The Searchers (1956)

Directed By: John Ford | Written By: Frank Nugent

Players: John Wayne, Jeffrey Hunter and Natalie Wood

Setup: The year is 1886, three years after the formal end to the Civil War. The setting is the stark frontier western Texas where only the heartiest of homesteaders persevere over forces of nature, the threats of cattle rustlers and a looming threat of raiding parties of tribes of Comanche among others. A lone horseman, Ethan Edwards (played to full swagger by John Wayne) approaches the home of his brother's family. In between moments of happiness and relief in the reunion glimpses of a hardened and disillusioned cynic and possibly bigoted man who's postwar experiences are of a dubious, if not unlawful nature.

Along with his family by blood there is a young man named Martin Pawley (an impetuous Jeffrey Hunter) of mixed white and indian descent, found as an abandoned babe by Ethan and raised by his family, but it is made abundantly clear to him on multiple occasions by Ethan that there is no love or bonds of kinship between them. While the two of these men are away from the homestead investigating the disappearance of a neighbor's cattle herd their homestead and family is attacked and brutally slain by a Comanche raiding party. Evidence left at the scene leads Ethan to believe his youngest niece (eventually played by Natalie Wood) is still alive and is now a captive, so the two men saddle up and begin what becomes years of following clues, trailing rumors and searching for the little girl they both loved before it's too late ...

  

Review: In 1956 the prolific director John Ford, who's name is now synonymous with the American Western, released what many regard as his masterpiece with The Searchers. Based on the novel of the same name by Alan Le May, a screenplay by Ford collaborator Frank Nugent it had all of the fixin's for a classic but it ended up be so much more than that. Starring the one and only John Wayne, cast somewhat against type as a bitter anti-hero, with a young Jeffrey Hunter as his somewhat unwanted companion and the beautiful Natalie Wood along with a whole great mess of character actors The Searchers had the depth and chops to set itself apart from an ailing genre, rejuvenate it and would set the stage for the next couple of decades of deconstruncted Westerns.

Shot in beautifully rich VistaVision by cinematographer Winton T. Hoch, another long-time Ford collaborator, The Searchers ranks toward the top of many best-of lists (if not the top!) as the greatest American Western. It is little wonder why its legacy has endured as it transcends its own genre and is no less powerful a viewing, being full of complex characters and themes displayed over a such grand backdrop, almost sixty years later … 

Taken at face value The Searchers is a tale of vengeance, adventure and redemption catalyzed by a grisly offscreen event early in the film. Sending two characters; one a world weary anti-hero and the other a young idealistic, emotional but loyal man with no real claims to his name, on a rescue mission.

There are many great moments in this film that capture the brooding darkness lying under all of that eye-poppingly colorful motion painting that is VistaVision but none more defining than when the characters of Ethan (Wayne) and Martin (Hunter) return to find their homestead still burning and their family slaughtered. While the actual raid on the house all happens offscreen, we don't see any gore or bodies, what we don't see still speaks volumes. Ethan is first on the scene and he sees a torn and bloody dress of his brother's wife and as he grips it in his hands he approaches a dugout shed behind the main house and looks inside. The camera angle is from inside the darkened shed looking out at Ethan's silhouetted frame and what he see horrifies, shocks and disgusts the grizzled Civil War veteran. As the shadows cover his now averted gaze (because even “The Duke” can't bare to look inside the shed again) he orders that Martin to “not go in there, boy”, punches the kid square in the face when he attempts to look and has him restrained so he doesn't see the gruesome remains of the barbarous acts on his family. Like Martin the viewers minds can only imagine the horrors within, with the not knowing arguably being far worse than bearing witness to the carnage itself.

