Foreign Film February

nostalghia

Many years ago, not long after I had moved to Texas (don’t worry, I didn’t stay in that state long :)), I was invited to someone’s house for food and games. We played this game where everybody sat in a circle and this little computer tablet was passed around. The tablet displayed a word and whenever you were handed the tablet you had to try and get anybody else to say that word. The trick was you weren’t allowed to say it yourself. So you had to describe the word or say something that would remind others of what that word was. It was a bit like that old TV gameshow The $25,000 pyramid if you remember that. Once your word was guessed then you passed the tablet to the person next to you and they had to do a different word. There was a timer, and when that timer went off, whoever was holding the tablet was out.

It was a fun game. One of my words was “fin”. My mind immediately registered it as the French word for “end.” Except I didn’t actually know it was a French word, I just knew it was used at the end of a lot of the foreign language films I liked to watch. I spent several minutes trying to explain that it was the word you’d see at the end of a foreign film, before I realized that the easier way to do it was to talk about a fish.

I don’t remember the first foreign film I watched (and yes, I know “foreign film” doesn’t mean movies not in English to large portions of the world, but I’m a dumb American and that’s the way I use it in this context). I was probably a teenager as my parents weren’t exactly the type of people to watch movies in a language they didn’t speak. If I were to guess I’d say it was probably something on Bravo, the cable TV station. They used to show lots of cool art house movies before becoming nothing but reality TV fashion shows.

If I’m being honest, I started watching them because European arthouse films were a lot more relaxed with sex and nudity than American films were at the time, at least the ones my parent’s let me watch. Or maybe Bravo was a lot more willing to show those things than other basic cable channels were, at least back then anyhow. As a pubescent boy a naked breast on television was quite exciting. This was long before the internet made nudity so easily accessible to young boys, you understand.

But the thing is, I found I rather liked those films outside of the excitement that overcame my own budding sexuality. They were different – exotic even – and widely interesting. As I grew as a cinephile I learned to watch more and more films with subtitles.

A few years ago I latched onto the idea of Foreign Film February and here we are. I’ve decided not to come up with a list of films I want to watch this month. Honestly, I just forgot about it until last night and I was too tired to come up with a list. But foreign language films are also really easy to find on most streaming services and in my own library. Much like 31 Days of Horror and Noirvember, I’ll try to write about as many foreign films as I can this month. I hope you enjoy.

The Movie Journal: January 2023

decision to leave

We watch movies, we read books, we listen to music, but what do we do when we’re talking in general about all art? I used to say we consumed it, but now that brings up negative connotations. In the movie world, the people who finance movies and television shows – studios and streaming services like Netflix – speak of movies and shows not as if they were creative arts but as content. Something we consume like we consume potato chips, Snickers bars, and wet wipes. But art is so much more than something we just casually consume. So I need another word when talking about partaking in art.

I’m always fascinated by the ways in which I consume Art. Sometimes it is random, like when I put my music collection on shuffle mode, or grab a book off my bookshelf when I’m headed to the bathroom for a visit. Sometimes it is intentional like the movie I watch in October or Noirvember. Other times the Art informs what I watch (or read, or listen to, or consume) next.

So, for example, earlier this month I watched Caliber 9 (1972) an Italian crime thriller. I liked it and so I watched another one, then another one…I watched five in total. Sometimes these types of films are called poliziotteschi, kind of like how a subgenre of Italian horror is Giallo. I first heard about poliziotteschis a couple of years ago and I’ve been watching them ever since, but they aren’t something I necessarily go looking for (unlike Giallo which I regularly hunt down). But because I randomly watched Caliber 9, I can now say I’ve seen five other films in the genre.

I don’t know why that is so satisfying to me. It scratches the same itch that collecting every one of Bob Dylan’s LB# or the Grateful Dead’s shinds.

