Robert Bresson's AU HASARD BALTHAZAR (1966) on Criterion DVD for the first time. ''Mouchette' with a donkey' aptly sums up this predecessor (made the year before "Mouchette") except that, unlike a real human with the ability to think and rationalize (even a beat-down-and-defeated girl like Mouchette had the will to make/reject advances and had choices), the plight of an animal whose fate and taken-for-granted presence isn't noticed or cared for by anybody except Bresson's camera (and thus us as spectators) ends up having a little more emotional impact. As in "Mouchette" though (and yes, I realize I've made four references to it in the first two sentences) the fact the star of the movie is often relegated to secondary-status to the events/characters around him both grounds the narrative in reality (we don't notice what we miss until its missing) and the cruel hand of fate (François Lafarge's Gérard beating and picking the donkey almost at will even though its never his) asserting over Balthazar's life. Although Anne Wiazemsky is technically the star of the movie (her Marie character is way too passive and self-centered, though I guess that's the point Bresson would want to get across) Philippe Asselin delivers the most interesting performance as a rural man too proud and stubborn to do what's easy over what he perceives as morally correct. Can't say I loved "Au Hasard Balthazar" but, like "Mouchette" (reference #5!), it's the type of movie that stays with you long after its watched.
For a laugh (or to cure insomnia, take your pick) check out the vintage hour-long French featurette from 1966 about the film that (a) shows all the key scenes (including the ending!) and (b) profiles talking heads that clearly look like they wish were anywhere else but where they were at that moment.
George Romero's DAWN OF THE DEAD (1979) on DVD. Saw the three versions in Anchor Bay's monster four-disc set because I knew I wanted to see this one with my folks but wanted to make sure which one. Surprisingly the 'European' version (i.e. Dario Argento's cut), despite sucking the fun and subtle criticism of consumer culture in Romero's other two versions, is the one that moves fastest of the three versions (duh, it's the shortest) and has the most 'missing' footage (incidental shots of looting and dismemberments, nothing major but just a ton of quick shots that add-up) plus wall-to-wall operatic Goblin music that's at odds with the movie's low-budget charm. Weird that the actors were given this version to do their commentary track on since it's the one that makes them look less important as characters. The 'Extended Version' is just a little more bloody than the theatrical one plus has an extended subplot involving looting cops before our heroes board their helicopter (who cares?) plus a few subtle changes (background music when Flyboy joins the soldiers as they run through the department store for the first time) that you'd only notice if you had just watched the previous versions. Very nice of producer Richard P. Rubenstein to spill production secrets in the commentary track (like the budget being a little over $650K, which he inflated to $1.5 million in the sales pitches to distributors to make it seem like a bigger production) but the price for Rubenstein's candor are endless plugs and mentions for the then-new 2004 Zack Snyder remake of "Dawn of the Dead" (yawn).
Other than a handful of money shots missing (especially the zombie on the ground with a machete through his throat) the 'Theatrical' cut of "Dawn" is just about perfect. So, the day I planned to show the movie to my folks, I made it a point to ask them to walk with me through the mall where the Barnes & Noble store is located (for the 50% sale) and soak-up the atmosphere. Since neither of us frequents malls anymore they were perplexed. We had also planned to go to a target range to fire some guns (they're licensed) but we just ran out of time. When we finally saw "Dawn..." that night they were amused at how unbelievable the premise was and just how cheap the effects were (the first exploding head elicited 'that's not very good' comments) and the whole criticism of consumer culture pretty much went over their heads (although my old man at least 'got it' afterwards). Basically they enjoyed "Dawn..." as a big rollercoaster goof that would have been unbearable had it been realistic (see below). At least they'll never see a shopping mall the same way again... I think.
Romero's DAY OF THE DEAD (1985) on DVD. Saw this on my own (too much gore/guts for my folks to handle I think) and, frankly, have grown to like it a little more than "Dawn" and the original "Night." It's a super-slow burn until the bloody goods show up or Richard Liberty's loony doctor walks in and out of a scene. When the s*** finally hits the fan the limited (though spectacularly convenient) location and average acting are worth the gory punchlines. I'd seen the movie before but this was the first time that I realized that it was "Martin's" John Atlas as one of the nerdy scientists. There's something so gratifying about seeing (and buying) that Bub (Sherman Howard) learns to handle guns and has the metaphorical final word on the fate of Rhodes (Joe Pilato), whose gruesome fate is matched by both the common sense of his thinking (until he turns tail and leaves his men behind) and the intensity of the actor in making his character such an unlikable SOB. Plus, as Romero has proven in his contemporary 'Dead' trilogy ("Land/Diary/Survivor"), there's a timeless "Star Wars"-like aura over the 1967-1985 trilogy (each one capturing its decade's social mores and anxieties) that will forever anchor "Day of the Dead" as a fine and aging wine of zombie filmmaking. And sue me, I even like John Harrison's Casio-like score.