Perhaps it is worth noting that The Searchers was a film made while many Hollywood productions were still adhering to the censorship mandated by the Hays Code which could limit a lot on what a movie could present in the terms of violent and sexual content but when a bloody torn dress is presented as evidence before our eyes unspeakable (and because of the Hays Code, unshowable) acts must begin to race through our heads; images of murder, mutilation such as scalping, and rape just to name a few. The way this film handles this content by allowing us to experience it through visual innuendo and the reactions of the characters discovering the scene of the slaughter is all the more horrifying because it leaves the audience to imagine what really happened with any manner of gory details. Along with the way this scene is shot, particularly the angles used that show us the carnage through the reaction of the character of Ethan, the musical score that accompanies the scene is mournful and forlorn until he discovers the doll of the missing niece not among the bodies. We see his hand reach into frame pick up the doll and the music changes ever so slightly when combined with the imagery gives a sense of resolve, it is at this moment it is clear that Ethan has dedicated himself to one purpose and that purpose is to find his niece no matter the cost.

What makes this scene so great though is in many ways it is the perfect reflection of John Wayne's troubled character. There is so much ugliness implied and a deep sadness and regret under the surface that we can experience here in this scene as it is a microcosm of the themes of acceptance, love, loss and redemption that will be expanded on in the rest of the film. While Ethan is a calloused man he is not a completely uncaring one, in his own rough way he makes sure Martin retains his innocence and protects him and by extension the viewer from the horrors that humanity is capable of. The entire flick you are left wondering what Ethan's convictions truly are, is he really such a hard, stubborn sunovabitch as to search years for a girl knowing in the back of his mind even if he did find her alive she would now come to represent everything he has come to loathe? What will happen if and when he does find her? Will he reclaim her as his kin or put a bullet in her head because she is no longer his neice but a savage indian? In the end John Wayne saunters that line of moral ambiguity and righteous heroism in a truly masterful way and takes more than just Jeffrey Hunter along for the ride.

While the title The Searchers could simply be a two-word summation of the plot of rescuing a kidnapped girl like so many things about this film there are multiple layers of meanings. Not the least of which could be John Wayne's character of Ethan Edwards rediscovering his own humanity and in doing so finds some kind of redemption ... if not for himself then for the ones he cares about. 

Tidbit: Here, just enjoy this fantastic clip of a nostalgiac Martin Scorsese describing his first time experiencing The Searchers ... 

Drink of Choice: This is a Western, one that does make its way south of the border at one point, so why not give John Wayne's tequila of choice a shot?

Stand Up Guys (2013)

Directed by: Fisher Stevens
Written by:  Noah Haidle
Players: Christopher Walken, Al Pacino, Alan Arkin

Setup- A former con man is released from jail and is quick to make up for lost time with his friend. He indulges in food, alcohol, and sex without regard. We then learn that his friend was given a task to murder him and he only has until the morning to complete it. They find the remaining member of their old group and go out on the own like it was the good old days. 

Life is a fickle bitch. We spend most of our lives wanting to be older and then when we actually become old-- only then do we realize the mistakes we made. This makes us spend the last few months/years (depending on the form of cancer you have) of our advanced age thinking about what went wrong and how we would have gone about it differently... or if you're not a hollow shell of a human being, maybe what you could have done better. Being the old and learned gent that I know myself to be, I can nod my head in silent understanding towards this movie. 

In STAND UP GUYS, Val (Al Pacino) is just getting out of prison; simultaneously Doc (Christopher Walken), is getting read to pick up him up. The two characters are introduced as proud guys, everything they do-- from putting on their socks to looking in the mirror to picking up their belongings from lockup-- is done with a sense of respect to the action. They haven't seen each other outside the prison walls for roughly 28 years. This beginning is a bit straining. Does Doc even like this guy still? Is Val a creep? Why does Doc keep flashing a gun behind his back? You don't really see the actors being themselves, the unique personality that they bring is not evident. 

Doc has a gun because he's gotta pop Val! Val did something horrible, got sent to prison, and it has been Doc’s obligation to murder him as soon as Val served his sentence. Isn’t Doc supposed to be Val’s friend, though? Good job, you’ve been paying attention. Doc is Val’s friend! And it’s tense to know what’s coming. Thus, we see Doc try and be a good guy and obey Val’s every command, which includes a lot of extravagant eating, partying, and prostitute visiting.