It is like how I watched Doctor Who: Remembrance of the Daleks and then had to go back and watch the first story from that season and then the one after. Or once I watched Reservoir Dogs (1992) I had to then watch Pulp Fiction (1994) and Jackie Brown (1997) (and remind me I started writing a whole separate post for Tarantino’s first three films.)

There is some weird part of my brain that likes to organize things, and collect them. I’m endlessly fascinated by how my brain connects the things I consume and leads me to something else. I mean, usually, it isn’t that complicated. Those Italian films were featured on The Criterion Channel, and I suspect lots of people have watched Tarantino’s first films in a row like that. But I still find it interesting.

In January 2023 I watched 50 films. 41 of them were new to me.

Letterboxd allows me to see who my top actors and directors are in a given year. I always like looking at that. For January my top actors are all Italians who starred in those crime dramas, and the top director is Fernando Di Leo who directed them. That’s not surprising. It will be interesting to see who beats them next month.

Lastly, 26 of the films I watched this month were made before I was born. I always count the movies I watch that was made before I was born because I’m a huge classic movie fan, but defining what constitutes a classic is complicated.I used to have cable television and my favorite station was Turner Classic Movies. I no longer have cable but I’m still connected to various fansites for TCM and there are endless debates on what constitutes a classic movie.

When I was growing up classic movies were films made in the 1930s and 1940s. That was simple enough. Bu that was the 1980s, that classic movie were made 40+ years earlier. But now it is 2023, and movies made 40 years ago were made in the 1980s. So, where do you draw the line? I draw the line at movies made before I was born. I was born in 1976 so there you go.

And here is the complete list:

The Bride Wore Black (1968)
Mississippi Mermaid (1969)
The Predator (2018)
The Damned (1962)
Prey (2022)
The Net (1995)
Murder by Contract (1958)
Hud (1963)
The Wailing (2016)
The Wanderers (1979)
American Gigolo (1980)
The Strawberry Blonde (1941)
White Woman (1933)
Jackie Brown (1997)
Pulp Fiction (1994)
Reservoir Dogs (1992)
Enola Holmes 2 (2022)
Sharky’s Machine (1981)
The Mutations (1974)
John Dies at the End (2012)
T2 Trainspotting (2017)
Trainspotting (1996)
Doctor Who: The Happiness Patrol (1988)
Doctor Who: Dragonfire (1987)
Kidnap Syndicate (1975)
Shoot First, Die Later (1974)
2 Days in the Valley (1996)
Zardoz (1974)
Doctor Who: Remembrance of the Daleks (1988)
The Boss (1973)
The Curse of the Mummy’s Tomb (1964)
The Vampire Doll (1970)
The Revenge of Frankenstein (1958)
The Italian Connection (1972)
Caliber 9 (1972)
Decision to Leave (2022)
Playing with Fire (1975)
The Pale Blue Eye (2022)
San Quentin (1937)
Nope (2022)
The Black Phone (2021)
The Ninth Gate (1999)
The Card Player (2004)
The Poseidon Adventure (1972)
The Last of Sheila (1973)
The Earrings of Madame de… (1953)
Anna Christie (1930)
It’s Not Just You, Murray! (1964)
What’s a Nice Girl Like You Doing in a Place Like This? (1963)
The Big Shave (1967)

Twixt (2011)

twixt

Francis Ford Coppola made some of the greatest films of the 1970s. The Godfather (parts I and II), The Conversation, and Apocalypse Now rank as some of the best films ever made. He seems to have struggled in the decades since, his output has been spotty at best. Over the last twenty years or so he’s made very few films and all of them have been independently financed. Still, he is a director worth paying attention to. I watched Twixt back in 2013, wrote this review, and haven’t thought about it since.

Reading that review now, even though I more or less panned the film, makes me want to watch it again. The story sounds pretty cool, and it is sometimes fun to revisit a film you didn’t like years ago to see if the changes in your own life affect the way you see the film now.