Stuart Gordon's FROM BEYOND (1986) on DVD with the commentary track. Any time you get Gordon on a commentary track with someone else it's usually a party (as opposed to Stuart doing the commentary solo, which usually results in a professorial tone at odds with the subject matter). When you team Gordon up with the stars and producer of "Re-Animator" to talk about an H.P. Lovecraft adaptation soaked with rubber prosthetics and a psycho-sexual vibe though, the result is pure cinephile geek love. "From Beyond" is great or what it is (above-average, semi-literate low-budget horror) but the commentary track on the DVD goes... wait for it... above and beyond reproach!
James L. Brooks' BROADCAST NEWS (1987) on Criterion Blu-ray. Saw this one with my folks. The year before I showed them "Network" which my father liked but put his wife to sleep. This year's selection was meant to cover the same ground (satire of network TV news) with a new twist (a likable lead character representing the death of standards in TV journalism), but also to put my father to sleep while his wife stayed wide awake at the romantic comedy hijinks. Alas, both ended up wide awake and liking the movie a lot. Since they had no idea who the actors were (not even Holly Hunter) my father never perceived Albert Brooks' Aaron as ugly or William Hurt's Tom as the romantic lead (though his wife did since she's more familiar with the romantic comedy genre) so everything that happened pretty much surprised him. Now evey time he watches TV news dad's hoping to catch an anchorman sweating profusely. And someone please send James Brooks an e-mail with the good news: my father and his wife LIKED the ending! Yes, they're probably the first two people that have seen "Broadcast News" and like the way it ends. That counts as 'news' on a slow day, doesn't it?
Woody Allen's CRIMES AND MISDEMEANORS (1989) on DVD. Third and last movie I saw with my folks. It was either this or "Manhattan Murder Mystery" but, when my dad told me he didn't remember seeing "Annie Hall" with me the year before (ahem, ahem!), it made my choice much easier. Short and sweet: they loved it and laughed/cringed during the right moments, but to me it became clear on repeat viewing that the Martin Landau storyline is the tentpole on which "Crimes and Misdemeanors" relies for practically all its dramatic tension. Take Judah's story away and the remaining storylines (Allen spatting with brother-in-law Alan Alda, Mia Farrow undecided, etc.) don't add up to much unless they're interjecting with Judah's plight to get rid of his mistress (cast-against-type Anjelica Huston), especially the inspired next-to-final scene in which Landau's and Woody's characters finally get to share a scene. My dad's wife recognized Daryl Hannah in a brief cameo which, according to IMDB, was part of a much different movie that Allen was shooting before he improvised/edited his way into shaping this masterpiece. Easily one of the top 5 movies Woody has done, in my and my father's humble opinion (even though he's only seen two Woody Allen movies!).
MST3K #515: THE WILD, WILD WORLD OF BATWOMAN (1993/1966) on Amazon Prime. I know I've seen this MST3K experiment before because I remembered a few moments (that "kiss" at the end, the out-of-nowhere Chinese guy speaking, Tom Servo's angry/desperate 'EEEEEENNNNDDDD' screams, etc.) plus I own it on Rhino-issued VHS. But damn if this isn't one of those 'black hole' episodes so persistenly bad (low-fi sound, boring B&W framing except for the couple of shots stolen from "The Mole People," endless dancing shots to pad the length, etc.) that you struggle to remember it just minutes after finishing it because your subconscious is trying to protect your mind from being permanently warped by its badness. I used to think of #513's "The Brain That Wouldn't Die" as Mike Nelson's on-the-job baptism of fire, but this monstruosity three episodes into his tenure as satellite of love human prisoner is by far worst. Occasionally funny if you can stay awake long-enough to apprecaite the riffs.
CINEMATIC TITANIC: SANTA CLAUS CONQUERS THE MARTIANS (2008/1964) & THE ALIEN FACTOR (2009/1977) on DVD. Still puzzled why the Titans decided to re-riff a classic and beloved "MST3K" experiment like "SCCTM" if they weren't going to be able to top the original (which they don't even come close to doing). On repeat viewing the 'new' riffs are still merely OK, and memories of the classic "MST3K" lines impossible to forget. "The Alien Factor" was just the opposite though, a crap 70's movie with a crap 70's print with crap actors that just keeps getting funnier and more exotic the more I rewatch it (specially the many little laughs the Titans indulge within their own private amusement). You just can't go wrong with alien killer zoology on the loose and a small rural American town with the only two-door vehicle in law enforcement history.