The movie didn’t really pick up the necessary gusto until they picked up their former partner-in-crime Hirsch (Alan Arkin). We are introduced to Hirsch as an old man battling emphysema; just a withered and dying old man, an old man who is old and dying... no longer young and healthy. As soon as Hirsch gets busted out of the nursing home by his friends, he establishes some pretty badass cred by driving the hell out of a new Dodge Charger that Doc and Val stole.. See, Hirsch was the wheelman when they were pulling jobs way back when and that old son-of-a-bitch hasn’t lost a step, he drives the dope out of that car. Seriously awesome shit. So good on you, Hirsch.

Hirsch is the fire that lights up these men’s hearts. From that point on you stop feeling sorry for anyone. Seriously, they are men again and we are along for a great ride as they rediscover how to be master’s of their domain. 

I really didn’t like the beginning of the movie. It was slow, the character’s were washed up and sometimes embarrassing themselves. But I pulled through and found myself deeply involved by the start of the 3rd act. They manage to wrap everything up nicely, even if it is a bit blunt. There are a couple scenes that leave you wondering why they are even in this situation in the first place, considering the skills they display. I guess the whole point of the movie is the fact that they lost their way and their focus, but that life is always worth living as long as you have air in your chest. If you have time to watch a movie, you won't be heartbroken watching this movie. 

 

Tidbit: Al Pacino was NOT method acting during the boner scene. It was just film industry magic!

Drink of Choice: Old Fashioned. Because these guys are old school. 

Silver Linings Playbook (2012)

Directed by: David O. Russell
Written by:  David O. Russell (screenplay), Matthew Quick (novel)
Players: Bradley Cooper, Jennifer Lawrence, Robert Di Niro

Setup- A man who has recently been released from a mental institution, as part of a plea deal, is learning how to gain self-autonomy in the world with the help of a young, attractive widow. 

To call this movie a masterpiece is so much an understatement that it overlaps upon itself and is a gross overstatement. If you did your statement-math right, then you know exactly where I am coming from when I say I was thoroughly delighted with how this movie played. The story at times scared me, made me uncomfortable, but all in a perfectly natural way. I applaud the writing and attention to even the smallest detail.

This movie at first seemed like a romantic comedy that was going for a dark feel. In a way it was, the same way you would categorize seal clubbing as homicide. To each their own. What the movie delivers is so much more. Hold on a quick second-

Bradley Cooper is Pat, this Bi-Polar middle aged ex-substitute teacher who just got released from a mental institution and is totally goal-orientated to win back the affection of his wife.

Jennifer Lawrence plays Tiffany, who is a widow who is having trouble moving on from her tragedy, she befriends Pat.

Robert Di Niro plays Pat’s father and is a very OCD Philadelphia Eagles fan.

-what the movie delivers is so much more. Apparently Pat used to be fat and was in a pretty unhealthy marriage with his wife Nikki. One day he comes home to find he cheating on him with her fellow coworker. He kind of loses it and nearly beats the dude to death. As part of a plea deal, he spends time at an institution to deal with his mental illness. The audience begins the movie with him just being released into the custody of his parents, knowing that if he messes up, he will be sent back to the state.

Pat is constantly working out, and we see him as a very fit man (unfortunately, Bradley Cooper was his usual HOT self and we did not get any Ryan Reynolds fat-suit flashbacks). Being in shape is part of his plan to get Nikki back, that and proving that he is over his illness that causes him to become violence-prone. During an organized dinner with a mutual friend, he meets Tiffany and they instantly connect via their inability to be normal people. Both say what’s on their mind and they begin a relationship that eventually turns to friendship and then again, maybe... using movie magic... turns into something more? Maybe, who knows?! It’s not like I’m going to ruin it for you! 

Some of the best moments of the movie is when Pat is staring his demons directly in the face. The are a few scenes where his rationality gets thrown out of his brain and he is left to battle seemingly endless negative perspectives. These are the most tense scenes. Often they involve those closest to him, and considering there is so much riding on him finding a solution to these outbreaks, we can’t help but scooch our buttocks to the edge of whatever seating device currently in use.

