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Fri Mar 02 2018 00:48 February Film Roundup:
- Newton (2017): This the closest I've seen to an Indian version of a Billy Wilder movie, which (see Fig. 1) means it's my favorite Indian movie. It's made with a mix of cynicism about and sincere belief in democracy. It sets up two characters on a course to romance, but doesn't actually show the romance and there's no guarantee it happens. Shorter than two hours, falls into the same "low violence, high suspense" quadrant as Dog Day Afternoon... just great stuff all around.
- The Heartbreak Kid (1972): I've now completed the quadfecta of Elaine May films. Sumana and I saw this one on a date; our relationship is at the point where we can have a date where we watch a movie about catastrophically bad relationships. You might not want to see this movie on a third date, or if you got married less than a year ago.
The film is good, but not a classic like Ishtar or A New Leaf. However, one thing those movies didn't have was Eddie Albert stealing the show as Mr. Corcoran. A funny character and great delivery in every scene. For the final time, I'll use this review as a soapbox to say that Elaine May is a really good director who should not be in movie jail. On a positive note, Ishtar's IMDB rating has gone up from 3.9 to 4.2 in the past five years.
- The Greatest Showman (2017): Saw with Susanna on a trip to California. I don't know about this one, I just don't know. The opening number is fabulous but then... yeah, I can't recommend it.
I get that P. T. Barnum inhabits the shadow world of the American tall tale, alongside Paul Bunyan and Hunter S. Thompson, so you can do whatever you want with his story without caring about things like 'accuracy'. But why spend the first act of a movie humanizing a con man, when you could not do that and have an awesome con man musical like The Music Man?
This movie just made me think about how great The Music Man is. How Harold Hill starts off with no redeeming qualities but is civilized by the decency of the people he interacts with. That's how you humanize a con man in a family-friendly musical. At any rate, I think you could write a screenplay that stuck closer to this classic biography of Barnum but left most of the musical numbers intact.
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