Mubi Monday: Images (1972)

A strange psychological horror movie from Robert Altman, Images is a film that deserves to sit alongside the likes of Repulsion and Persona. It's well worth your time, and very much open to a number of different interpretations.

York plays Cathryn, a children's author who has suspicions about the behaviour of her husband (Hugh, played by René Auberjonois). The two of them head off for a little holiday to an isolated cottage in the countryside, but the isolation seems to cause Cathryn's mental health deteriorate further, as she starts to see people who may or may not really be there. The main figures who appear are Marcel (Hugh Millais), an ex-lover, and his young daughter, Susannah (Cathryn Harrison). As well as meeting, or not meeting, these figures, Cathryn ends up getting rid of them in a variety of ways, that also may or may not be real.

As Cathryn struggles to grip reality as tight as she needs to, and as characters transform into other characters, or change their personalities and intentions, Images quickly becomes a disorientating and difficult watch, for all the right reasons. It is, to me, one of the best cinematic portrayals of schizophrenia that I have seen (and would make a great double-bill with the excellent Patrick’s Day).

York is very strong in the lead role, a woman constantly frayed at the edges without falling into overcooked histrionics. Working in collaboration with Altman, everyone finds just the right approach to the material, with Auberjonois, Millais, and Harrison acting in a way that often stays oblivious to how tense York is. People often react in ways contrary to what you would expect, but that is all down to the fact that what is being shown isn’t always what is actually happening.

Altman may seem as if he is just piecing together various fragments, but things build to a definite climax, with Cathryn due to get better or worse as she battles against the visions causing her so much confusion. The ending is as impressive and powerful as it is ambiguous, given the “unreliable narrator”, and it is as the end credits roll that viewers can consider the full horror of what has just unfolded.

Some may view this as a masterpiece, and I wouldn’t argue too forcefully in opposition of that view, but I didn’t think of it as being at quite that level. I may, however, change my mind during any future viewings. And I certainly aim to rewatch it.

8/10

https://ko-fi.com/kevinmatthews

Filmstruck Friday: Tunes Of Glory (1960)

When you think of a film starring Alec Guinness that focuses on a battle of wills between two commanding officers then I would be very surprised if you didn't think of The Bridge On The River Kwai. That film is a gold-plated classic, and if you have yet to see it then please do so immediately. Tunes Of Glory, however, is no slouch. It may be a lesser-known film, certainly compared to "Kwai", but it's almost as good, and arguably more interesting in the way it shades the two main characters.

Guinness plays Jock Sinclair, a Colonel due to step down from his commanding position as another man steps in to take charge. That other man is Basil Barrow, a Lt. Col. played by John Mills, and he's very different from Sinclair. Barrow likes order and for his men to be on their best behaviour at all times, Sinclair prefers to let his men have fun, and thinks that people will easily forgive any perceived rudeness or social indiscretions committed by soldiers in high spirits. A lot of the soldiers side with Sinclair, who obviously has popularity, but a few support their new commander, and don't appreciate the friction being caused by Sinclair.

Director Ronald Neame (who had also used Guinnes so well in his previous film, The Horse's Mouth) has the great benefit of a near-perfect cast doing their best with a fantastic screenplay, written by James Kennaway, adapting his own novel. Which isn't to take anything away from Neame's work. He knows exactly how he wants each scene to play out and paces everything perfectly to give viewers plenty of time to chop and change their minds about the good or bad standing of various characters.

With his bright red hair and fine Scottish brogue, Guinness provides yet another acting masterclass in his portrayal of Sinclair. He's an obstinate, proud, man who is unwilling to consider compromise as anything other than a repudiation of all that he stands for. Mills is equally good in his role, although he has to sweat and twitch a bit too much during the moments that see his unflappable demeanour being pushed to the . . . flappable. Gordon Jackson also excels, playing a decent soldier trying to help the new commander in his role. It's testament to both the script and the performance that Jackson never comes across as a sycophant or goody-two-shoes. He's stuck between two men he admires in different ways. Dennis Price also gives a great turn, taking on the role of the one man who will call out both Sinclair and Barrow on their mis-steps. Kay Walsh gets the one main female role, although Susannah York has a small part to play too, and there's a fine selection of supporting actors, including John Fraser, Duncan Macrae, Percy Herbert, and Allan Cuthbertson, as well as many other wonderful faces.

