"Batman Begins" (2005)

(Sigh), I like superhero movies.  I liked it.  I thought it was well done.  I forgot to look and see how long it was before I started it--2 hours 20 min.--which isn't bad, but now I'm up later than I thought--which is a good sign because it means I really didn't want to stop the movie, or at least not permanently stop it.  (I had to pause it a few times to deal with prolonged suspense or plot elements I didn't like--but that's quite normal for me.  One of the reasons I like DVDs.)  I like how the story took it's time with the different story elements--the transformation into Batman and the coming together of the Bat Cave and other elements; shied away from doing it strictly montage as much as it could.  Kind of like having 2 movies in one--I don't mind that--some of Grace Livingston Hill's books do that.  Found myself wondering if there are any super heroes that haven't lost their parents:  Spiderman not only doesn't have his parents, but loses his uncle, too; Daredevil loses his dad, no mom in the picture; Superman had foster parents, whether knowingly growing up or not.  So, now something I'm watching for--does any super hero still have his or her parents around?  And the Bat mobile?  Cool car!  I like chase scenes.

"The Bride of Frankenstein" (1935)

Not sure that this post qualifies for a "spoiler alert" notice--what's to be spoiled?  Even if you've never seen the movie, what do you expect when you go to watch it?  Nevertheless, if you like warnings, then there are subtle references included in this post.  MacDonald wasn't kidding when he said that the Bride's musical motif was the same as "Bali Hi" in South Pacific.  Can't miss it.   Can't miss the kettle drums from the creation of the heart all the way through the end of the movie either.  Yeah, the music is rich.  The acting is almost comedic in places.  Almost.  The plot takes very distorted and extremely fragmented pieces of what was cut from the original story to fashion this new movie from.  Story moves quickly--so, it seems to me it would survive well in today's plot moving.  I didn't ever latch onto the Monster's musical motif--not on the first listen through, anyway.  The little people in a bottle was disturbing until I saw that there was a variety of figures.  Franz Waxman music.  Interesting that the sustenance of choice was bread and wine.  That's not accidental.

"King Kong" (1933)

While I haven't seen it (yet), the premise of the movie sure sounds like a predecessor to Jurassic Park.  L. MacDonald says this is the movie that demonstrated what the impact music underscoring could do to enhance the dramatic impact of a movie.  Also, if they haven't already, Colonialism Theory would shred this movie to pieces.  King Kong is also gotta be an older cousin to the Abominable Snowman in Rudolf the Red-Nosed Reindeer.  You can also tell that this is early story-telling.  The "horror" aspect to this movie is okay because it wouldn't "really" happen, which makes it interesting to watch.  And one can't forget the whole camera aspect to the film--both with Hollywood's intrusion (the colonialism I've already mentioned) and it's commentary on the making of movies in general (spectator/who's behind the camera/camera as weapon).

"The Broadway Melody" (1929)

I've already seen some of the later early-musicals that run a similar plot pattern, but this one claims to be one of the originals.  Within it, you can see traces of the earlier vaudeville acts, cameras shots as if just filming theater scenes, and inter-titles for some of the time and place changes.  The novelty of sound also demonstrates itself in this:  the very beginning includes a cacophony of sounds happening simultaneously (different rehearsals in different rehearsal rooms).  The movie showcases some of the intriguing things silent films couldn't show:  hearing and seeing the feet of tap/tap-ballet dancer(s), stuttering, the clatter of something suddenly dropping.  The movie is also very 20s; besides the fashions, there are some risque' bordering shots.  The 2 lead females spend a lot of time in bathrobes in their apartment and undressing.  The story also puts the lead of the female deemed "gorgeous" on top of a literal pedestal.  Ukulele was mimed, but just with the leads.  The other live instrumentalists were the real deal.  The ending was kind of mixed.

"Metropolis" / "Metropolis Restored" (1927)

Long movie.  There's a lot that is going on with this movie.  Setting wise, it would be interesting to do a comparison with The Hunger Games.  Brings in Biblical themes from the tower of Babel and Revelation.  Marxist and Gender criticism would have a hey day with this.  The involvement of a mechanical person would add to that as well as those who look at machines in movies.  For a 1920s movie, the special effects were pretty amazing.  I can see why it went over budget.  This movie is marked as an example of German Expressionism.  I don't think I mind German Expressionism either.  I don't know that the music was anything special, but that's just me.  One late scene in the cathedral has strains reminiscent of the Dies Irae.  One or two plot logic holes--minor in comparison with the over all "message".  One of the top honcho's right-hand man ("Thin Man") reminds me of Lurch.  Also a plot element of The Prince and the Pauper.  1925--the movie has the concept of communicating via computer monitor.  That amazes me--well before Star Trek.

"The Battleship Potemkin" / "Potemkin" (1925)

This was a Sergei Eisenstein, Russian montage movie.  If the music doesn't already stand by itself in concert somewhere, it should.  This reconstructed version says its music is composed by Edmund Meisel in 1926 and its adaptation and instrumentation in 2005.  Regardless, the music is just fantastic.  The plot:  yep, supportive of the Russian Revolution.  Still, I liked the look at the end of the battleship gearing up--a team working together, people and machines in harmony, and a glimpse into the workings of a 1920s battleship.  (I won't spoil the context for it or result of it.)  Montage is an interesting way of constructing things.  Wouldn't mind watching more of that style, ...  , I think.  It's hard to distinguish Russian montage from Russian movie.  Might have to see a non-Russian montage picture first--or a montage picture on the other side of the political spectrum--, in order to know better.