Laura (1944)

laura

I am of an age when I came to know Vincent Price as the creepy voice who narrated Michael Jackson’s “Thriller.” I knew who he was before that – I knew he was a guy who starred in a bunch of old horror movies – but I had never seen any of those movies. As an adult, I’ve watched tons of those old horror movies. He, along with Peter Cushing and Christopher Lee, were staples in the Hammer Studios horror stable and I love them all.

Of course, Vincent Price wasn’t just a hammy horror actor, he made lots of other films. But it always surprises me when he does. He plays it completely straight in Laura, one of the great film noirs. He’s good in it, too, but it is hard not to watch the film and not expect him to start killing people.

Anyway, you can read my review here.

Babette’s Feast (1987)

babettes feast

In my review of this film over at Cinema Sentries I talk about how we (used) to have a monthly film night in which we invited some friends over and watched a non-English language film. Not long after writing that review my family and I moved to another state and those foreign film nights dried up. I really miss them. We tried briefly to have a regular movie night (our new set of friends in this place most likely wouldn’t take to films, not in English, sigh) but it didn’t go so well. Then COVID hit and we pretty much never have anyone over anymore.

I think I’d like to try again sometime. Maybe we should have a Midnight Cafe movie night 🙂

Until then, you can read my review here. Babette’s Feast really is a lovely film.

The Friday Night Horror Movie: The Wailing (2016)

the wailing

A policeman, Jong-Goo (Kwak Do-won) is awakened from his slumber in the pre-dawn hours in a small Korean village. Someone had died, possibly murdered. But first Jong-Goo has his breakfast. The murder was brutal. The man was stabbed multiple times. His wife was chopped up and put into a bag. The likely suspect sits outside the scene, covered in blood and mud. He’s visibly shaken and does not speak.

The next night Jong-Goo and his partner are chatting about the case at the police station. In the midst of a powerful thunderstorm, just as the electricity goes out, a naked woman appears at the window covered in blood and dirt. She disappears before they can talk to her. The following day another murder was committed. That woman is at the scene screaming and yes, wailing. She’ll hang herself before the sun sets again.

As the eating his breakfast before attending to his murder scene attests, Jong-Goo is not a great policeman. In fact, he’s fairly useless. But he’s the only one that thinks there is more to these two cases than meets the eye. The official response from the higher-ups is that there has been a bad batch of mushrooms afflicting the village causing some psychotic breaks. He thinks, perhaps, there is a serial killer on the loose, or maybe something more sinister.

Local gossip points their fingers at a Japanese man who recently showed up in the village. Others think it might be an evil spirit. When Jon-Goo’s daughter stars acting strangely he pays the Japanese man a visit.

To go further into the plot would be to spoil The Wailing’s many surprises. Director Na Hong-jin’s film is busting at the seams with ideas and influences. It is a film full of mythology, folk tales, and religion. Jong-Goo will call upon both a shame and a Catholic priest for help. It feels like about four horror films in one. It is violent and goofy, thrilling and terrifying.

It is perhaps just a tad too much. With a run time of around 2 and a half hours, it feels a little longer than it needs to be. There are a lot of twists and turns, and red herrings galore. I’m not quite sure it will stand up under scrutiny, but I really enjoyed myself while in the midst of it. I’m too tired at the moment to write much more, but it is definitely worth checking out if you are a fan of horror and are looking for something a little different.

Links of the Day: January 26, 2023

Happy 70th birthday today to Lucinda Williams : Glide Magazine

Revisit the David Crosby and Grateful Dead supergroup ‘David and the Dorks’: Far Out

Enter to win a special 2-CD 50th anniversary deluxe edition of Bobby Weir’s “Ace”!: WNCW

Neil Young to play first gig in 3 years for Willie Nelson’s 90th birthday: Tyler Morning Telegraph

Van Morrison coming to Portugal: Portugal News

American Gigolo (1980)

american gigolo

I have this idea that The Midnight Cafe could turn itself back into a blog circa 2004. Back then people ran blogs like they post on Facebook or Twitter now. They could be an odd mix of personal stories, pictures, and short blurbs about pop culture and the art they were responding to. I like trying to do something like that here. Over on Twitter I, and lots of other folks, will often post about what were are currently watching or reading, or listening to. We don’t give full reviews, just note what we are doing with maybe a short (this is Twitter after all) couple of sentences about what we liked or didn’t like about it.

