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  • January 18, 2011

    Reel 13 and the New York Jewish Film Festival Team Up!

    This week’s Reel 13 Short Film Contest contenders are all official selections of the New York Jewish Film Festival. This year the NYJFF celebrates its 20th anniversary showcasing world cinema exploring the Jewish experience. The NYJFF runs from January 12 – 27, 2011. Be sure to watch all three films, then vote for your favorite. The winner will air next Saturday, January 22nd along with the Reel 13 Classic RAIN and the Independent feature CHILDREN OF INVENTION.

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  • January 18, 2011

    Best Movies by Farr: Winning Walter Huston

    by John Farr

    Walter Huston made so many films, it’s hard to pick favorites. But John Farr does it.


    Dodsworth (1936)

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    WHAT IT’S ABOUT:

    Sam Dodsworth (Walter Huston), a business tycoon, decides to retire and take an extended trip to Europe with wife Fran (Ruth Chatterton). Unfortunately, Sam’s financial success has only increased Fran’s latent vanity and social-climbing tendencies. No longer distracted by his work, Sam sees his wife’s weaknesses for the first time, as she openly flirts and cavorts with a European aristocrat. Sam must confront the problem in his marriage, then find a way to regain some happiness for himself.

    WHY I LOVE IT:

    Based on a novel by Sinclair Lewis, director William Wyler and screenwriter Sydney Howard have crafted an adult, perceptive romantic drama, beautifully played. They wisely minimize the soapiness inherent in the premise, leaving an honest and surprisingly moving film about love lost and re-discovered. The Oscar-nominated Huston is superb.


    The Treasure of the Sierra Madre (1948)

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    WHAT IT’S ABOUT:

    Fred Dobbs, Bob Curtin and Howard, three motley down-and-outers in Mexico (Humphrey Bogart, Tim Holt and Walter Huston, respectively), pool their meager resources and set off to search for gold. When they find some, they must decide how best to protect it and thus the seeds of distrust are sown.

    WHY I LOVE IT:

    This potent film delivers savage human drama wrapped up in an adventure film. Containing humor, suspense and action, ultimately “Treasure” is a striking meditation on the nature of greed. This masterpiece marked the first time a father and son took home Oscars the same night: John for his peerless direction and his father Walter for his indelible performance as the crusty old prospector. “Treasure” is just that- cinematic gold.


    The Furies (1950)

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    WHAT IT’S ABOUT:

    Blustery ranch owner T.C. Jeffords (Walter Huston) intimidates everyone around him, except his fiercely independent daughter, Vance (Barbara Stanwyck), with whom he has an intensely close (and stormy) relationship. Her father’s engagement to gold-digging socialite Flo Burnett (Judith Anderson) grates on Vance, and when T.C. moves to undercut her romance with noncommittal gambler Rip Darrow (Wendell Corey), she finally explodes.

    WHY I LOVE IT:

    Dealing with revenge, obsession, racism, and hints of incestuous jealousy, Mann’s dark, psychological Western was a fine showcase for Stanwyck, here a mix of fiery passion and resolute determination, and the towering, formidable Walter Huston in his final film appearance. “The Furies” is Shakespearean in its depiction of a father-daughter conflict that curdles into hatred, but adds a taste of the grotesque, too, namely in a scene involving a well-flung pair of scissors. In the hands of Mann and his volatile leading players, 1870s New Mexico was never quite the same.


    Visit Best Movies by Farr for more great DVD recommendations.

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  • January 10, 2011

    Best Movies by Farr: Serious Stanley Kramer

    by John Farr

    As Reel 13 prepares to air the Stanley Kramer Classic, It’s a Mad, Mad, Mad, Mad World, John Farr selects three of the late director’s most intense works.


    The Defiant Ones (1958)

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    WHAT IT’S ABOUT:

    When convicts John “Joker” Jackson (Tony Curtis) and Noah Cullen (Sidney Poitier) escape a chain gang manacled together, they must put aside their mutual antipathy. Jackson’s an uneducated Southern bigot who doesn’t hide his contempt for Cullen, while Cullen exhibits his own well-earned hatred of “crackers”. Still, given the circumstances, they must rely on their combined resources to survive.

    WHY I LOVE IT:

    Another of maverick producer/director Kramer’s consciousness-raising social films, this tale proved a potent metaphor for race relations in 1958. Virtually simultaneous with the rise of the civil-rights movement, this progressive adventure eloquently presented the case for racial harmony in the story of a gutsy prison-break film. Poitier-who at age 30 was set to go where no black actor had gone before–more than holds his own with Curtis, then a big star, who plays the despicable “Joker” to perfection.


