effect, even without your traditional horror movie’s jump scares. I’m looking forward to reading “The Lottery” with my undergrads now.


Rating: 7 pies.

movie: Hellfighters (1968)

Well this was a fairly silly but also awesome film. Extra points for vintage Houston footage, and a most interesting look at how they (used to) put out oil well fires. A little family drama and a bunch of feel-good, handshakin’ male friendship make for an all around warm-and-fuzzy (although seriously dated) John Wayne movie about firefighting and love.

IMDB calls this “disaster/action/adventure,” but it’s at least as much soap opera as it is any of that. Chance Buckman (John Wayne) is the best in the world at what he does: puts out oil well fires, “around the clock, around the world,” as says the slogan of The Buckman Company. He split with his ex-wife Madelyn because she can’t take the stress of his highly dangerous work, but they still love each other. When Chance is badly injured on the job, his assistant Greg fetches his daughter Tish to visit him in the hospital (against Chance’s wishes). Lickety-split, Greg and Tish are married, and the new generation gets their own chance (no pun intended) to navigate matrimony against a fiery backdrop. The final action takes place at a five-well fire in Venezuela, choppers chopping and bullets whining overhead, as both Tish and Madelyn show up to spectate.

I’d like to give some credit for these women being treated less as delicate flowers in need of protecting than I’d expected from 1968. It’s not modern, but it’s better than I’d have thought. Also, these people have phones in their cars and on airplanes! I understand 1968 less well than I thought I did, all-around.

It’s silly – I wonder how seriously the filmmakers took themselves – but pretty fun, too. The brawl between the Americans and some Australian firefighters in a gambling parlor in Malaya was fine slapstick. It’s got a 14% rating on Rotten Tomatoes, and I fell asleep once. But I had good fun with it, in the end. Keep your expectations low and have a good time.


Rating: 7 delays with the nitro.

movie: The Pieces I Am (2019)

Transcendent, not that I’m surprised.

This documentary of the life of Toni Morrison was released shortly before her death, which has helped it make an even bigger splash, although it was doing fine anyway. My dear friend Liz told me I needed to see it, which pushed me further (I was already interested). I was so glad to get a chance to see it locally at a micro-theatre here in Buckhannon, West Virginia.

For starters, check out that image above. The collage of Toni’s face is built up in an opening sequence that shows many faces of Toni Morrison as she ages, and as a portrayal of the creative process I found it moving and thought-provoking. The rest of the movie followed suit. I loved that they mostly let Toni speak for herself. A “present” Toni sits against a blank backdrop and speaks directly into the camera throughout the film. She is dressed in black, white, and gray, highlighting her beautiful gray hair. She speaks with humor and wisdom, and as she talks, we see images and film clips from her life. Friends and contemporaries including celebrities (Angela Davis, Oprah Winfrey), other artists (Sonia Sanchez, Walter Mosley), and college professors (Farah Griffin, David Carrasco) also speak to the camera; a voiceover reads from a few articles, like nasty racist criticisms of Morrison’s early work. But mostly it is Toni’s own voice that tells of her life, from the melting-pot steel town on Lake Erie where she was raised (Lorain, Ohio) to Howard University to Cornell, to teaching, marriage and divorce, raising two boys, and her influential career as an editor at Random House… and of course writing 11 world-changing novels in 45 years, along with children’s books, short fiction, drama, nonfiction, and an introduction to The Oxford Mark Twain‘s edition of The Adventures of Huckleberry Finn that I’d love to see.

The impression of Toni Morrison that I take away from this film is an entirely take-no-shit, strong woman who we might describe as brave, but I think her own view would be that she was not so much a brave woman as just doing what needed to be done, and what was right, without thinking twice about it. Of course that is brave, but it seems to have just come so naturally to her.

It was nice to see her celebrated not only as an earth-shatteringly talented, singular artist, but also as an incisive, gifted editor, who dragged Angela Davis’s memoir out of her and put Muhammad Ali in his place during the editing of his. I enjoyed the story of her Nobel Prize and the delightful party she so enjoyed in Sweden. In short, I found a rich and rounder portrait here than I think I’d seen of Toni before now.

Although I knew it before, I feel again what a loss we suffered this year when she died, and I feel how lucky we are to have her work in the world. I’m so glad I saw this movie. Don’t miss it. There are lots of ways to watch at home, so you’ve no excuse.


Rating: 9 dolls.

movie: The Watermelon Woman (1997)

This 1997 film is an autobiographical mock-umentary in which filmmaker Cheryl Dunye stars as “Cheryl,” more or less herself: a young Black lesbian working in a video store with her buddy Tamara, and working as well on a film project which documents her research into the identity of a historic Black female actor known in credits only as “the Watermelon Woman.” This actor played the “mammy” or kitchen/maid/”help” roles that were most of the available work for Black women of her time, the 1930s. Cheryl learns that this woman luckily lived in Philadelphia, where Cheryl also lives; she finds people who knew her; the research goes fairly well. At the same time, Cheryl meets and begins a romance with Diana – who is white, which causes friction with Tamara. Two plotlines, then: finding the Watermelon Woman, and navigating romance and relationships across race lines.

On the one hand, as some testy reviewers have pointed out, the script can be a little stilted, and the acting falters; a few lines are fumbled, and I wish they’d reshot those scenes. The research plotline, in particular, is overly simplistic: two friends drive from Philly to New York to get into a special lesbian archive (acronym C.L.I.T.) and are in and out in five minutes! The research is too easy, too quick. But, it’s all in service of a message, right? The film is all-around dated – but it’s over 20 years old, so, fair enough. Those reviewers who criticized jumpy camerawork just missed the message, though: it’s presented as hand-shot by relative amateurs, you guys. Remember Blair Witch Project?

On the other hand, this project is sweet, heartfelt, and in pursuit of the kinds of social work I’m absolutely behind. It was funny, and earnest. I kind of loved it.

Just before closing credits, the screen reads: “Sometimes you have to create your own history. The Watermelon Woman is fiction. Cheryl Dunye, 1996.” IMDB quotes her further: “The Watermelon Woman came from the real lack of any information about the lesbian and film history of African-American women. Since it wasn’t happening, I invented it.” In other words, the outlines of this story may well be true, but in the absence of even a sketchy “watermelon woman” to investigate, Dunye has allowed a fictional one to stand in for those lost to history. I dig this way of dealing with absence.

Poo-poo to the crabby critics. An imperfect but fine film.


Rating: 6 photographs.

movie: The North Star (1943)

By Source, Fair use, Link

Another quick movie review: I’ve had this one in a queue for a long time. Lillian Hellman wrote the screenplay for this drama about a Nazi attack on a Ukrainian collective farm, where the locals rather romantically undertake to defend their land and resist the greater power at whatever cost. Wikipedia says “the film was an unabashedly pro-Soviet propaganda film at the height of the war,” and they are not wrong. Romantic, yes; propaganda, yes; and yet it’s neatly done and who doesn’t sympathize with romantic guerrilla resistance to Nazis?? I certainly do, and I enjoyed this movie, found it heartwrenching even as I saw its machinery working to just that effect.

[In the 1950s, the House Un-American Activities Committee took exception, and the film was re-cut to remove the idealized portrayal of Soviet collective farms, and to include references to the Hungarian Uprising of 1956.]

Teenage romance, children and pets, a principled stand taken by an aging doctor, homegrown guerrilla tactics, hometown pride, fraternal bickerings set aside in the face of larger enemies – I say The North Star has it all. I was impressed that this one from all the way back in 1943 was available for free on Amazon Prime (Amazon is evil but here we are). Go check it out.


Rating: 7 guns.
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