My trouble is that when I start to write a post here (where there are no character limits) I tend to get wordy. I don’t really know how to write a review without doing research on the film, or giving my personal background with it which results in too many words. But I’m gonna try.

American Gigolo is a drama by writer/director Paul Schraeder. It stars Richard Gere as a prostitute who caters to rich, elderly women. Things get complicated when he gets involved with a senator’s wife (Lauren Hutton) and is wanted for the brutal murder of a woman he recently was hired by.

It made Gere a huge star and one of the biggest sex symbols of the 1980s. He’s good in it. The film looks great, it is shot like a neo-noir. The soundtrack is great and it turned Blondie’s “Call Me” into a hit. It is probably my least favorite Schraeder film (from the ones I’ve seen). There is something missing from it. Hutton is good in it but her relationship with Gere falls flat for me. It isn’t given enough time for me to believe the film’s message which is something along the lines of “love will save you.”

Karina Longworth’s excellent podcast “You Must Remember This” did an episode on this film as part of her Erotic 80s series and it is well worth a listen.

Doctor Who: The Happiness Patrol

doctor who hapinness patrol

Doctor Who
The Happiness Patrol
Season 25
Story 149
Originally Aired: November 2-16, 1988

Sylvester McCoy does not get a lot of love for her tenure as The Doctor. On the whole, his stories are not as good as some of the other actors, and he tends to get knocked for being The Doctor that got the series canceled. But I quite like his performance in the stories I’ve seen and I don’t really think you can blame him for the cancellation. The series was in serious need of retooling by the time he got on board, and the BBC was not willing to do what was needed (mainly give it a decent budget).

Which is why I’ve now watched three of his stories in a row.

“The Happiness Patrol” is a good example of the best of Doctor Who and some of its worse excesses. The Doctor and Ace (Sophie Aldred) land on a human colony on the planet Terra Alpha which is run by Helen A (Sheila Hancock) who is obsessed with happiness. So much so that she has outlawed unhappiness and has unleashed the Happiness Patrol (made up of a group of women with big hair, big makeup, and short skirts) to find anyone even the slightest bit sad and kill them. Naturally, The Doctor and Ace stage an unhappiness revolution.

That’s a cool idea for a story and one they would revisit in 2017 with “Smile”. Helen A is a great character. She is someone who probably started out with the best intentions – she simply didn’t want her people to be unhappy – and then she allowed things to go very extreme.

And in Classic Doctor Who fashion almost everything goes extreme. Helen A’s henchman is Kandyman, a killer robot made entirely out of candy. The Doctor thwarts Kandyman a couple of times by throwing a liquid at its feet, melting the candy, and making it stick to the floor. Helen A has a crazed wolf-dog hybrid. It is all wonderfully batty, completely silly, and a bit excessive.

The original inhabitants of the planet now dwell underneath the city in a series of pipes. There is a man who wanders about playing the blues on the harmonica, at least until he spies the Happiness Patrol at which point he plays a happy tune. There is an undercover agent who pretends to be just a little bit sad by which he coaxes other people to admit their own sadness and then sicks the Patrol upon them. There is a census taker from another planet who notices that a whole lot of people have gone missing since his last census.

That’s a whole lot of stuff for one story to be doing, and with only three episodes and a run time of 75 minutes, there isn’t enough time for the story to do everything it wants.

There are folks out there, smarter than me, who dig deep into these things. Those folks note that Helen A feels a whole lot like Margaret Thatcher and the entire story seems to be commenting on her reign as Prime Minister at the time. I don’t know about that, but I do know that this story is a whole lot of fun.