    On the Beach (1959)

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    WHAT IT’S ABOUT:

    After learning that a nuclear holocaust has wiped out most of humanity, U.S.S. Sawfish sub commander Capt. Dwight Towers (Gregory Peck) finds a group of survivors near Melbourne, including lovely Moira (Ava Gardner), guilt-ridden scientist Julian Osborn (Fred Astaire), and newlyweds Peter (Anthony Perkins) and Mary Holmes (Donna Anderson). Knowing that slowly creeping radiation from the northern hemisphere will eventually kill them all, each deals with the impending doom in their own way.

    WHY I LOVE IT:

    A stark wake-up call in its time, Kramer’s blunt, unswervingly bleak doomsday classic was based on a popular novel by Nevil Shute and premiered in major cities around the world on the same day in 1959. Though hardly subtle, “Beach” does boast fine performances by Peck, Gardner, a young Perkins, and Astaire in his first purely dramatic role, playing wildly (and confidently) against type as an intellectual with a heavy conscience.


    Judgment at Nuremberg (1961)

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    WHAT IT’S ABOUT:

    This dramatization of the famous Nuremberg trials centers on Dan Haywood (Spencer Tracy), who’s sent to Germany as chief Allied judge (Haywood’s character was based on real-life jurist Robert Jackson). Prosecutor Tad Lawson (Richard Widmark) tries a group of top-level Nazis for complying with Hitler’s inhumane edicts, facing off against defense attorney Hans Rolfe (Max Schell). As Haywood presides over the historic trial, he ponders where the great nation went wrong, and how to apportion the blame.

    WHY I LOVE IT:

    Long but brilliant, “Judgment” was a box-office sensation, due to director Kramer’s sensitive, socially conscious approach, which examines the degree to which people should be held responsible for following orders. The movie includes a host of sterling performances: Schell stands out as the impassioned defense attorney (the part netted him an Oscar), as do Montgomery Clift and Judy Garland, whose tragic characters poignantly mirror the consuming sadness in their real lives. “Judgment” is an absorbing, true-to-life reckoning with the infamous Nazi legacy and the nature of modern justice.


    Visit Best Movies by Farr for more great DVD recommendations.

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  • January 4, 2011

    Best Movies by Farr: Early Billy Wilder

    by John Farr

    Billy Wilder’s early films, like this week’s Classsic, One, Two, Three, launched a brilliant career. Here are three other gems.


    The Major and the Minor (1942)

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    WHAT IT’S ABOUT:

    Unable to pay for a train ticket back home to Iowa, big-city office worker Sue Applegate (Rogers) decides to pose as a 12- year-old girl for a reduced fare. On the train, kind Major Kirby (Ray Milland) takes “Sue-Sue” under his wing, but her scheme is danger of exposure once Kirby’s fiancee (Rita Johnson) and her in- the-know 12-year-old sister (Diana Lynn) enter the picture. Also, little Sue’s developing a not-so-little crush on the Major .

    WHY I LOVE IT:

    Leave it to legendary director Billy Wilder to turn what could have been a dunderheaded studio comedy into a first-rate howler with satirical overtones. With puckish irreverence, Wilder –in his directorial debut-shouldered a potentially dicey subject (a blossoming romance between a soldier and a minor) and lathered it with just enough intelligence, wit and compassion to please Hollywood audiences! Rogers and Milland play their roles with an insouciant innocence, too, under his peerless direction. You’ll love “The Major and the Minor,” a madcap Lolita story like no other!


    The Lost Weekend (1945)

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    WHAT IT’S ABOUT:

    Struggling writer Don Birnham (Ray Milland) has a nasty drinking problem that worries his brother, Nick (Phillip Terry), who’s reluctant to leave his sibling alone. Don convinces Nick and his own girlfriend Helen (Jane Wyman) to take in a concert without him, promising to do some serious work on a novel. Instead, Don hunts for a hidden stash of booze, finds money, and goes on a hellish, two-day alcoholic binge.

    WHY I LOVE IT:

    Billy Wilder’s searing look at the “problem” of alcoholism was harsh, unpleasant stuff for audiences to swallow in the ’40s, but Paramount execs-who nearly shelved “Weekend” over pressure from temperance and liquor lobbyists-were thrilled when it became a huge hit. That’s due entirely to Milland’s riveting, Oscar-winning portrayal of Don, a man so hysterically self-destructive that he sacrifices his dignity and others’ goodwill to keep himself in a state of perpetual stupor. Cheery it’s not, but “Lost Weekend” is a landmark work, showcasing Wilder at his gut-wrenching best. Wyman also excels in an early role as the concerned Helen.