"The Apartment" (1960)

Romances, especially romantic comedies, are a hard sell for me, but I actually enjoyed this one.  In fact, I rate it top notch.  It's comedic without being corny or over the top.  Yet it has serious moments--heart-touching ones--which keeps it realistic and well-balanced.  Nice theme-song.  Black and white picture; you don't miss the color at all.  It would be a nice movie to watch, or re-watch, during the winter holidays.

"Exodus" (1960)

While I was growing up, I remember playing on Grandma's electric organ.  She had a book or two that you played chord keys with the left hand while you played the melody with the right hand.  I imagine at one point or another I played all the way through all those songs at least once, but there was bound to be a couple of songs more favored than the others.  I remember "Alley Cat" being one of those favored.  "Exodus" had to be the other.  I don't know that I remember even any other titles.  I think that the appeal of "Alley Cat" was it's jazzy rhythms and boogie melody.  It was also certainly something relate-able; to a kid, a song about cats is about cats, and only about cats.  As for "Exodus", that had to be something Biblical, right?  But it also had those low notes scattered throughout the melody.  Playing ledger notes was cool.  And there's something contagious about that melody.  But, I could never figure out why I never noted it in the movie.

I know now why.  I was familiar with the movie "Ten Commandments" and wasn't aware that "Exodus" was a completely different movie.  And even if I was aware of that, I figured it was just a "less popular" version of the same story.

Tonight, I put this movie in the player, and from the start, there was that song that I knew so well.  Tonight, I remembered Grandma's organ.  And realized that I didn't know the movie at all.  Just that contagious song.

The movie put that song to good use.  Used that melody like a theme and variations song--now somber, now miltaristic/march-like, now reflective, now bold.  Only thing missing was hearing it one more time through the end credits.  Yeah, no end credits.  They're all at the beginning, I guess.  Well, that, and the movie is before end credits become quite so long (which I usually don't mind).

The movie has a slow start.  Or maybe if you're more prepared for a slow-paced movie, then it isn't a slow start.  Just a slow paced movie.  Admittedly, that's probably from today's standards, which I shouldn't do.  Even the action sequences, though aren't hold-your-breath-fast.  But, the story is interesting enough, once the story gets going, and if you give it a chance.

You should be aware that this is a long movie by time standards.  3 hrs. and 28 minutes.  The subject of the film is founding of the modern-day nation of Israel.  Apparently based on a book.  It's not an action flick.  It's not entirely a reflective flick either.  It does do a good job of capturing the spirit of the people--not that I was there (obviously)--but, I say that, because that's what strikes me as one of the movie's strongest points:  that determined look on Ari Ben Canaan's face (Paul Newman), the old man on the left of the chess board who shouted back at Canaan's options, the concentration of many other characters playing the extras or minor roles.

I debated with myself hanging in there to watch such a long "lazy" movie, but I am glad that I watched it to the end, even considering it's ending (though, I can't imagine what other ending you would put.  No other ending would fit).

"The Big Sleep" (1946)

Another Humphrey Bogart private eye movie.  Again, well written plot that keeps you watching.  I had to do a shout out when he asked the book salesgirl to take her glasses off.  What's wrong with glasses??!!  Good-looking girls can't have glasses, huh?  Okay, I know.  That's a "thing"--girls with glasses don't get the lead; or if they do, they end up ditching the glasses part way through the story.  Yeah, minor thing--and nothing surprising.  It was just interesting to see it so blatant in the movie.  The same line of thinking exists in later movies, but they're more subtle about it.  Not sure which I prefer--be blunt yet open about a stereotype or perpetuate it but pretend it doesn't exist.  And I know doing this with any stereotype isn't new either.  Lauren Bacall.  Got to hear her sing a little piece of a song--back when alto leads were okay to enjoy.  Max Steiner music.  Almost have to watch the movie a second time to make sure I got all the Who-Dun-It-To-Who straight.  This Bogart's character (Philip Marlowe) was still gruff/blunt and good at thinking on his toes.  Not sure I see much difference between this character portrayal and the character of Sam Spade.  So, why bother changing the name?  Variety, I guess.

"The Maltese Falcon" (1941)

Forgot that I had seen this before.  Humphrey Bogart as the character Sam Spade.  This is the movie (or one of them) that all the detective/private eye spoofs (trench coats, dames in distress, lots of cigarettes) is based on.  Even with having seen it before, it was a pleasure to watch it again--partly because of all the twists and turns of the plot, partly because of the way Spade's character was portrayed (gruff voice, mysterious--well sorta, trying to guess what he'll say next).

"Sayonara" (1957)

(1st 40 min. & selected scenes)  Secondary story line is "Romeo and Juliet" goes to Japan combined with cultural documentary.  Primary story runs commentary on secondary story; also runs parallel, except with a "happy" ending (I guess you'd call it that).  Music:  Franz Waxman.  Marlon Brando, Red Buttons, and James Garner.