Full of pipe music, whisky, and moments in which tempers flare, Tunes Of Glory is steeped in Scottish flavour throughout, yet also remains a quintessentially British film. It's about doing your duty, about being in a position that you wish to see as being beyond reproach, and about the overriding need to save face above all else. Yep, quintessentially British.

8/10

You can buy the DVD here.
Americans can get a Criterion edition here.

OR, as some people did the other day (and I thank you for it), you can click on either of those links and then just shop for whatever else may take your fancy, and that helps me immensely.

The Silent Partner (1978)

I couldn't remember every person who recommended me every different Christmas-related movie for me to consider watching but I do remember that this particular title was mentioned to me by my highly talented friend, Christianne (the quality of her writing and art . . . . it's just sickeningly good almost all of the time and makes me want to give it all up - anyway, here is her blog).

Sometimes all you want for Christmas is a good caper and The Silent Partner is a damn good caper. It stars Elliott Gould as Miles Cullen, a bank teller who, by a stroke of luck, finds out when his bank is about to be robbed by a man dressed as Santa Claus (Harry Reikle, played by Christopher Plummer). Trust me, it makes sense when you see the movie and everything falls into place rather neatly. Anyway, knowing that he is about to be robbed gives Gould an idea - he puts some money aside for himself and then just has to come up with a way of keeping it safe until he can move it and be a very rich man. Of course, the robber isn't best pleased when he hears on the news just how much he has supposedly gotten away with and so begins a game of cat and mouse between one smart bank teller and one vicious, and pissed off, career criminal.

I wouldn't blame anyone watching this movie for not having heard of director Daryl Duke. He certainly hasn't appeared on my radar before now but he does a perfectly acceptable job here. What's more interesting in the opening credits is seeing that the movie was adapted from the Anders Bodelsen novel by a writer named Curtis Hanson. Yes, Curtis "L.A. Confidential" Hanson. The source material may be strong and good enough in its own right but the script by Hanson certainly doesn't put a foot wrong, it's smart and playful for much of the runtime before moving into darker territory during the third act.

Gould was the epitome of cool in the '70s and this has him exactly as he should be. Miles is not unflappable but he's always ready with an answer and always planning one or two steps ahead. Unfortunately, so is Harry but he does so using threats and violence as opposed to intelligence. From my limited exposure to Christopher Plummer's filmography, this is a bit of an unusually dark role for him but he's never unconvincing and makes for a very good villain. Susannah York plays Julie Carver, a pretty work colleague alongside Gould and she's fine in her role even if it's the poorest written of all the main roles. Celine Lomez does much better with her role, a woman named Elaine who gets friendly with Miles and may be genuinely wanting to cosy up to him or may be up to no good. John Candy fans may not want to rush to see this one just to make sure that they see everything he's ever done but he has a small role here playing someone surprisingly sweet and sad (I say surprisingly because the way he is treated by others is shown at times but never overstated).

The Silent Partner is, overall, an excellent thriller that deserves to be known by more people. I'd never heard of it when it was recommended to me and I now hope to recommend it to others. The only negatives I can think of are a) Susannah York's character and b) the fact that the first half of the movie feels a bit too carefree and light when considering the danger that the main character is in. Those are minor niggles but they're enough to take the movie down from classic to great.

8/10

http://www.amazon.com/The-Silent-Partner-Elliott-Gould/dp/B000MMMTCS/ref=sr_1_1?ie=UTF8&qid=1355722079&sr=8-1&keywords=the+silent+partner