    Sunset Boulevard (1950)

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    WHAT IT’S ABOUT:

    Ducking into the garage of a decayed Hollywood mansion to evade his creditors, heavily indebted screenwriter Joe Gillis (William Holden) encounters Norma Desmond (Gloria Swanson), an aging star of the silent screen who recruits Gillis to work on her hopeless comeback script. Penniless and cynical, Gillis agrees to help the wealthy, barely remembered star, and eventually becomes Norma’s kept man.

    WHY I LOVE IT:

    Recently remastered by Paramount, “Sunset Boulevard” is finally getting its due. One of the all-time great Tinseltown satires, this noirish tale of an opportunistic, down-and-out young writer and the nostalgic, delusional film luminary who ensnares him takes a harsh look at an industry that eats its own. Holden, whose character narrates from beyond the grave, is impeccable as the sardonic Gillis, but the show belongs to real-life silent star Swanson, an ideal choice to play the creepy, twisted Norma. Great support form Nancy Olson (as Joe’s appalled girlfriend) and Erich Von Stroheim (as Norma’s protective chauffeur) round out this shocking, sordid gem. Are you ready for your close-up?


    Visit Best Movies by Farr for more great DVD recommendations.

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  • December 28, 2010

    Best Movies by Farr: Classic Costner Characters

    by John Farr

    As Reel 13 airs what may be Kevin Costner’s most celebrated role, John Farr takes a look back at three more memorable Costner performances.


    Silverado (1985)

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    WHAT IT’S ABOUT:

    The plot of this Western charmer is strictly boilerplate, but it hardly matters. Four unlikely heroes (Kevin Kline and Danny Glover, Scott Glenn and Kevin Costner) are thrown together to save the town of Silverado from corrupt Sheriff Cobb (Brian Dennehy), and some other unscrupulous types, including McKendrick (Ray Baker), the man who’s pulling all the strings in these here parts.

    WHY I LOVE IT:

    Charismatic performances and swift pacing combine to make this a rousing piece of entertainment in the grand Western tradition. John Bailey’s stunning cinematography and Bruce Broughton’s majestic, Oscar-nominated score certainly help, but in the end, it’s the cast that hooks you- they seem to be having so much fun the audience just has to get in on it. Linda Hunt registers in particular as a sympathetic saloon operator, but a young Costner steals the picture as the boyishly exuberant Jake. This was the role that made him a star.


    The Untouchables (1987)

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    WHAT IT’S ABOUT:

    During the Prohibition era, government agent Eliot Ness is sent to Chicago to foil megalomaniacal gangster Al Capone (Robert De Niro), who’s making a killing selling illegal hooch in collusion with corrupt local cops and politicos. Dismayed at first by Capone’s steely grip on the city, Ness eventually befriends older Irish patrolman Jimmy Malone (Sean Connery), seemingly the city’s only honest lawman, who helps squeaky-clean Ness put the screws to Scarface Al.

    WHY I LOVE IT:

    Inspired by the 1950s TV series and scripted by David Mamet, this absorbing, operatic gangster flick-a box-office hit in 1987-explores the moral ambiguities of justice, and represents perhaps De Palma’s finest moment in the director’s chair. In a star-making turn, Costner excels as idealistic G-man Ness, schooled in the ways of the street by Connery, who deservedly picked up an Oscar for his superb portrayal of acerbic veteran cop Malone. With a teeth-clenching, tour de force shoot-out in a train station capping the action, “The Untouchables” is a nimbly directed, top-shelf period thriller.


    Field of Dreams (1989)

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    WHAT IT’S ABOUT:

    Iowa Farmer Ray Kinsella (Kevin Costner) obeys inner voice telling him to turn part of his land into a baseball field. “If you build it, he will come,” says the voice. And in this mystical parable of faith and hope, come he does, in the form of “Shoeless Joe” Jackson’s ghost (Ray Liotta), and some other spectral teammates from the disgraced 1919 Chicago White Sox team. But Ray has some traveling to do himself to get to the bottom of what is actually happening on his field – and why.

    WHY I LOVE IT:

    Adapted by the director from W.R. Kinsella’s book, this beautifully realized, old-fashioned fantasy movie that raises the spirit and touches the heart. Costner is perfect in a role originally delivered to Tom Hanks, while James Earl Jones provides magnificent support as a reclusive writer who joins Kinsella on his crusade. Ray Liotta also scores in a pre-“Goodfellas” outing playing the legendary “Shoeless Joe” Jackson. This quintessentially American classic goes down just as well on repeat viewings.


    Visit Best Movies by Farr for more great DVD recommendations.

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