The unfortunate part about this movie is that I don’t believe it will find much of an audience. Whatever audience it does find will thoroughly enjoy it. Especially if that audience understands anything about mental health. I know personally the pains that Pat and Tiffany are going through, both of them are expected to act like normal people, when that is the last thing either of them can possibly perform naturally. The evolution of their characters, from blisteringly honest to themselves to appropriately themselves in regard to the rest of the world.. is joyfully gratifying. 

Tidbit: Congratulations are in order for Chris Tucker, who by acting in this movie has broken his streak of not starring in any movie that doesn't include the words "Rush" and "Hour."

Drink of Choice: The Philadelphia Eagle. It is 1 oz Rum, 1 oz White Tequila, and 1 oz Green Apple Schnapps. 

Once Upon a Time in Anatolia (2011)

Directed by: Nuri Bilge Ceylan

Written by: Ebru Ceylan, Nuri Bilge Ceylan, Ercan Kesal

Players: Muhammet Uzuner, Yilmaz Erdogan, Taner Birsel

Setup:  In a vast and desolate landscape within Turkey (not too dissimilar from Pullman, WA) a group of policeman, diggers, a doctor, a prosecutor, and two ostensible criminals search for a buried man murdered by the latter two members of the group.  As the leader can't recall where they left the victim, the diverse ensemble travels through the night not only searching for the body, but also themselves.

Review: From the moment the first two cuts (two beautifully static yet languid minutes) faded into the title of the film, I was intrigued.  For the next hour and a half, I was generally content and attentive to this "slow burn" of a police procedural.  As the third act began before the two-hour mark, I started having doubts that I may survive this endeavor.  When the third act closed, along with the film itself, sudden plot realizations led me to immediately restart the film.  When I restarted the film, I proceeded to examine a few scenes, discuss the major philosophical implications with my roommate, and then without warning shut down my system to avoid another potential viewing.  After all, two and a half hours in Anatolia are fine, but more than five in a row may push one's grasp on sanity.

Such was my viewing experience of Once Upon a Time in Anatolia, a film I've heard spoken of for more than the last year, but especially as 2012 drew to a close with its premiere status on critic's awards lists.  It's a piece that struck me in its unwavering nature of presenting the story in almost real time, where some scenes have hardly any dialogue.  While it appears as mainly an ensemble piece, one can't deny the focus on Doctor Cemal (Muhammet Uzuner) accompanying the troupe, along with a lesser yet still prominent lens on many other characters including Prosecutor Nusret (Taner Birsel).  Together the two professionals muse on discussions of a seemingly random nature, but coupled with their current situation have grand ramifications for each character as both are continuously developed.  

Director Nuri Bilge Ceylan shows great patience and skill with the camera, effectively channeling poetry through realism.  Without giving much warning, he deftly breaks from the procedural nature of the film to the existential musings of his main characters, especially around Cemal.  Some scenes and shots, subtly relayed in slower motion than the rest of the piece, that wonderfully evoke the poetic existentialism of Andrei Tarkovski's films like The Mirror; whether conscious of it or not, Ceylan is almost bringing the late Russian director out for his first murder mystery.  

While there is much to appreciate, accessibility is problematic.  Entertainment itself may be difficult to attain for some, as this almost appears to be one of the dullest procedurals of all time compared to your generic NCIS episode.  But as you let the film wash over you with all of its wide-angle glory, connections are made between character ramblings and the current situation that create an experience full of subtle depth and detail.  Morality, love, and the journey of one’s life are played out among all characters, including cops and criminals.  While CSI (so many procedurals with acrynoms!) presents fun, pretty and generic materials for the masses, one can’t admit it’s full of developed and rewarding material.  With the languid pace that Anatolia has, developed material at the very least can’t be denied. 

Tidbit: “Anatolia” is also known as Asia Minor and Asian Turkey.  

Extra Tidbit:  The “Asia” reference is due to the location in the westernmost protrusion of Asia, not that the region has Sweet and Sour Turkey. 

Drink Of Choice:  As I have been oft visiting celluloid of a foreign kind as of late, I’ve come to realize that the beverage du jour should represent that geographic region or culture.  Turkey being relevant today, I suggest Raki, which appears to be a common liquor that turns cloudy when water is added.  More information can be found here, and once I imbibe in the beverage myself I will return with more info. 

