by John Farr
John Farr travels to Paris in search of fine films.
Greta Garbo’s first comedy, “Ninotchka” details what can happen-on a purely human, emotional level-when communism and capitalism collide. Three Russian comrades travel to Paris to sell an invaluable necklace with proceeds to benefit the party. The necklace’s rightful owner, Grand Duchess Swana (Ina Claire) prevails on Count Leon D’Algout (Melvyn Douglas) to restore the necklace to her. The Count blocks the sale and distracts the three Russians with all the capitalistic excesses Paris has to offer. When Moscow notes the delay, they send tough emissary Ninotchka (Greta Garbo) to move things along. When the cold but impossibly beautiful agent arrives in Paris and meets the Count, he realizes his mission has become much more challenging, but more interesting as well.
WHY I LOVE IT:
“Garbo Laughs!” screamed the publicity, and so will you (laugh, not scream). Director Ernst Lubitsch infuses this gossamer “East meets West” romance with his trademark chic style and clever sophistication. Garbo’s transformation from icy harridan to warm, alluring female is a wonder to behold, and Douglas is understated and suitably wry as the Count, never stepping in Garbo’s light too much. With a peerless script by Billy Wilder and Charles Brackett, this is the movie equivalent to champagne, and, of course, caviar. (Trivia note: this picture was remade as a musical for Fred Astaire: 1957’s “Silk Stockings”.
Last Tango in Paris (1972)
While apartment-hunting in Paris, sultry 20-year-old Jeanne (Maria Schneider) meets Paul (Marlon Brando), a brooding middle-aged American whose wife has recently committed suicide for reasons he cannot fathom. Within minutes, they make love in the empty flat, a desolate place that becomes their temple of carnality, but with strict rules established by Paul.
WHY I LOVE IT:
Scandalous in 1972 and still unsettling today, Bernardo Bertolucci’s bizarre, fascinating psychodrama depicts sex not as a union of two human beings, but as a reflection of their alienation from each other. While the butter scene is justly famous, this isn’t the only reason “Tango” stays with you. Just watch Brando closely here: at certain moments you catch a glimpse of that fiery young man in the ripped tee-shirt, railing against the world’s injustices, down but never out, and utterly, brilliantly alive. (Trivia note: reportedly, to build a feeling of spontaneity, Brando would improvise his own lines the day before shooting a scene. In many instances, Paul’s memories of childhood are Brando’s.)
Sam (Robert De Niro), a veteran intelligence agent, joins a covert team for a lucrative assignment to seize a suitcase whose mysterious contents are coveted by both the Russian mafia and the IRA. This simple premise develops into countless twists and turns, double- and triple-crosses, along with some car chase sequences worthy of “Bullitt” and “The French Connection”.
WHY I LOVE IT:
Late director John Frankenheimer takes a boilerplate idea and milks it for all its worth, creating a tight, pounding thriller. Casting and performances are solid, but this truly is a director’s picture, with Frankenheimer’s keen sense of pacing and flavorful European locations contributing to an edge-of-your-seat experience.