Dredd (2012)

Directed by: Pete Travis

Written by: Alex Garland

Based on the characters created by: John Wagner and Carlos Ezquerra

Players:  Karl Urban, Lena Headey, Olivia Thirlby

Setup: In the decently distant future, mankind exists in a massive city stretching from Washington D.C. to Boston and containing 800,000,000 citizens.  It is here we find the titular Judge Dredd as he begins to take a young rookie cop out on her first assignment, which at first appears to regard nothing more than a random act of violence and murder.  However we soon find the two police officers in grave danger as they attempt to survive the onslaught of a gang that controls a 200 story housing complex, while trying to discover what their key witness is hiding.

Review:  Enemies of 1995's Judge Dredd rejoice, and supporters possibly run to a Japanese cuddle bar and wallow in despair (seriously, these exist).  Unlike the sweeping wannabe epic action adventure of yesteryear, this rendition is a much more taut, tight, and realistic version of the uncompromising police officer from the future, and I welcome it with open arms. 

For all those unfamiliar with the character of Judge Dredd (now played effectively with the helmet always on by Karl Urban) and his general thought process, it is laid out for us pretty clearly by the opening car chase and subsequent criminal apprehension (police officer, judge, jury and executioner, he is the harsh deliverer of the law) This is also apparent in the following discussion with the Chief Judge (his boss yo).  His pairing with the young and "gifted" Anderson (Olivia Thirlby) continues development of varying ideologies (hers being more compassionate towards criminals, along with being more optomistic about society in general).  As the duo face off against vicious gang leader Ma-Ma (calmly played by Lena Headey) characterization continues at a minimal pace while unique special effects add attractive background to the action, mainly emulating the effect of the futuristic drug "Slo-Mo" which is a major part of the plot. 

Giving off clear notions of inspiration from Harry Callahan of Dirty Harry, Judge Dredd emulates the character while the movie itself slightly emulates almost any entry of that series: Harry's brand of justice is always presented, questioned, and openly reaffirmed or slightly altered by the film's finish.  Here is a similar setup, with Dredd appreciating "lessons" given to him by his green but wise counterpart.  As the story really is contained to this film, you could almost see a series of films here like the Dirty Harry series, with various adventures of Dredd occurring in sequels (unlikely however considering the film's low box office gross).

With the director's chair being helmed by Pete Travis (Vantage Point, Endgame), its grit and style efficiently won me over.  However the story by Alex Garland (writer of the masterpiece 28 Days Later and the semi-masterpiece Sunshine), and in essence substance, was lacking.  We have some interesting scenes of exposition, as well as a few twists and turns throughout the piece, but overall the picture mainly consists of kinetic (albeit gorgeous) action in front of fantastically reserved science fiction production design.  Some of the entertaining yet cliché one liners don't help matters, like a gem from our main character when an enemy has him cornered (don't want to spoil it; just hold out after he lifts up his hand and says, "Wait").  

Regardless of its weaker points, the movie succeeded in finding my overall approval with its beautifully unique style, realistic and reserved sci-fi action set pieces, and appreciation for the delivery and ostensible metaphor on violence with it's portrayal of ultra-violent material.  For a good and gratuitous time, this fits the bill just fine.

Tidbit: Director Duncan Jones (Moon) was at one point approached to direct, but felt he would want too much control over the story and vision.  Could've be interesting though...

Drink of Choice:  Brutal yet very fun, you need a heavy yet tasty drink.  For Dredd, we’re going with the ZZU Bar and Grill’s very own Gorilla Piss (solid name… RIGHT?!) by the master bartender Alfredo.

• Bacardi 151
• Orange Juice
• Pineapple Juice

Mix and serve.  No portions are given as some range should be given to those when making this potent concoction.  As for me, I got through college with Alfredo serving up a decent portion of Bacardi with just splashes of juice: think 20 parts Bacardi, 1 part orange juice, and 1 part pineapple juice.